JLv MAFCf H.NORTHEND I 3M REMODELED FARMHOUSES THE CURTIS HOUSE FROM THE ROADSIDE REMODELED FARMHOUSES BY MARY H. NORTHEND AUTHOR OF ' COLONIAL HOMES AND THEIR FURNISHINGS "HISTORIC HOMES OF NEW ENGLAND," ETC. WITH NUMEROUS ILLUSTRATIONS BOSTON LITTLE, BROWN, AND COMPANY 1915 Copyright, /p/5, BY LITTLE, BROWN, AND COMPANY. All rights reserved Published, October, 1915 NorfoooB Set up and electrotyped by J. S. Gushing Co., Norwood, Mass., U.S.A. Printed by Louis E. CROSSCUP, BOSTON, U. S. A. Architects!* I Urban Planning Library NA I DEDICATE THIS BOOK TO MY FRIENDS IN MY NATIVE CITY TO WHOM I AM INDEBTED FOR MANY KINDNESSES PREFACE THERE is a certain fascination connected with the remodeling of a farmhouse. Its low, raftered interior, its weather-beaten exterior, never fail to appeal. Types vary with the period in which they were built, but all are of interest. In this collection, which has been pictured with great care, pains have been taken to show as many different types as possible, so that the student will be able to find numerous interesting details that can be incorpo- rated into his contemplated remodeling. In the study of this work I have grown to feel a deep reverence for the old homes of our forefathers, and have come to realize as never before the care and painstaking thor- oughness of the old master builders. I wish to thank the owners of these homes who have so kindly thrown open their doors to my inspec- tion, and who have told me the interesting stories connected with the houses. [vii] PREFACE Acknowledgment should be made to American Homes and Gardens for permission to use various articles of mine which they have previously published. In the contents of this book I trust there may be much of value to those who are contemplating the remodeling of a farmhouse and that the work will bring to them the same enjoyment that the study of the subject has brought to me. MARY H. NORTHEND. AUGUST, 1915. [viii] CONTENTS PAGE PREFACE vii I. IRISTHORPE I II. LlMOVADY 15 III. THE KITTREDGE HOUSE z8 IV. THE CURTIS HOUSE . . . . 38 V. GREEN MEADOWS 49 VI. NAWN FARM 61 VII. BOULDER FARM 71 VIII. THREE ACRES 84 IX. THE ROBERT SPENCER HOUSE . . . ico X. THE DAVENPORT BROWN HOUSE . . .no XL THE DOCTOR CHARLES E. INCHES HOUSE . 124 XII. THE CHARLES MARTIN LOEFFLER HOUSE . 136 XIII. LITTLE ORCHARD 146 XIV. WlLLOWDALE 155 XV. THE GEORGE E. BARNARD ESTATE . . 166 XVI. THE W. P. ADDEN HOUSE . . . .177 XVII. THE KATE DOUGLAS WIGGIN HOUSE . .187 XVIII. THE FRANKLIN BRETT HOUSE . . .198 XIX. THJE GEORGE D. HALL HOUSE . . .208 XX. THE WALTER SCOTT HOPKINS HOUSE . . 220 XXL HENRY W. WRIGHT'S HOUSE . . .231 XXII. THE HOWLAND S. CHANDLER HOUSE . . 243 INDEX 255 LIST OF ILLUSTRATIONS THE CURTIS HOUSE FROM THE ROADSIDE . . . Frontispiece FACING PACK IRISTHORPE, FRONT VIEW ...... 4 The Entrance Porch 5 From the Garden ....... 8 The Entrance Porch, Another View .... 9 The Dining Room, and the Living Room . . .12 The Morning Room, and the Out-door Living Room . 1 3 LIMOVADY, REAR VIEW FROM THE GARDEN . . .18 Side View 19 Two Views of the Living Room . . . .22 The Dining Room, and the Lounge . . . .23 Two of the Chambers ...... 26 AN OLD CAPE COD HOUSE .... .27 Side View ........ 30 The Attic Chamber, and the Living Room . .31 The Kitchen -36 THE CURTIS HOUSE, THE ENTRANCE PORCH . -37 Before Remodeling, and Remodeled . . . .42 The Hall and Unique Stairway . . . . .43 Side View, and the Dining Room .... 48 xi LIST OF ILLUSTRATIONS FACING PAGE GREEN MEADOWS, FRONT VIEW 49 An Old-fashioned Chamber, and the Living Room . . 56 Two Views of the Den 57 NAWN FARM, FRONT VIEW ...... 64 Rear View, and the Living Room . . . .65 Two Views of the Dining Room .... 68 The China Closet in the Dining Room ... 69 BOULDER FARM, FRONT VIEW ...... 74 The Front Doorway . . . . . -75 The Hall . . . . . . .78 The Den, and the Parlor 79 Two Views of the Dining Room .... 84 THREE ACRES, FROM THE MAIN ROAD . . . .85 Front View ........ 90 Side View . . . . . . . 91 A Corner of the Living Room . . . . .94 The Living Room, and the Dining Room . . 95 THE ROBERT SPENCER HOUSE ON CAPE COD . . .100 Front View . . . . . . . .101 Two Views of the Living Room . . . .106 The Attic Chambers . . . . .107 THE DAVENPORT BROWN HOUSE . . . , .112 .The Hallway . . . . . . . .113 The Sun- Parlor or Out-door Nursery, and the Library . 1 1 8 Two of the Chambers . . . . . .119 The Nursery, and the Service Wing . . . . 1 24 xii LIST OF ILLUSTRATIONS FACING PAGE THE CHARLES E. INCHES HOUSE, FRONT VIEW SHOWING THE OLD WELL . . . . . . .125 Before Remodeling . . . . . . .130 Across the Lawn . . . . . . .131 The Hall and Stairway, and the Living Room . . 134 THE STUDIO OPPOSITE THE CHARLES M. LOEFFLER HOUSE . 135 THE CHARLES M. LOEFFLER HOUSE BEFORE REMODELING . 138 As Remodeled . . . . . . .139 Two Views of the Living Room . . . .142 The Dining Room, and the Music Room in the Studio Building . . . . . . . .143 LITTLE ORCHARD. THE HOUSE FROM THE DRIVEWAY . .148 The Angle of the Ell 149 The Stairway . . . . . . . .152 The Entrance Porch, and the Dining Room . . 1 5 3 WlLLOWDALE, BEFORE REMODELING, AND THE FRONT VlEW . 158 The House from the Garden . . . . .159 A Rear View, and the Living Room . . . .162 Two of the Chambers . . . . . .163 THE GEORGE E. BARNARD HOUSE BEFORE REMODELING, AND THE FRONT OF THE HOUSE . . . .166 The House from the Terrace . . . . .167 The Pergola- Porch 172 The Hall, and the Alcove in the Living Room . . 173 The Den, and the Dining Room . . . .176 THE W. P. ADDEN HOUSE 177 The Stairway 186 xiii LIST OF ILLUSTRATIONS FACING PAGE QUILLCOTE, MRS. KATE DOUGLAS WIGGIN'S SUMMER HOME . 187 The Hall 192 Two Views of the Living Room . . . . .193 The Den, and the Dining Room . . . .196 Two of the Chambers . . . . . .197 THE FRANKLIN BRETT HOUSE, FRONT VIEW . , . 202 Before Remodeling, and as Remodeled . . . .203 The Pergola-Porch ..... . 206 A First-floor Vista, and the Living Room . . . 207 LONE TREE FARM . . . . . . . .212 As Finally Remodeled, and the Sun- Parlor . . .213 The Living Room, and a Corner in the Dining Room . 218 The Sewing Room, and the Den . . . .219 THE WALTER SCOTT HOPKINS HOUSE BEFORE REMODELING . 224 As Remodeled ....... 225 The Living Room ....... 228 Two Views of the Dining Room . . . .229 THE HENRY W. WRIGHT HOUSE ..... 236 The Living Room, and the Dining Room . . .237 Two Noteworthy Chambers ..... 242 THE HOWLAND S. CHANDLER HOUSE .... 243 End View 248 The Hall ........ 249 The Sun-Parlor, and the Living Room . . . .252 The Den, and the Kitchen . . . . .253 XIV REMODELED FARMHOUSES CHAPTER I IRISTHORPE As you drove slowly along the country road, did you ever stop to consider the many possi- bilities for development that lie hidden in the old Colonial farmhouses found here and there ? Some are situated quite a distance from the main road, while others are placed practically on its boundary line. Many of the types are disguised by the unattractive additions that have been built to accommodate the growing needs of their occupants. Others, with sagging roofs and weather-beaten exteriors, stand mute witnesses of the days when our country was making history for itself. Some of these unattractive old dwellings in their early days sheltered the most ardent patriots of our land, men whose gallant deeds have made them famous, and who now lie forgotten. Fortunately for us, these old houses were not all built in the same century, but present a variety [i] REMODELED FARMHOUSES of types which makes them all the more inter- esting both to architect and house owner. The age of the house is clearly denned in its design. Many of the earliest examples were framed in white pine, a wood whose lasting qualities have been plainly shown through their power to withstand the ravages of time. Others were con- structed of stone or brick and are equally inter- esting in character. From an architectural stand- point, most of these houses, no matter how dilapidated their condition, show good lines. To be sure, these are often hidden under poor surround- ings, for as the families grew larger and additions became necessary, the new parts were often badly placed. This makes it hard for an inexperienced eye to detect where the old house leaves off and the additions begin. It must be remembered that the early tillers of the soil took little interest in their homes save as' shelters for themselves and families, and chose for their buildings material that lay nearest at hand. All their ready money was expended in the building of large and spacious barns to house their cattle. There is a wealth of possibilities in the recon- struction of old farmhouses that are easily recog- nized by the experienced eye of the architect. [2] IRISTHORPE The study of lines which determine the size and design of the old building is most interesting and teaches a lesson in old-time architecture which is extremely fascinating. The adaptation of the house to new and different purposes, the creation of a picturesque result wholly unlike and yet following the lines of the original building, calls into play not only skilful designing but careful planning. Many of these old houses contain fine wood- work which is often hidden under layer upon layer of hideous wall-paper bought with an eye to price rather than good taste. The fireplaces are sometimes bricked up and plastered over to per- mit the use of a modern "air-tight" ; the wainscot and molding are buried under coats of unattractive paint and give little impression of their value until the original walls and woodwork lie bare. Some houses, more especially those situated near the coast and erected during the period of com- mercial prosperity, were built by ship carpenters and wood-carvers during dull seasons. In these, one comes occasionally upon a wonderful old fireplace or perchance a porch that shows artistic carving. Many of these old dwellings naturally show original treatment, and it is to these that REMODELED FARMHOUSES the architects of to-day turn for details to be introduced into the modified Colonial house. They were built by men who were forced to use their brains, since they were unable to turn to books for ideas. As originally built, many of them stood with their backs to the road, their long, sloping roofs sweeping to the ground, their front doors opening on to extensive farm lands. Before the door usually stood the father and mother elm, their graceful branches seeming to hover protectingly over the dwellings. Many of the trees were there when the houses were built, while others have replaced their worthy sires and contribute a bit of landscape picturing that adds much to the attractiveness of the home. In these old houses, more especially those that are past complete restoration, the architect of to- day frequently finds choice old woodwork. Some- times it is a rare bit of pumpkin pine such as is seldom seen ; again it is a fine old wainscot, or a wonderful staircase that has been saved from the ravages of time. Often some of these details are introduced into another remodeled farmhouse to replace parts too far gone to be used. The grow- ing vogue of the country home has led to the [4] w > H o 2 The Entrance Porch IRISTHORPE IRISTHORPE restoration of many of these old-time farmhouses and has saved many a valuable structure from falling into decay. Fortunately the appreciation of their possibilities came before it was too late to save them from destruction, although many that could have done service were allowed to go to ruin. There are, however, many fine examples still standing, and some of these have been altered to suit modern uses. Little wonder the old farm- house has come into its own, its attractiveness after remodeling making it available for sum- mer or all-the-y ear-round uses. To-day there is scarcely a farm or country resort that does not show one or more of these old-time buildings in their new dress. Some have interesting history connected with them and are associated with legends that have been handed down from genera- tion to generation. Often the house has been photographed to show both its former appearance and the results of the restoration. Some owners, however, have given little thought to the original structure, and it is left to the imagination to pic- ture the house as it used to be. It was six years ago, while hunting for a place to locate a summer home, that Doctor and Mrs. Homer Gage of Worcester, Massachusetts, dis- [51 REMODELED FARMHOUSES covered at Shrewsbury a simple little farmhouse, showing no claim to architectural beauty. It was such an unattractive, plain, little building, that only the experienced eye could discover its fine lines. This house stood close by the dusty high- way; the fence which formed the boundary line had fallen into decay, while the farm lands, run down through hard usage, showed no trace even of an old-fashioned garden, such as many of the housewives of the earlier day so loved to tend. The house was built before the Revolutionary War, being erected in 1760, and was considered in those days to be a good example of what a farm- house stood for. Surely it was an excellent type, considering the usual lines in the New England farmhouses of that day, this small, unpreten- tious dwelling, whose entrance door out of plumb and windows irregularly placed made a curious combination that was in reality fascinating and appealing. It was two stones in height, with an attic under the eaves, a hot little place during the summer months and cold in winter, but good for storage of furniture and unnecessary household belong- ings. The roof had a pitch at the back and sloped to meet the kitchen, which was only one story in [6] IRISTHORPE height. Two sturdy, six-foot chimneys had been built on one side of the house, as stoves were unknown in those days. The frame was of white pine, well seasoned, and the timber hand-hewn, with the mark of the adze plainly showing in the beams, for it was built when honest labor prevailed and was as stanch as in the days when the bush stuck in the chimney or ridge-pole showed that the carpenters' work was done. The farm build- ings were connected with the main house and com- prised a barn, hen-house, corn-crib, and byre, all huddled together in the most compact kind of way. It had not been occupied since Doctor Brown, the original owner, paid his last visit and left the house to its fate. The interior was not as dilapidated as in most old houses, being in tolerably good repair. And so, with little altera- tion, it was used as a dwelling house, while the new home which was being built near the center of the estate was erected. After the cellar was built and the foundation partly laid, the work on the new house was stopped. There was something about the old clapboarded farmhouse that appealed so strongly to the new occupants that they fell under its charm and de- cided not to supplant it by a modern home. But REMODELED FARMHOUSES the house stood too near the road ; there was no privacy and no freedom from dust. It was of such solid construction, however, that its moving could be easily accomplished. So, slowly but surely, it slid down the hill and finally rested on the foundations which had been designed for the summer house. Under the direction of Mr. George Hunt Ingra- ham, the remodeling was begun. The old lines of the roof were left unaltered, and although more room was needed, dormers were left out in its reconstruction. Nothing, the new owners felt, could so destroy the lines of the house as to break them with intrusions such as this. The long, unbroken skyline is one of its greatest charms, and even the long slope at one side, reaching down and over the one-story kitchen ell, has been carefully retained and adds not a little to the harmonious effect of the whole structure. At the front was added a small porch showing Colonial treatment, in the center of which hang graceful vases filled with iris. The same latticed effect was carried out across the front of the house in the space between the windows of the first and second stories. On either side of the main dwelling, outdoor living- rooms were secured by the introduction of screened [8] o U -=. S O The Entrance Porch. Another View IRISTHORPE IRISTHORPE piazzas, the roofs of which were painted with water-proof paint. One of these living-rooms opens on to a water-garden with its arches of roses at one side of the house. It is fitted up with willow furniture, in the coverings of which is introduced the prevailing flower, the iris, which is also shown in the table cover and the shape of the vase filled with the same flowers. The opposite porch is also fitted up as a living-room and overlooks the home garden. The exterior of the house is painted white with conventional green blinds, the chimneys following the same treatment, while the windows remain unchanged. The massive stone fireplaces were not taken out, although the old kitchen chimney had to be altered slightly in order to meet present needs. The house to-day overlooks extensive grounds and is embowered in a wealth of rambler roses and iris. It resembles the old house in its lines but shows in its remodeled form a most wonderful effect and reveals what beautiful results can be obtained by correct restoration. The house is named "Iristhorpe," the name being chosen by the mistress of the house, who since her childhood has taken great interest in the iris because of a fairy tale told her by her [9] REMODELED FARMHOUSES grandmother, in which the flower was supposed to be the home of the fairies. With modern methods of living, it would have been an impossibility to retain the old house in its entirety. More room was needed, and a service department was an absolute necessity, but in its enlargement such careful attention was paid to carrying out the lines of the original type that to-day it is almost an impossibility to find where the old house leaves off, and the new one commences. In the old structure, as it stood facing the main road, there were three rooms in a row on the first floor, with the kitchen ell attached at the rear, and the upper part of the house cut up into small rooms. In remodeling, these rooms were changed over into morning-room, living- room, and library, and occupy the entire front of the house, just as they did in the original building. They are connected with doors so carefully placed in line that they give one the impression of greater space than is really found at Iristhorpe. At the rear, the old kitchen was converted into a most attractive hallway and stairway, with closets and lavatory located at the farther side. The dining-room, which is at the rear of the living-room, has been added and conforms in [10] IRISTHORPE every respect to the original design of the old house. Back of this are the service rooms, which are admirably planned and equipped with butler's pantry, servants' dining-room, kitchen pantry, rear hall, and stairway, together with a kitchen. In the remodeling, the second story was divided into four servants' bedrooms, a bathroom, and a large sewing-room at the rear. An interesting feature is that this department has no connection on the second floor with any other room in the house. The porch door opens directly into the living- room, which has never been changed from its original place in the old house. Its central feature is the old fireplace, which has been opened at the opposite side into the new dining-room. This was originally the old kitchen chimney and contained the brick oven. It has been bricked in for modern use, and here, as throughout the house, the iris motive prevails. It is shown in the graceful andirons, in the coverings of the Sheraton wing chair, in the sofa pillows, and even in the lamp-shade. This room contains fine woodwork, which is, in fact, a notice- able feature of every part of the house, and the Colonial idea has been carefully carried out in all the furniture used. [n] REMODELED FARMHOUSES The library opens out from the living-room at the right, and from that one passes to the outdoor living-room. On the opposite side of the living- room is the den or morning-room, with glass doors which open on to the porch. Here again the iris is always the motive of decoration. In this room particularly the old paneling has been retained, as have the old strap hinges and latches, which, when missing, have been replaced by others of like design. This room was originally the doc- tor's office, and in the cupboard was found, at the purchase of the house, some of his old stock. One of the most interesting rooms is the dining- room, which contains an old brick oven and paneling so exactly corresponding to the character of the original that at first glance it is impossible to differentiate between them, either in age or work- manship. The window sashes, with their small, well-shaped panes, give to the room an appropriate scale, and the old iron and brass hinges and latches lend an effective tone. The iris, charming in nature and no less decorative in its convention- alized form, appears here and there in the carved woodwork and always gives a delicate twist to the Colonial design it embellishes. The beamed ceiling carries out the old-time idea, while won- [12] The Dining Room The Living Room IRISTHORPE The Morning Room The Out-door Living Room IRISTHORPE IRISTHORPE derful Japanese panels have been inserted in the finish over the fireplace, and huge iron andirons show an exact reproduction of the fleur-de-lis. This flower is found also in the cushions of the Chippendale chairs, the decoration of the table, the china, and in a beautiful Japanese screen of most graceful design that hides the service entrance into this room. The white woodwork is a noticeable feature of the interior, where harmony has been so carefully maintained that on entering one feels as if he were in a really old house, rather than one restored. It should be noted that in the architectural treat- ment, especial consideration has been given to lighting and air; the windows have been distrib- uted so that the light is concentrated, giving the rooms an effect of cheerfulness that could not be obtained otherwise. Even the hanging of the curtains, which are of the Colonial type, adds to the charm of the house. The bedrooms, on the second floor, of which there are four, show the same low stud that is characteristic of the lower floor. They are small but most conveniently fitted up, even to the con- version of a small closet, which the architect had considered impractical for use, into an extra REMODELED FARMHOUSES bathroom. Every bit of available space has been made usable. An unusual feature is the guest house, which has been created in the second story of the large stable which stands at one side of the estate. This is especially useful for week-end parties. The loft has been converted into a suite of bed- rooms, pool-rooms, and a screened veranda that can be used for sleeping accommodations. Iristhorpe might be called a conventional farm- house, one of the type met with on almost every country road. It has no exterior adornment of any kind, but is a fine example of how a pic- turesque building can be evolved from an unat- tractive one, and is probably one of the best examples of remodeling that can be found. The house is typical of the best American architecture, and credit should be giveristhe pioneer who first laid the foundation of the old farmhouse. As Iristhorpe now stands, its graceful lines cannot be improved upon, and clever as the alterations undoubtedly are, the great fascination that grips us as we view the house arises from the fact that it is a part of the early architecture, when hewn beams were first primed together, and when dwell- ings were erected that would endure for centuries. CHAPTER II LIMOVADY FIRST the electric car and now the automobile have solved the problem of accessibility which until recently confronted those who would have returned to the old homestead even sooner, had it been nearer the town. But to-day the house must be far away indeed if it cannot be easily reached from the more active centers, and prob- ably this fact more than any other has opened up for the enjoyment of the younger generations the natural charm of the countryside endeared to our forefathers. In the roomy, old-fashioned farm- houses of New England, surrounded by stately trees and overlooking acres upon acres of rolling pasture and meadow land, unlimited opportuni- ties are oifered for the development of the country home. In remodeling these houses of the early builders, any radical departure from the original scheme is seldom necessary. Rather should the lines and motives be sacredly preserved to accentuate their REMODELED FARMHOUSES old-time charm, and modern improvements intro- duced unobtrusively and with such care that the final result is indeed a restoration and not an alteration. The mellowing passage of time has dealt gently with many of our old homes, and his- tory and romance have woven about them an added fascination for every generation to enjoy. When the work of restoration is commenced, the problem of retaining this charm is often a difficult one. In some instances it would seem as if noth- ing short of pure inspiration had guided the hands of the remodelers of many of the quaint and irregu- lar old houses that stand by the side of the road. The old house is nearly always in harmony with its surroundings ; if it did not seem a part of the landscape when it was built, it has at least had time to grow into it through the years, and the problem of all remodeling is to preserve in the completed structure the atmosphere that will make it appear to have always belonged where it stands. While the first thought of our forefathers was to provide an adequate home, they undoubt- edly possessed a peculiar instinct in the choice of a picturesque location. By selecting the site best adapted to their needs, the house seemed literally to grow out of the land, and herein lies the secret [16] LIMOVADY of more than half the allurement of the old-fash- ioned structures. The intimacy between house and grounds seems as strong as were the family ties of those hardy pioneers who laid the founda- tions of American civilization. More practical considerations in regard to the environment than picturesqueness confront the house owner, however, and one of the most impor- tant is that of water supply and drainage. These must necessarily be kept far apart. A gentle incline is the best location for a dwelling, so that the one may come to the house from higher ground above, and the other be carried off below. A hollow is bad, because the water will not readily flow away from it ; it is always damp and hot, as it is shut in from the breezes. On too steep a hill- side, heavy rains will work havoc with lawns, walks, and flower beds. The slope of the land should be considered in reference to the prevailing winds. The house should be placed so that the cool breezes of summer blow upon the living-room side and not upon the kitchen, or all the heat and odors from cooking will fill the rooms, and they will always be hot and stuffy. The attractiveness of the immediate out- look should be noted, and it is well to ascertain if REMODELED FARMHOUSES there are any objectionable features which cannot be removed or which are likely to arise within immediate prospect. The character and prox- imity of the neighbors will play a large part in the enjoyment of a summer home. If the house is not set well back on the property, it should at least be screened with full-grown trees and shrubbery to obtain the seclusion desired. Old trees add greatly not only to the attractiveness of a place but to its actual value and comfort, for it takes a long time to grow new trees that will provide adequate shade from the heat of summer suns. There is an illustration of a thus happily sit- uated farmhouse at Georgetown, about thirty miles from Boston, known as the Jewett house, which was built in 1711. It is typical of an old Dutch lean-to and has a great central chimney twelve feet square, with four flues. Snuggled down in the midst of rolling grass land, it made an attractive picture in its surroundings of old elms. It stood far back from the road and was approached by a long lane that wound among splendid trees to the front of the house. Like many dwellings of this period, its back was toward the main road, and the front door opened upon a wide expanse of shady meadows which in the [18] LIMOVADY summer were bright with many-colored wild flowers. Between the house and the road there was a wide stretch of green grass which has been transformed into an old-fashioned flower garden, planted about a small, cement-lined pool and water garden. This house was discovered several years ago by a young Southerner who had come north from her sunny home in Kentucky to find a summer abode for her brother and herself. The house as it stood was in a very dilapidated condition, and only an artist would have realized its possibilities. But about it was a warmth of atmosphere that ap- pealed to the enthusiastic Southerner. Not the least of its attractions were the elms that cast their protecting shadows not only over the long avenue which led to the house but over the dwell- ing itself; many of them were patriarchs of the primeval forests when their younger companions were yet in seed; others were set out later, to add their charm to the forsaken home. It was purchased in 1906, and the work of restoration was immediately commenced. The outside was weather-beaten and guiltless of paint. The roof sagged, and the great stone chimney needed repair. It was propped up and made REMODELED FARMHOUSES thoroughly safe, and the old roof was entirely rebuilt, but the original lines were closely fol- lowed. Viewing the house as it stands to-day, one realizes what attractive apartments can be evolved from ugly interiors, and what interesting results ingenuity and good judgment can bring about. The interior showed coat after coat of vivid tint and layer after layer of atrociously colored wall-paper. The rooms, originally large and square, had been divided and partitioned off to meet the needs of growing families ; many of them were small and hopelessly unattractive. But there were latent possibilities. ' When the house was first purchased, the owner went over the inside herself to discover the origi- nal lines. As in many houses of the kind, it was easy to restore the size of the room by following beams and knocking out partitions. It must be remembered that the usual plan in houses of that period was to construct a large, square room in the center with small rooms opening off from it which were used as chambers. The work of decorating, and, as far as possible, the remodeling itself, was done by Mrs. William Otis Kimball and her brother. Along the front of [20] LIMOVADY the house a screened, outdoor living-room has been added. The original building consisted of four rooms on the first floor. The front door opened into a small hall, to the right of which was the great living-room, and to the left the dining- room. Back of the former was a guest room, and back of the latter the old kitchen. In the living-room, the flooring, which was composed of boards often two feet wide, was in such good condition that it was left intact, treated to a black walnut stain, and shellacked. The height of the ceiling was but seven feet; so the heavy beams of swamp oak were boxed in and painted white, and the space between white- washed. The walls, which were covered with ten tiers of paper, each one uglier than the last, were cleared to the boarding. The last one was found to be a wonderfully fine landscape paper, which showed that an early owner of the house must have been a person of means, who probably had it brought over in one of the merchant-ships during the time of commercial prosperity, when Newburyport had a lively trade with foreign lands. The walls were treated with a water paint colored a creamy pumpkin tint that makes the room seem always well lighted. It is a most [21] REMODELED FARMHOUSES inexpensive finish, such as is used by scene painters in a theater, and can be put on with an ordinary whitewash brush. The wainscot was stained dark brown to harmonize with the floors. Around the top of the room the owner painted a frieze of conventionalized pomegranates, which follow the color scheme of the woodwork and wall. The old fireplace, which had been closed up, was opened, and the over-mantel enriched with a splendidly decorative painting by the artist herself, repre- senting a Normandy boar hunt about 1330. After it was remodeled, the room measured twenty-four by twenty-six feet, the original size when the house was first built. It is now used as a living-room and library. Inexpensive shelves, made of boards stained to match the wainscot, are fastened along the walls. In places there is a single shelf; sometimes two are placed about twelve inches apart, and they are used for books, pictures, and ornaments. The windows are cur- tained with an appropriate simplicity that is unusually attractive. Unbleached cotton is used for the over-curtains and decorated with a border of richly colored cretonne, corresponding in color and conventionality of design to the painted frieze on the walls. [22] Two Views of the Living Room LIMOVADY The Dining Room The Lounge LIMOVADY L1MOVADY The hallway is five feet in width and has been kept in the original boards. They are stained in tones of soft brown which harmonize splendidly with the varying color schemes of the rooms that open on either side. Opposite the entrance door is a narrow, winding staircase whose white steps and balustrade contrast sharply with the dark woodwork and hand-rail. Half way up is the old nightcap closet from which, in the early days, our forefathers took their nightly toddy. Under- neath the stairs is a secret closet so carefully hid- den in the panels that only those familiar with it can find it. This was known in Colonial days as the "priest hole," and it was here, so the legend runs, that French refugees were secreted during the French and Indian wars. The dining-room opens off the hallway at the left. It is a long, narrow room with a fireplace at one side of the end nearest the hall. The woodwork has been finished in a dark stain, and the old corner cupboard has been kept intact. The fireplace wall is paneled in swamp pine, and over the mantel there is a secret panel cupboard. The lower part of the walls is covered with dark green burlap, and above is a decorative paper in boldly striking colors. There is a long, refectory [23] REMODELED FARMHOUSES dining-table in this room, made of stout oak boards, and the other furniture has a monastic simplicity which is entirely in keeping with the character of the room. The small room at the rear of the living-room is used as a guest chamber and is known as the missionary room. Here the walls are tinted a soft moss green, and ornamented at the top by a black and white frieze that pictures the different stages of a missionary's life. He is shown from the time of his arrival on the lonely island to his chase and capture by a band of cannibals, and finally being roasted amidst scenes of hilarity as they turn his fat form on the spit. The studio was originally the kitchen and opens out of this room. The woodwork is of the same dark brown tint used through all the lower story, and the walls are hung with natural colored bur- lap. The principal features of the room are its fireplace and quaint Dutch oven which were built into the center of the twelve-foot chimney when the house was erected. From the pothook on the crane hangs an old Colonial kettle. Of almost equal interest are the small-paned windows which are closed by sliding inside panels. The present kitchen has been added at the rear. [24] LIMOVADY It has white walls decorated with a frieze in which lobsters disport themselves in different attitudes. A small closet at one side of the passage that leads into the kitchen has been utilized for a bath- room. It is finished in white with a dado of tiles painted with turtles. When the house was first purchased, there was an old barn on the property a short distance away. This was moved up and connected with the house. It opens from the dining-room and has been converted into a lounge room, with servants' quarters at the rear. This room is one of the most interesting in the house. It is fin- ished in stained pine, and the old rafters and wood- work have been left as they originally were. The spaces between the heavy beams of the ceiling are white, the beams being black with a narrow band of peacock blue above. The originality used in finishing the house is evi- denced nowhere better than in the chambers, on the second floor. Each one has been decorated with a different flower, and they are known as the holly- hock, the sweet pea, the wistaria, and the morning- glory room. A frieze of the particular flower has been painted around, and the canopies and bed cov- erings show the same design and colors in cretonne. [25] REMODELED FARMHOUSES A small room in the barn wing, which was not large enough to be converted into a chamber as it stood, has been utilized for this purpose by open- ing up a large, connecting closet into an alcove to hold the bed. It is so arranged that at night the bed can be pulled out into the center of the room, and in the daytime hidden behind curtains drawn across the alcove. There are quaint old four-posters in all of the bedrooms, and old-fashioned and simple fur- niture is used throughout the house. Some of it is home-made, and in many of the rooms are bookcases constructed from packing-boxes, and hung across with curtains of the cretonne used elsewhere in the room. In altering many old houses for modern occu- pancy, there has been a greater expenditure than would have been required to build an entirely new structure. But in this instance the charm of the old home has been retained with a con- siderably smaller outlay than would have been necessary to erect another of equal size and facilities. There is an undeniable satisfaction in realizing that all has been gotten out of a venture of this kind that was possible, and that no offense has [26] Two of the Chambers LIMOVADY D O ffi Q O O O Q i-] O LIMOVADY been committed against the spirit of the old house. Every one who has attempted remodeling obtains different results from those first planned, for as the work proceeds, new possibilities and new limi- tations constantly appear, till the completed build- ing has an individuality unrealized in the be- ginning. In Limovady, as this little country place is named, we find a good example of what can be done to make an old house not only a livable but a delightful home, and it is a success such as this that inspires other home seekers to remodel, according to their own ideas. For no two people will be likely to conceive the reconstruction of a home in just the same way, and it is this stamp of individuality that lends to the remodeled house a large part of its charm. [27] CHAPTER III THE KITTREDGE HOUSE HAVE you ever noticed the fishermen's little cottages that stand along the seacoast wherever modern summer resorts have not displaced them ? From a modern architectural point of view, they would at first seem quite insignificant, and yet, hidden away beneath the rough exteriors, there are often interesting lines and good proportions. The humble fishermen who dwelt there cared little for external appearance, but they built their cot- tages strong and solid and, though unpretentious, they were comfortable. These little old houses, seemingly commonplace though they may be, hold much more interest for the prospective house owner and the architect than do the more elaborate ones of later periods. For wherever men have utilized what skill and in- telligence they have to satisfy definite needs in the simplest, most straightforward way, they have achieved something of lasting worth. The ages of these old seacoast houses vary just [28] THE KITTREDGE HOUSE as do those farther inland. Some were built long before the Revolution and others at a much more recent date. Some have fallen into hopeless de- cay, while others are still stanch and habitable. The possible purchaser should make a careful examination both inside and out before he decides to remodel. Sometimes, from a superficial sur- vey, an old house may appear sturdy enough to warrant renovation, but a closer investigation will prove that this would be an expensive busi- ness. For the old timbers often hold together firmly because they have all settled together as a unit; if any one is disturbed, the rest may be greatly weakened or even threaten to fall apart, like the proverbial house of cards. The first indication of dangerous weakness is a sagging roof. If the lines are even a little con- cave, it is a bad sign, for the roof would not have settled had the walls held absolutely true. Be- cause of pressure against them, they have been forced apart and perhaps are on the point of tumbling down altogether. If the roof passes its test well, then examine the line of the walls and be sure they are absolutely vertical and have neither spread nor fallen inward. Next study the condition of the timbers. The [29] REMODELED FARMHOUSES sill is the most important one. If it is badly decayed, all the other members resting upon it will have been thereby weakened and the whole structure impaired. The upright timbers and the studs will all have settled, and to straighten them will mean practically the rebuilding of the house. The floors and the roof which rest upon them will be endangered. Sometimes the ends of the uprights have rotted, and the slightest new work about them will result in their crumbling and undermining the beams and rafters they support. It is often necessary to use a sharp iron or a long knife and pry underneath the coverings on both the exterior and the interior to determine their condition. A little attention given to these points will determine whether it is worth while to attempt remodeling, or whether the expense involved would be out of all propor- tion to the result. Scarcely less vital is the condition of the cellar. Is there dampness, caused by lack of ventilation, by bad walls, or by some inherent moisture ? Some of these old houses have a well in the cellar ; this should be drained off and filled up. But if there is an actual spring of water, as not infre- quently occurs, either move the house or abandon [30! O DC Q O U 0, < O a The Attic Chamber The Living Room AN OLD CAPE COD HOUSE THE KITTREDGE HOUSE it. Bad walls can be cemented and waterproofed. If the trouble comes from lack of light and air, it may be possible to cut larger window openings. Most old houses were set too low, however, and it is frequently an advantage to raise them. This requires sound underpinning, or the expense will be great. While considering the subject of dampness, it is well to examine the roof and see how much it leaks under the moss-grown shingles. If it is an old house that is in tolerably good repair at the present time, it may be that under some previous owner the roof fell into decay, and rains soaked through. Look for signs of this, for it will mean weakness in timbers and plaster that must be guarded against. Examine the boards of the roof to see if they are strong enough to permit the laying of new shingles. The chimney is another important matter to investigate. In old houses which have not been used for some time, the bricks often deteriorate and become so soft that they crumble at the touch. This would necessitate the not inconsiderable expense of rebuilding the whole chimney, unless it is so large that a second smaller one may be in- serted within the old. With the huge fireplaces [31] REMODELED FARMHOUSES of other days, whose yawning mouths were often capable of holding a ten-foot log, a metal flue is frequently used in the remodeling. It is sur- rounded on the outside, between itself and the old chimney, with concrete, which renders it en- tirely safe from danger of fire. A glance should be given also, in this inspection, at the condition of the floors. If they are not level, it indicates defects in the timbers under- neath. The boards themselves are often so rough and laid with such large cracks that it will be necessary to lay new floors. Notice, too, the con- dition of doors and windows ; whether they are straight and true enough to be used again, or if others will have to replace them. Tap the plaster here and there to see where it is loose and to what extent it must be renewed. These are the tests that indicate whether the old house is worth buying and what will be the essential expense to make it habitable. Sometimes one or another defect is so severe as to make the venture foolish; again it can be remedied by resort to strenuous methods. Not infrequently the drawbacks of a bad cellar and a poor location are at once overcome by removing the house alto- gether to a new site. This is practicable when [32] THE KITTREDGE HOUSE the building is sound in structure and an inexpen- sive operation if it is small. That was the proceeding which Miss Mabel L. Kittredge undertook with an old fisherman's cottage that had stood for many years on the shores of Cape Cod. It was a simple little build- ing, dilapidated and weather-beaten, and quite unsuggestive of a summer home. But its very quaintness and diminutive size attracted her attention, and she determined to investigate it. The owner was willing to part with it, just as it stood, for eighty-five dollars, not including the land. The location was not desirable, and it was de- cided to "fleck" the house, as is the colloquial term on the Cape for preparing a building to be moved. It was taken apart and floated across the water to its new foundations in South Yar- mouth. Here it was "unflecked" and set up facing the harbor and the cool breezes from the ocean. The original building, erected in the early part of the nineteenth century, was a small, shingled structure, thirty by twenty feet, with a straight gable roof rising from the low stud of the first story. Its proportions were not at all unpleas- [331 REMODELED FARMHOUSES ing, and the placing of the several small-paned windows was particularly agreeable. There was a kitchen shed attached to the rear. When it was set in position in the new location, additional windows were cut, a small porch built at the front entrance, and a second shed attached at right angles to the kitchen wing. In the second story, a broad flat-roofed dormer with three windows increased the interior space, with- out seriously altering the straight lines of the roof. The effort to retain the original simplicity of line is also evident in the porch roof, which follows closely the wide angle of the gable ends of the house. The original interior was cut up into a number of small rooms, the partitions of which were re- moved, with the exception of those dividing off a bedroom at the rear. This left one good-sized apartment, which was fitted up for living and dining-room combined and made a most delight- ful place. The stairs were built at the left, along the rear wall. A group of three windows was cut here to give extra light and air, and the manner in which they have been handled is interesting. On account of the position of a heavy supporting beam, it was impossible to make these new win- [34] THE KITTREDGE HOUSE dows the height of the original ones. The effect of this was ameliorated by placing a shelf directly above the group of three and extending it across the wall to meet the old window. A number of interesting pieces of china placed on the shelf give it a character and weight which thus carries the eye along from one opening to the other without any consciousness of the break in height. This is but one of those ingenious methods by which remodeling is made successful. The large, old-fashioned fireplace is the center of interest in this room. At the right of it is a china closet with mullioned glass door, and on the left two narrower closets are found in the panel- ing. A new hardwood floor had to be laid, as the original one was in bad condition. The wainscot and woodwork throughout the house was un- usually good for such a small and unpretentious structure. After the former layers of paint had been removed and the wood thoroughly cleaned, it was finished in white. The walls, scraped down to the original plaster, were painted in a soft green flat-coat that was delightfully fresh and cool. Back of this large room was a small hallway leading into the ell at the back. At the left, space was taken for a bathroom. [35] REMODELED FARMHOUSES The kitchen was kept practically the same as in the old house. The rough stud and rafters were stained a dark brown, and the boards of the roof whitewashed. The walls were plastered to the height of the stud. A modern stove was attached to the old chimney flue on the outside of the build- ing. The exposed uprights provided an oppor- tunity for convenient shelves to be built for the various kitchen appliances. Up-stairs the entire floor was thrown into one room, instead of making several small, stuffy, sleeping apartments. The dormer which was cut in the front added not only to the light, air, and space of the room, but gave an opportunity for a most attractive window-seat to be built beneath the broad windows. The old, wide boards of the floor were in good condition and kept intact. The walls were plastered to the ridge, exposing the heavy tie-beams. Along the walls under the eaves, sets of drawers were built into the wood- work, thus obviating the necessity of having chiffoniers or chests of drawers to consume al- ready limited space. The rough bricks of the chimney, which breaks slantingly through the floor near the center of the room, are not con- cealed. Instead, they form a rather decorative [36] AN OLD CAPE COD HOUSE THE KITCHEN The Entrance Porch THE CURTIS HOUSE THE KITTREDGE HOUSE feature in the little apartment, and about the four sides of the flue shelves are built which serve as a dressing-table and a desk. The furnishings of the whole house are delight- fully simple and suggestive of the quaint Colonial period when it was built. Tables and chairs, pictures, mirrors, and china are interesting heir- looms that have been handed down in the family of the owner and preserve the spirit of the little cottage as admirably as do the various alterations which have made it so modern and habitable. [37] CHAPTER IV THE CURTIS HOUSE THE great charm of Colonial farmhouses lies in the simplicity of their appearance. Many dilapidated, weather-beaten old buildings, long neglected by an indifferent community, are really little masterpieces of harmonious line and good proportion. The style of the roof tells much about the age of the building to the initiated, and its line is easily the most important factor in the appearance of the house. The pitched roof is one of the oldest types and was used long before our country was discovered. This roof slopes away from the ridge- pole on both sides, thus forming a triangular area, the angle at each end of which is called a gable. In the early days, the pitch was built very steep to accommodate the thatching with which the roof was covered. As shingles came into use, the slope gradually flattened, and the age can be roughly judged by its angle. The gambrel roof appeared before the eighteenth [38] THE CURTIS HOUSE century and was commonly used in New England farmhouses. Each side of this is made up of two distinct pitches, which have no rule to govern their relationship. A somewhat later develop- ment was the hipped roof, in which the gabled ends were flattened, making four flat sides slop- ing from the ridge-pole. This was used when no attic chamber was needed. In the more pre- tentious Georgian houses, the top was flattened, and a wooden balustrade put around it. These roofs are generally shingled and practically never painted ; the soft gray color they attain in weather- ing is sometimes imitated in stain on new shingles. The addition of a wing or ell brought up a new problem in roofing, and it is this point that de- mands most serious attention from the remodeler. The old builders have not always been successful in preserving the unity of the roof line that is so essential to pleasing design. Whenever it is pos- sible, the new roof should be made a part of the old, and the lines of one should run into those of the other. The pitch of the two should be prac- tically the same. The same type of roof must be used over all parts of the building, although it is occasionally permissible to have a pitched roof on an ell when the main roof is a gambrel. [39] REMODELED FARMHOUSES Where a veranda is added, its roof line must be carefully studied and made to seem an original part of the building, not something stuck on as an afterthought. This problem of keeping the lines of the different roofs in harmony is a vital one, and nowhere is there greater demand for ingenuity and thoughtful treatment. The question of dormers is also important. When it is desired to have a second-story porch or sleeping-room, the dormer often supplies the solution of this difficult problem. The earliest ones were merely a flattening of the pitch of the roof, and this is the type that should be used when it is necessary to add a dormer to the older farm- houses. As the Georgian details were developed, the gable-roofed dormer was used with the cornice moldings of porches and door frames. These dormers were high, with a single window often having a semicircular head. They were usually combined in groups of three and connected with each other by a balustrade. The exterior walls of the first houses were made of heavy boards laid vertically on the framework, without studding. Before long, the wood was laid horizontally, each board overlapping the one below it. This clapboarding and siding was [40] THE CURTIS HOUSE used without interruption through all the various changes in other details. Much later, the shingle was adopted for the sides of the house as well as for the roof. A larger shingle, however, was used on the walls, with a wide exposure of surface. These were made of pine or cypress. Although the walls of most old houses follow a straight line from one story to the next, there was a type, copied by the colonists from the buildings of the mother country and used some- what freely before the Georgian era, in which the second story extended beyond the first. This overhang was generally used only on the front and back and not on all four sides, as in the Euro- pean counterparts. The girders and cross beams were framed into the second-story posts, which frequently ended in an ornamental knob or drop, as it was called. The gables, too, occasionally had a slight overhang. In altering a pre-Georgian house, it is therefore permissible to make use of this overhang feature, and it may solve some other- wise knotty problems of required extra space. A house which shows unusually clever handling of these points is situated in the little village of Charles River, not so many miles outside of Bos- ton. Within the last few years, this locality has [41] REMODELED FARMHOUSES been opened up, and many modern homes have been built and farmhouses remodeled. They are situated along charming woodland roads and seem to nestle in their picturesque surroundings. This particular one stands on the road from Boston to Dover, invitingly shaded by graceful elms that have watched unnumbered generations pass. It suggests to passers-by a typical, seven- teenth century farmhouse, ingeniously remodeled, through the plans of the late Philip B. Howard and F. M. Wakefield, architects of Boston, into a twentieth-century summer home. This old farmhouse was built in 1647 and was of the rectan- gular type, built about a central chimney, with four rooms and a hall on the lower floor. When Mr. Frederick H. Curtis selected it for his home, it had already been materially altered from the original simple structure by various succeeding tenants. And many of these had not added to its charms. The exterior was most uninviting in a vicious shade of red paint with white trim. In front was a small lattice porch entirely out of keeping with the architecture of the house. But in spite of all these unattractive features, there was an insistent appeal about the old place that made it seem worth venturing to restore. [42] Before Remodeling; o Remodeled THE CURTIS HOUSE The Hall and Unique Stairway THE CURTIS HOUSE THE CURTIS HOUSE The first problem which presented itself was that of interior space. The difficulty lay in en- larging this space in such a way as to provide the needed room and at the same time maintain the harmony 'of the exterior lines. The original four rooms had been added to from time to time by former owners by means of the customary ells at the rear. The house was two and a half stories high, with a straight, pitched roof starting from the top of the second story. In the rear there was a two-story ell and a one-story addition behind that, with an outside chimney. Each of these was increased by one room, so that space for a laundry was added in the lower floor and for servants' quarters in the second. The chimney was kept on the outside above the laundry roof and built up to the required height. This second- story extension overhangs the old kitchen wall by about eighteen inches on one side and on the other runs into an entirely new wing, whose roof line joins without a break to that of the old ell. The roof of the main building has been extended in the rear, following its straight line to the top of the first story, as was frequently done in old houses. This brought the lines of the main build- ing and the rear ells into greater harmony and [43] REMODELED FARMHOUSES provided space for an outdoor living-room on the first floor. A flat-roofed dormer was thrown out above this on the second floor and turned into a sleeping-porch. The lines of the several roofs have thus been kept remarkably simple, considering the great amount of space which has been added. On the opposite side of the house a new wing has been added to the second floor, parallel to the main building and at right angles to the ells in the rear. The front part of it has a pitched roof following the angle of that on the main build- ing, and the rear has a flat roof on a very low stud. This provides three additional rooms on the second floor. It has been built over an outdoor breakfast or morning-room on the first floor, and the kitchen has been widened under it. At the front of the house, the flat-roofed en- trance porch was removed, and one more in keep- ing with the Colonial period built in its place. This has a gabled roof, supported in front on two simple columns. The back part of it is closed and forms a small vestibule, with old-time oval windows extending on each side beyond the gabled roof-line. There are two benches in front, also beyond this line and protected by vine-grown lattices and small, ex- tending eaves. The floor is paved with brick. [441 THE CURTIS HOUSE These comprise the major changes to the ex- terior ; but new shingles were put on the old roof ; the dilapidated slat-shutters were replaced by blinds of solid wood, with a diamond cut in the upper panel after the old-time fashion; and the ugly red paint was changed to a soft Colonial buff. The narrow entrance hall, opening directly on the stairs, has not been altered. In the stairs, however, an exceedingly interesting treatment has been introduced, made necessary by the plan of the rooms above. On the first landing a doorway was cut in the chimney wall, and stairs built up the center of the chimney between the two flues. These give access to a small hall in the rear, con- necting the several bedrooms. The door that leads to these stairs, at the foot, is a "secret" one; that is, it is covered with the wall-paper which surrounds it and fits tightly into the wall without framing woodwork. At the right of the hallway the parlor and dining- room were thrown into one long living-room, and a pleasant triple window was cut in 'the rear wall lookimg out upon the veranda. The fine old wood- work about the fireplace was restored to its original beauty with many coats of white paint. The hand- hewn beams in the ceiling were uncovered from [451 REMODELED FARMHOUSES the casing which had hidden them, and the wood rubbed and oiled. The floor was found to be in good condition and, after the placing of additional boards where the partition was removed, was merely scraped, filled, stained, and polished. A semicircular corner cupboard in a reproduction of an old style, its shelves filled with interesting speci- mens of seventeenth-century pewter, gives char- acter to the room. The walls were finished in a soft shade of burlap, and the old mahogany furni- ture, chintz covers, rag rugs, and simple scrim curtains preserve the delightful atmosphere. On the opposite side of the hall is the library or den. This is unchanged, except for the white paint and the quaint Colonial wall-paper. Willow furniture is used. Back of this, and extending across to the living- room, is the dining-room. The beams show the position of the original walls and indicate the way in which the room was enlarged. This leaves the fireplace at the side of a sort of alcove and so, to balance it and give importance to that end of the room, a china closet was built across the corner. An unpaneled wainscot, with simple baseboard and molding at the top, runs around the room, the new part matching the old. The woodwork is all [46] THE CURTIS HOUSE white, including the encased beams, which here were not in a condition to be exposed. The upper walls are covered with a blue and silver grass-cloth that strikes an effective color note behind the mahogany furniture. In this room is a good example of the use of modern reproductions of Sheraton chairs with a genuine old sideboard. Glass doors lead from either end of the dining- room on to the two verandas. Both of these verandas are really rooms without walls, as they have been incorporated so completely within the lines and framework of the house. The one on the side of the house in front of the kitchen is used as a breakfast-room, and many of the other meals are served out here in the open air. That in the rear of the living-room is a delightful spot on summer afternoons and evenings. Both of these porches are thoroughly screened and fitted with framework in which glass sashes are placed during the winter. On the second floor there are four bedrooms and a bath in the main part of the building, with a sleeping balcony leading from one of them. This is protected with screens and awnings and fur- nished with hammocks and reclining chairs. In the wings there are three servants' rooms and a bath. All of the rooms have been fitted up in a [47] REMODELED FARMHOUSES quaintly simple style that is thoroughly in keeping with the period of the house, the low ceilings, and fine woodwork. In some of the rooms there are valuable old pieces of furniture, a four-poster of the Sheraton type, and a highboy with details of the Queen Anne period. In another room mod- ern white enamel furniture has been used, but it is so simple and straightforward in design that it harmonizes entirely with the atmosphere of the room engendered by the old fireplace and chimney cupboard, the thumb latches on the doors, rag rugs, and an old-time wall-paper figured with stripes of morning-glories and daintily poised humming-birds. In this second floor, the old iron hardware has been largely used in strap and H and L hinges, latches, knobs, and shutter fastenings. Throughout the lower ' story, modern brass knobs and key plates reproducing an old Colonial pattern have been used, securing greater conven- ience and safety. Hot-air heating has been installed and electric lighting. The outlets, however, are all in the walls or baseboard sockets, so that there is no conspicuous inconsistency in the atmosphere, and lamps and candles are also used throughout the house. [48] Side View The Dining Room THE CURTIS HOUSE CHAPTER V GREEN MEADOWS THE architect of to-day has an advantage over the master builder of long ago in that he is able to grasp all ideas that were introduced into the old house and can restore it without losing the spirit of the original in either the exterior or in- terior. The wings and ells which were added by succeeding tenants often bear little relation to the main building and must either be torn down or harmonized in some way to preserve the unity of the completed design. The general plan of the house and the arrangement of the rooms should be carefully observed before the house owner and architect undertake the task of remodeling. Too many houses are disappointing because a study has not been made of the different types and periods of old houses, and the result is a mixture, neither one thing nor the other. Old Colonial houses were always built on the rectangular plan, as this provided the greatest amount of enclosed space with the least expendi- [491 REMODELED FARMHOUSES ture of labor and material. They were also con- structed about an axis, and it is essential for the remodeler to determine what that axis is before making any alterations. In the earliest days, the chimney was the center of the building and dominated the plan. The various rooms opened around it, so that as many of them as possible could have a fireplace from the one chimney. It was consequently a huge affair and occupied about three fourths as much space as one of the rooms. In the first plans, there were usually but two rooms, a kitchen on one side and a parlor on the other. Later, a room was built in the back for the kitchen, and a third opening made in the chimney. The nar- row stairs were built in at the front to fit into the chimney space and generally ascended with two landings and turns at right angles. As a late- development, about the time of the Revolution, four equally large rooms were needed, and this one chimney was divided into two and placed on either side of the center of the house, so that in each of the main rooms there was a fire- place opening front or back from one of the two chimneys. This arrangement altered the position of the stairs, and stairs and hall became the central [50] GREEN MEADOWS axis of the house. The proportion of the space allotted to them, however, remained about the same as when the chimney had occupied the center. This accounts for the wide Colonial halls, which are such a charming feature of old houses. The stairs were built along one side, the length of the hall, often a perfectly straight flight without turn or landing, and the hall was frequently cut clear through to a door in the back, which formed a rear exit to the garden. The Georgian houses at the end of the eighteenth century were com- monly built on this plan. There was one other distinct type, in which the fireplaces in the four corner rooms were in the outer walls, and four separate chimneys were built. The central hall and staircase retained their same dominant proportions, but a second cross hall was sometimes built, dividing the house from end to end. To all of these types, additions were frequently made, as the family increased, or new owners took possession. The extra space was not ac- quired by enlarging the main building but by adding an ell in the back at right angles to the original structure, or a wing at the side, parallel with it. These additions were attached to the REMODELED FARMHOUSES house by their smallest dimension, as that ob- structed the least amount of light. They were smaller than the main part; many were but one story in height, and those that were two had a lower stud, so that the original building would remain the important feature in the whole. After examining the old house from this point of view, consider the new uses to which it will be put and determine what changes will have to be made. Sketch the entire plan out before com- mencing an alteration, and then endeavor to see if the proposed remodeling is practical from a structural point of view, and if it harmonizes with the original spirit of the old building. Mark out in each room the position of windows and decide where new ones may have to be cut in the re- arranged interiors. Study the fireplaces and find out whether the proposed removal of a partition wall will throw them out of balance in the rooms, and what you can do to counteract it. Pay partic- ular attention to closet room, for in the old days it was given too little consideration for modern requirements. Draw rough plans and put your ideas regarding every possibility down on paper ; it is surprising how many new suggestions will occur as each [52] GREEN MEADOWS scheme is worked out, and there is a fascination in seeing how much can be fitted into a given space. After the work is begun, unforeseen condi- tions will crop up and necessitate changes in the project, as well as disclose new opportunities, but a greater part of the planning can be done beforehand. A roomy, old, New England farmhouse near Hamilton was recognized by Mr. George Bur- roughs as a fertile subject for development into a beautiful country home. It was situated in the heart of rolling country and surrounded by wide stretches of grass land, from which the estate was named "Green Meadows." The original house, separated from the highway by an old wall of field stone and an elm-shaded dooryard, was built in 1786, and it is curious to note that no deed was ever recorded. It was the usual type of farmhouse, constructed about a central chimney, two and a half stories in height, with an unbroken roof line. Subsequent owners had added wings at each side instead of the more customary ell at the rear. One of these wings is of brick, which indicates that it was probably not built before the middle of the last century, but although the two building materials seem lS3l REMODELED FARMHOUSES incongruous in the one house, vines have so over- grown this wing that the red glimpsed through them and contrasting with the white walls of the house is very attractive. The only important alterations in the exterior appearance of the house were in the addition of the long veranda across the rear and the altera- tion of the frame wing at the right. The old structure was found to be in too dilapidated a condition to restore, but it was reproduced in all its exterior details and joined to the end of a new wing attached to the house and a trifle broader than the old. Two hip-roofed dormers add to the space in the second floor and permit the construction of attractive servants' quarters. The frame of the entrance door in the center of the front facade is a particularly happy example of the simple Georgian style used in the better class of farmhouses of that day. Its flat pilasters and well-proportioned cornice illustrate the re- straint and refinement in the work of even the average builders. The door itself opens into a small hallway, restored with fresh white paint to all its original beauty. On this left side of the house the partition be- [54] GREEN MEADOWS tween the old dining-room and parlor has been removed to make one large living-room. After the cornices and the wainscoting were restored, the woodwork, including the encased beams in the ceiling, was painted white. The condition of the old floor made it necessary to lay a new one of hard wood. This room admirably reflects the old Colonial spirit in its fireplace and cup- boards. The paneling above the mantel shelf presents an interesting variation in the framing of fireplaces. The original wainscot with its molded cap divides the wall surface in an agree- able proportion, and the rather heavy cornice moldings at the ceiling line relieve the emphasis of the great beams. The old hardware is used on doors and windows, the thumb latches are finished in the natural black, and the H and L hinges painted white to correspond with the wood- work. The upper part of the walls is covered with a rose-colored paper reproducing a conventional Georgian medallion design in silvery gray. This rose color has been carried out in all the furnish- ings of this room; the upholstery of chairs and sofas is in a deeper shade; the over-curtains are somewhat paler, and in the Oriental rugs, rose blends with soft browns and blues. Old-fashioned [55] REMODELED FARMHOUSES Venetian blinds or slat-curtains shade the win- dows in the living-room and throughout the house. On the opposite side of the entrance hall is the reception-room. The same treatment has been ac- corded here as in the living-room, and the furnish- ings are especially harmonious and well arranged. The long, low lines of an Adam sofa, a slender- legged desk, and chairs and table, each one a noteworthy masterpiece of cabinet making, are admirably chosen to add apparent height to the low stud, but the monotony of too much light and low furniture is broken by a tall grandfather clock placed in the corner. The pictures on the walls, old prints simply framed in mahogany, are hung with a similar thought to increase the apparent height of the room, and their arrange- ment is well worth studying. The fireplace, on the opposite side of the chimney from that in the living-room, is equally interesting. The wall above the white wainscot is papered in a golden yellow of conventional flowers, and the upholstery and draperies are of a golden striped and figured Adam damask that brings out the rich color of the satinwood and mahogany furniture. In the rear, on the same side of the house, is the dining-room. The old woodwork here was [56] The Old-fashioned Chamber The Living Room GREEN MEADOWS Two Views of the Den GREEN MEADOWS GREEN MEADOWS insignificant, and it has been replaced with modern paneled wainscot covering two thirds of the wall surface. One could wish that the proportions of the original woodwork had been a little more closely followed, and the atmosphere of the other rooms carried more definitely into this. The old fireplace has been retained across the corner of the room with its flue in the central chimney, but its frame is a modern conception. The chimney cupboard in the side has been turned into a china closet with a new door of mullioned glass displaying interesting old pewter and plates. The upper third of the wall above the wainscot is covered with a reproduction of an old-time scenic paper in greens and grays, and the window hangings are of corresponding colors in damask. The seats of the Hepplewhite chairs carry the same tones in tapestry. The apparent size of the dining-room has been cleverly increased by carrying the decorative motives into the passage- way which connects it with the service quarters in the right wing. The same paneling of the wainscot and the same paper above, seen through the double doorway, give the impression that this is all part of the one room, and the placing of a buffet in front of the opening enhances the effect. is?] REMODELED FARMHOUSES On the other side of the dining-room a small hall, paneled with white enameled woodwork to the ceiling, leads into the living-room. French doors of glass open from here on to the wide veranda which has been added across the back of the house, overlooking the green meadows and shady vales that stretch away on all sides. From this veranda or from the living-room, one can enter the brick wing at the left of the house. This originally contained the kitchen with bed- rooms above, but in altering it, the entire wing was thrown into one room opened to the roof. With the great old beams and rafters showing, and all the woodwork stained dark, this apart- ment lends itself admirably to the character of a den or smoking-room. At the end, the old kitchen chimney has been utilized for a fireplace, and old paneling inserted above the high mantel. Seats have been built under the windows flanking the chimney and, with their soft cushions and pillows, add materially to the comfort of the room. The windows in this wing are unusually large, an indication of the later date of its construction, and in order to carry the same proportions in their divisions as in the older part of the house, twenty-four panes of glass were used in each. [58] GREEN MEADOWS A rich green and brown landscape paper covers the upper two thirds of the walls above the wainscot molding. The upholstery and cushions on daven- port, armchairs, and window-seats of brown leather stamp this apartment indelibly as a man's room, and the decorations of old flint-locks in one corner add to the effect. The service quarters of the house in the wings at the right have been made especially complete. In the middle section are butler's pantry, kitchen, laundry, and refrigerator, with two bedrooms on the second floor; and in the narrower part is a servants' hall and three bedrooms which are open to the roof. On the upper floor of the main part of the house the four bedrooms have been kept much as. in the past. Those in the rear have been made to open out, through double doors, on to the second story of the veranda, which can be used as a sleeping- porch. The old white woodwork and the original fireplaces add their ineffable charm. The floors were in poor condition and are covered with mat- ting as a background for the rag rugs. .Some very interesting old pieces of furniture add to the atmos- phere of these chambers. The registers of the hot-air heating system which [59] REMODELED FARMHOUSES has been installed are unusually well selected for an old Colonial house. Instead of the customary meaningless scroll and meander pattern in the grills, a simple square lattice has been used, which preserves the spirit of other days admirably. [60] CHAPTER VI NAWN FARM CITY people are prone to think that the country is agreeable only during the summer months, and that winters spent there are unpleasant and dreary. This notion is fast being dispelled, as country houses are kept open longer and longer each year, and the pleasures of country week-ends during the entire winter are definitely proven. There is in reality no more delightful place to spend the long winter months than in the heart of a beautiful country. A never-ending round of interests astonishes one who has never tried it before. Each month brings a fresh phase, and it is hard to determine whether the country is at its best during the summer or winter season. There is a fascination indescribable in watching the fall of snow, the settling of flakes on the bare limbs, the transition from brown to diamond- covered branches that glisten with every motion and are often decorated with long icicles reflecting all the prismatic colors. If you have never seen [61] REMODELED FARMHOUSES this side of country life, you will find it a won- derful world, where it is intensely interesting to study the seasons in turn, note the coming and going of birds, look for the early and late flowers, watch the melting of snows and the swelling of buds in the warm spring suns. More active pleasures, too, await the adventurer in the winter country. There are so many sports to be enjoyed that one does not wonder the youth delights to come here for skating, snow-shoeing, or toboganning. What is more delightful than a sleighing party, whose destination is a remodeled farmhouse not too many miles from the city ? Start the cheery fire in the huge fireplace, pile on the six-foot logs, draw your chairs nearer while you forget the outside world, and feel a glow of delight that you, too, have joined the throng who know the thrill of country life. The first thing to do when contemplating an all-the-year-round country home is to look for a house in the right location. In selecting it the problem of heating must be thought of in a differ- ent way than as that for merely summer use. Then fireplaces will amply suffice for the few cool days and chilly evenings, and no better method could be desired. But for the real cold of winter, [62] NAWN FARM whether for continued use or the occasional week- end, more complete heating will need to be pro- vided. The cheapest and simplest way is undoubtedly by stoves which can be attached to the fireplace flues. But this necessitates closing up the fire- place and depriving family and guests of all the joys of the blazing logs which never seem more cheerful and hospitable than in the bitterest weather. If the house is to be used mainly for week-end parties, stoves have another serious drawback. They must be kept oiled when not in use, to prevent their rusting, and it takes nearly two days after the fire is lighted to burn the oil off. Then, when closing up the house again, the stove must be re-oiled, and this necessitates putting the fire out and waiting in the cold house until the metal is sufficiently cool to apply the treat- ment. The most adequate method is by hot water or steam, and for a large country house these are really the only practical ways. The expense involved will depend upon the structure of the house. In a brick or stone building, it will cost a good deal to have the pipes built into the wall. Sometimes conditions will allow them to be carried [63] REMODELED FARMHOUSES up in a closet or partition. In a frame house that has been built with deep window jambs, as was so often done in the olden times, the pipes can be hidden within this furred framework. The great objection to steam or hot-water systems in old houses, however, is the presence of the radiator, which never can be made to harmonize thoroughly with the spirit of the old building. When it is used, some attempt must be made to disguise it. If it can be made long and low and placed in front of a window, it can be treated as a window-seat with a metal grill in front. For houses of the later Georgian period, grills can be found whose designs are not at all out of keeping with the other classical details. Sometimes a radiator can be placed entirely within the furred partition, and the heat admitted into the room through paneled doors which are thrown open when it is in use. For small houses, the hot-air system is perhaps the most desirable. The registers are inconspicu- ous and bring no jarring note into the old-time atmosphere. The pipes require considerable over- head room in the cellar, which sometimes becomes a hard problem in the low foundations of old houses. The fact that it is difficult to drive the [64] Rear View The Living Room NAWN FARM NAWN FARM hot air against the wind raises a second objection, but if the furnace is placed in the corner of the house from which the cold winds blow, or even a second furnace is installed, the trouble will be largely overcome. And there is the great advan- tage, especially for a week-end house, that it can be started up or left at a moment's notice with- out trouble from water in the pipes or danger of freezing as in the hot-water systems. Whatever the method decided upon, it is an interesting work from start to finish. One feels a thrill of adventure in evoking from the home of past generations one for twentieth-century living with all the comforts and appliances neces- sary. But to transform an old building that has never even been intended for living purposes into a residence that is not only comfortable and suited to the owner's needs but an architectural success as well, is a still more fascinating problem. How Messrs. Killam and Hopkins have accom- plished this with an old barn at Dover and kept the distinctive simplicity and atmosphere of the original building is worthy of emulation. When Mrs. Genevieve Fuller bought the Nawn Farm some three years ago, it was her intention to alter the farmhouse then on the property. [65] REMODELED FARMHOUSES Its location, however, was not entirely favorable; the house was on sloping ground in somewhat of a hollow and too near the public road. Besides this, the rooms were small and very much out of repair. On the crest of the hill was the barn, occupying a commanding position and framed in splendid old trees. The structure was found to be so stanch that it was decided to tear down the old house and convert the barn into the resi- dence. The foundations were left unchanged, and an ell on the north side was added for the service portion of the building. The supports and interior divisions are all virtually unaltered. The living and dining rooms occupy the positions of the former mows, and the hall connecting them is the old passage for the wagons. Most of the original studding has been used as it stood, and the beams incased or hidden in the finish of the walls. The roof was flattened on the top, and the gables cut off, but the slope was unaltered. Wider eaves were added at a slightly different pitch, softening the lines of the roof. Doors and windows were, of course, cut anew to conform with the different usage of the build- ing. Their position was necessarily determined [66] NAWN FARM somewhat by the existing supports, but they have been very happily placed, whether in groups or singly. Those of the sleeping rooms on the second floor are especially well handled; they are wide and raised well up under the overhanging roof, so that they carry out the broad low lines of the architecture. The openings of the sleeping-porches have been treated exactly as windows, their size corresponding with the apparent dimensions of the windows, and their locations determined by the same factors. They become at once an integral part of the structure instead of the un- sightly excrescence which the presence of a sleep- ing-porch so often proves. On the first floor, the living-room occupies the entire eastern end, having exposures on three sides. This has been attractively finished in gum wood stained a dark brown, and the warm tones of natural colored grass-cloth tone the walls. An interesting treatment has been accorded the fireplace by flanking it on either side with a nook, the outer walls of which cleverly conceal parts of the old structure. In each of the recesses is a small window above the paneling and window-seat. The furnishings of the room are appropriately simple and invitingly comfortable, suggesting old- [67] REMODELED FARMHOUSES fashioned things adapted for modern uses. Espe- cial interest is attached to the fireplace fittings ; they are of hand-forged iron, wrought by the village blacksmith after designs of the owner. The andirons were made from the tires of old cart wheels, flattened and bent into shape and curled over at the top. The wood-box is of flat strips of iron interlaced. From one wing of the hall ascend stairs which are the faithful reproduction of an old Colonial design. The other part of the hall, across the southern front, is so broad and cheerful with two big windows and two glass doors opening on to the sunny loggia that it has been furnished with a davenport, tables, and chairs almost as a second living-room. The woodwork is North Carolina pine stained brown, and the walls are gray. The billiard-room back of this^ hall, with its attractive alcove and fireplace, is finished in fumed oak, and the walls are also gray. Perhaps the distinction of being the most attrac- tive room in the house can be accorded the din- ing-room with its Colonial white woodwork. The fireplace and the china closet, balanced on the other side by the door into the pantry, are of excel- lent proportions and charming detail. The mul- [68] Two Views of the Dining Room NAWN FARM The China Closet in the Dining Room NAWN FARM NAWN FARM Honed panes of the china closet and the treatment of the moldings about the frame are especially interesting. On the opposite side of the room a group of three windows provides opportunity for an unusually delightful feature in the long window-box, built by the village carpenter. Its simple, sturdy lines are worthy of notice. The walls are papered in a deep cream, and the greatest simplicity maintained in the furniture and dra- peries. The service portion is well arranged both for convenience of labor and comfort of the domestics. The basement laundry leads directly into a large drying yard which was the original enclosure for the cows and is surrounded by the same wall of field stone. Up-stairs the rooms might be said to be divided into three suites, which can be practically shut off from each other: each has its own bath and sleeping-porch. In the group over the living- room there has been an ingenious solution of the structural conditions. The division of the rooms made possible by the old supports permitted a dressing-room to be placed conveniently between the two chambers, but the fireplace added in the living-room was directly below, so that the [69] REMODELED FARMHOUSES chimney would naturally cut off the outside wall. It would have been possible to construct a large fireplace in the dressing-room and allow the light to come through the chambers, but the archi- tects evolved another scheme. The chimney was carried up on one side, providing a fireplace for one of the chambers, and a second chimney was built in the opposite corner of the dressing-room. In the space between, a window was cut, and the two flues joined directly over the window. From the outside of the building this gives a most unusual effect as there is a chimney directly over a window, having no apparent support, or even purpose. The lines of the pyramidal base con- form to the slope of the roof. [70] CHAPTER VII BOULDER FARM THE remodeling of an old farmhouse is appar- ently a simple matter; it would at first seem necessary only to preserve the main lines and characteristics of the original in the alterations that are required to meet the conditions of modern life. But when one realizes that the less conspicu- ous details are also important, in order to main- tain the essential harmony of the whole, it be- comes a more intricate proposition. One cannot merely study the details already on the building and slavishly copy them for the new parts, be- cause frequently it will be found that doors or windows or shutters have been added by more recent owners and are not really in keeping with the old structure at all. In order to reclaim the house, then, so that it shall have a consistent unity throughout, one must have some understanding of the evolution of these details. There is no more significant element in these old Colonial houses than the front door. It was REMODELED FARMHOUSES placed in the center of the front wall and formed the unit of the exterior design. The very early doors were of heavy oak boards placed vertically and fastened together with horizontal strips. These batten doors, as they were called, were made very sturdy and strong, in order to resist attacks from Indians or other marauders. Often they were marked with an awl into diamond and lozenge patterns and sometimes studded with hand-wrought nails. Not for a good many years did the panel door come into use. At first it was a flat panel, flush with the sides of the door and separated from the sides and top only by a small bead molding. This was soon developed into the flat sunken panel, meeting the surround- ing wood with several moldings ; and then the panels were beveled and raised in the center, and the moldings gradually became more elaborate and delicate in outline. The early doors were solid for purposes of protection, but as the coun- try became more settled, thick bull's-eye glass was inserted into the top horizontal panel to let light into the hall. As the interior plan was changed in its evolution, the hall became larger, and these bull's-eyes did not provide sufficient light, so the transom was introduced over the [72] BOULDER FARM door. For some time a simple top light was used, divided by lead and then wooden muntins. Then side lights were introduced, and the treat-, ment became more elaborate in the beautiful styles of the later Georgian period. The frame about the door was at first of flat, undecorated boards, the upper one resting on the two at the sides. Then these were molded and mitered at the corners, and later a cap of heavier moldings was put across the top. This hood became more and more prominent and required the use of definite support. Console brackets were sometimes used but more frequently flat pilasters set against the wall. These gradually be- came more important, developing into the three- quarter round and finally the isolated column. The pediment and cornice were then extended into the open porch that is one of the splendid features of the Georgian style. Here in cornice and capital was a field for the development of all the most delicate and beautiful motives of classic carving. As this door and porch was the center of the design of the exterior, the windows were grouped symmetrically about it, the same on each side. There were few of them at first, and they were [73] REMODELED FARMHOUSES of rather small size. Casement windows were the earliest kind used, and the small, diamond panes were sunk in lead, as were those made in the mother country. It is probable that most of these windows were brought over from England and not constructed here. After 1700, the sliding sash was introduced, dividing the windows hori- zontally, and these had wooden muntins. It must have been considered a more elegant type of window, for it was used in the front of the house for a long time, while the leaded casement was still put in rear windows for many years. The early wooden muntins were quite heavy but later became nearly as delicate as the leaden ones. They divided the sash horizontally and vertically into squares. The window casings, like the door frames, were at first entirely plain and then had a heavier band across the top which developed into a molded cap or cornice, as at the entrance. When sliding sashes were introduced, the walls of the houses were not thick enough to contain them, so the frames and the sashes were built on to the out- side, frequently projecting quite a distance. The necessity for constructing them in this way led to the deep jambs and sills which are such a charming characteristic of the Colonial style. [74l > < Jj-l BJ - D O oa The Front Doorway BOULDER FARM BOULDER FARM Shutters were used on the outside of the house as a means of protection from the Indians, when the country was being settled, and these were made of heavy, battened wood three or four inches thick, like the doors. Subsequently a small dia- mond was cut in the top to admit some light when the shutter was closed. Then a shutter with a solid upper and lower panel was used, and finally these panels were replaced with slats. There was one other part of the exterior which developed interesting characteristics to be ob- served in the remodeling : that is, the cornice of the roof. This was merely the overhang in the early buildings and sometimes consisted of the framing beam actually exposed. In the Georgian houses, this was boxed and later elaborated with splendid carvings that deserve perpetuation in more lasting material than wood. There was no gutter for rain-water, and the drip from the eaves was caught on flagstones on the ground at the corners of the house. This detail, although not needed with modern gutters and rain pipes, gives a charming old-time touch when retained in the remodeled home. It is by attention to such seemingly insignifi- cant points that the atmosphere of the original [751 buildings has been consistently retained in so many cases. An excellent instance of how this has been done may be seen in a late Georgian type of farmhouse that stands somewhat back from the old Londonderry turnpike on an estate at Hopkin- ton, New Hampshire. Although it is not very old, having been built in 1820, it is typical of the better class of simple home in the early days of the Republic. The history of the building of this old house is rather interesting. In the days when lotteries were still in flourishing condition, and some of the best men in the community were interesting themselves in the various schemes, a member of one of the churches induced Deacon Philip Brown's hired man to purchase a ticket for a paltry sum. Repenting his investment, he afterwards sold it to his employer, who was a clever silversmith and clock-maker, much respected and well known in the community through his yearly rounds about Hopkinton to repair the clocks of the farmers. The ticket proved to be the winning one, that drew a great prize. With part of this money, Deacon Brown purchased the old " Boulder Farm," as it was called from a great rock that still stands in an open field just south of the house. [76] BOULDER FARM Here he erected the Georgian farmhouse that is standing to-day. The rest of the money, so the legend runs, he buried somewhere in the field, but he probably removed it later, as it has never been found. He placed the house on rising land, a short distance from the broad highway, built in the same year and for a long time the straight thoroughfare from Londonderry to Concord and Boston. Dea- con Brown lived on the estate until 1846, with the exception of the year 1830, when it was occu- pied by Governor Matthew Harvey of New Hampshire. The property, placed on the market, then fell into the hands of a man named Kelly, brother-in-law to Grace Fletcher, the first wife of Daniel Webster. During his life, the great American statesman often visited there. What happened during the period between this occu- pancy and the time of its purchase by Mr. Harry Dudley of Concord, New Hampshire, is not recorded, but we can be confident that the house had careful treatment from its state of preserva- tion. It was while Mr. Dudley was looking around for a home with ample grounds, and near enough to his business to allow him to go back and forth [77] REMODELED FARMHOUSES every day, that he discovered this historic place. Its attractiveness and the healthfulness of the surroundings appealed to him. Very little was needed to bring the house back to good condition and make it habitable. The land was attractive and could be improved. In front of the house was a wide stretch of meadow that was easily terraced to meet the boundary line. To the many old trees shading the house and lawn were added young trees to replace some of the ancient ones that were dying. Although the house was a model type of the architecture of its day, and there had been abun- dant room for the old-time residents, modern ways of living demanded additional space. A long ell, built at the rear for the service depart- ment, and a wide veranda in dignified Colonial style along one side were the two main exterior alterations. The appearance of the windows was changed by putting in larger panes in order to admit more light, but they were still in keeping with the old-time atmosphere. The reshingling and repainting of the house and the addition of the trellises at one side completed the exterior improvements. The splendid front entrance porch with its graceful fanlight, Doric columns, [78] The Hall BOULDER FARM The Den The Parlor BOULDER FARM BOULDER FARM and straight cornice, and the equally interesting though less imposing side porch were left prac- tically unchanged. The old blinds were restored, to give the stately, old-time atmosphere to the mansion. The new veranda is wide and extends along the whole side of the house. Its flat roof rests on coupled Doric columns that carry out the classi- cal Georgian detail of the entrance porch; the second story is finished with a simple balustrade, in keeping with the fine simplicity of the main lines. During the summer months this broad piazza is a delightful out-of-door living-room, from which there is a splendid view over the green country ; and one can, in imagination, picture the old stage-coaches of former days lumbering by on the highroad. The upper part of the veranda opening from the chambers on that side of the house is used as a sleeping-porch. The path that leads to the main entrance passes through a wicket gate and ascends the ter- race over stone steps to the granite block before the door. The pleasant formality of this porch is accentuated by two close-clipped bay trees, one on either side of the step. This door opens directly into the hall and faces [791 REMODELED FARMHOUSES the long, straight flight of stairs which reaches the second floor without a turn. The woodwork of these stairs is particularly nice in proportion and line; and the carving under the ends of the steps, in a simple but beautiful scroll design, is most interesting. The hand-rail is mahogany, and the molding which follows it on the wall side above the wainscoting is also mahogany. In the parlor at the left no innovation has been introduced, and it remains almost as when the house was built. There we find the old white wainscoting unpaneled, with a fine carved mold- ing defining the top. The windows, recessed in the Colonial style, retain their original inside shutters that are still used. It is unusual to find these to-day, for in remodeling houses the shutters are almost always removed in favor of more mod- ern conveniences. Shutters were formerly used as we now employ curtains, to be closed at night- fall or to shut out light and cold. The fireplace in this room is a fine example of Colonial work. It shows a central medallion of a plentifully filled fruit basket and wheat sheaves over the fluted side columns ; the edge of the mantel shelf has an unusual ball and string ornamentation finely carved. The wall-paper dates back to the time [80] BOULDER FARM of the fireplace. It shows a Grecian pastoral de- sign in shades of brown, yellow, and old rose and was hand-printed from blocks made in England. Through all these years it has retained its bright- ness, escaping the hands of time, and lends a charming and quaint atmosphere to this room. All of the movable furnishings are equally well in keeping; the slat-back chairs and tables con- form to the spirit of the period, as does the fine old Empire mirror, resting on its rosettes. On the opposite side of the hall from the parlor is the living-room. This is similar in character, with a fireplace only slightly less interesting. It has the same old white wainscoting, but the upper walls have been covered with a modern foliage paper which, strangely enough, blends harmoniously with the setting of the room. It is furnished with eighteenth-century pieces corre- sponding to those in the other parts of the house. At the end of the hall is the dining-room, reached through an open arch. The old wall and door here were cut away in the remodeling to produce an impression of spaciousness and give a vista from the entrance clear through the house and into the garden at the rear. The arch was added to finish the opening, but it conforms carefully [81] REMODELED FARMHOUSES to the details found in the architecture .of that day. This room was originally divided, and one part used as a kitchen, but the partition was re- moved and the two thrown into one, making a long dining-room which occupies the greater part of the rear of the house. At the end, the old single window was enlarged, and two smaller ones cut through on either side to make a delightful sunny group which adds materially to the charm of the room. In the fireplace, which was the original old kitchen one, used for cooking and baking, the brick oven was removed to admit the intro- duction of a door opening into the living-room. Otherwise it was left unchanged, and the white painted woodwork about it, although simple and unpretentious, is beautifully proportioned. The old flint-lock and warming-pan which hang there pleasantly emphasize the Colonial idea. The wall-paper is a reproduction of a Colonial block pattern in soft shades of gray and green. The floors in this room, as all over the house, are covered with matting laid over the original boards, which were found to be in too bad a condition to restore ; entirely new ones would have been neces- sitated had bare, polished floors been demanded. At the end of the dining-room, opposite the [82] BOULDER FARM triple window, a door leads into a small room which is used as a den. This retains the old fireplace opening from the same chimney and directly back of that in the parlor. The walls have been papered in a plain green and are spar- ingly decorated with sporting prints and trophies suggestive of the hunt and the master's particu- lar domain. Doors lead from this room not only into the dining-room, but to the parlor and the veranda at the side. The ell of the house, opening from the dining- room, is devoted to butler's pantry, kitchen, servants' dining-room, and servants' chambers on the second floor. The upper story of the main part of the house has been kept almost as when it was built, and the large square chambers are well-lighted and airy. The open fireplaces and the Colonial furniture, four-posters and highboys and chests, give to the rooms a delightfully old-fashioned atmosphere. The whole house is a fine example of late Geor- gian architecture, preserved in all its interesting detail. [83] CHAPTER VIII THREE ACRES FEW people realize how much thought should be put into the remodeling of a farmhouse, and many fail to keep the simple country atmos- phere; they endeavor to establish in suburban surroundings a home that is better suited to city life. A house reclaimed in this way is neces- sarily a misfit and must always seem inharmonious in its setting. It never carries out the idea for which we are striving : that a house should be typical of the life of the people who live in it. It should express individuality, be a house to live in, to grow in, to become identified with your life; this is a most important fact that cannot be too carefully observed, and it becomes all the more essential if the home is to be an all-the-year- round one and not merely a summer residence where but a few months are passed. To-day it is a far more difficult matter to se- lect an old farmhouse of sufficient distinction to remodel than it was even ten years ago. The [84] Two Views of the Dining Room BOULDER FARM THREE ACRES, FROM THE MAIN ROAD THREE ACRES most desirable ones have already been bought, since the pleasures of living in the country have been realized by so many former dwellers in the city. There are many personal matters to be thought of in the selection of a house for remodel- ing ; one must consider his individual needs in its relation to his daily pursuits. The business man must select a house near enough to the city to allow traveling back and forth every day ; but the man whose occupation does not require city life^ during the time he wishes to be in the country can establish himself wherever he chooses. There is no doubt that the latter is able to find a far better farmhouse, for he can go farther away, where the best types have not been reclaimed, owing to their distances from the large cities. It is to be taken for granted that a person has a definite purpose when he leaves the city for a country existence, and it is necessary that he educate himself to the point where he makes his ideas practical. This cannot be done without study beforehand. In making a house suit indi- vidual requirements, one must follow along its own lines. Do not attempt to transplant into it features from some other house you admire. An Elizabethan gable or a craftsman living-room [85) REMODELED FARMHOUSES may have been very interesting in the friends' houses in which you saw them, but they would be quite out of place thrust into a Colonial farm- house. If you have a real need for the features that you find in some other house, you should adapt them to the spirit of the building you are remodeling. If it cannot be made to harmonize with the other motives, it is possible that you are attempt- ing to make a home out of a building that is not suited to your style of life. But it is because these Colonial farmhouses meet the requirements of the average American families so adequately that they are so interesting to remodel. Each house owner must decide for himself what is the main element in his existence and reclaim the house accordingly. In one family, the interests will be entirely domestic; another household will live in the open, occupied with sports ; an- other devotes much time to music ; and there are still others who are absorbed in some special craft or work that will require definite accommoda- tions. In many cases the house can readily be adapted to these particular requirements with- out any essential change in its atmosphere. The success that is achieved by working with these [86] THREE ACRES old-time elements is due to their sincerity and honesty in solving the problems of their own day and age; they are the results of actual and real experience, and we know no better ways to meet the same conditions. So that when we have the same problems confronting us, we cannot do better than accept the successful results of others' experi- ments. This does not mean a slavish copying of the old in restoration; to simply imitate old elements would be neither interesting nor commendable, except for the purposes of a museum. Each style is based upon some fundamental principle, and it should be our aim to work with the under- lying idea of creating that which will best meet our special needs, not merely to reproduce the old in imitation of itself. Nature lends itself to the remodeling and suggests many ideas that help to identify the house with the personality of its owner. Every- thing attempted in the way of improvements can be broad and expansive and not congested, as would be necessary in the city. You should in every particular make the house grow to fit the surroundings and do it in such a way that it will seem to have been so always. Often the [87] REMODELED FARMHOUSES house has to be moved on its foundations to meet this need, but that is not a difficult matter to accomplish, if the timbers are stanch and the underpinning steady. If the owner's ideas are carried out, the house in its finished condition will be but an expression of his taste and understanding. In it we will be able to read his likes and dislikes. Unity should be the keynote of it all and should per- meate not only the house itself in all its details, but its gardens, lawns, stables, and every aspect of the estate. There is a house that has been given rare indi- viduality in this way at Duxbury, Massachusetts. As one drives along the picturesque country road, he comes to a winding lane that leads by graceful turns to a little brown farmhouse situated on the crest of a hill about three hundred yards from the main road. If the farmhouse alone is attractive, how much more so is it made by the entrance, for on either side are graceful elms that form an arch- way, disclosing the house beyond like a picture set in a rustic frame. On either side of the road- way one finds meadow lands and flower and vege- table gardens, everywhere dotted with graceful trees and the picturesque sumach. Vines clamber [88] THREE ACRES over the stone walls, partly hiding their rough- ness and giving their homelike atmosphere to the grounds. There are just three acres in this little property, bounded on two sides by delightful woodlands and on the others by rolling farmland and pastures ; but there is room in even these small confines for a garden to supply the table all the year round and a bit of orchard where the gnarled old apple-trees are still fruitful. Originally the old farmhouse was in a most unprepossessing condition. It had been inhabited for many years by farmer folk who took little pains with its appea'rance either without or within. When Mrs. Josephine Hartwell Shaw, of Boston, was searching for a country seat where she could pursue her occupation away from the bustle of city life and unmolested by chance guests, she was attracted first of all to the quiet little town by the name of Duxbury. As she looked about for a suitable house, she was charmed with the location of this weather-beaten old building, and closer examination proved it well worth reclaiming, both from an artist's point of view and from that of her own individual requirements. Like many of the farmhouses in eastern Massa- chusetts, it had that peculiar beauty which [89] REMODELED FARMHOUSES consisted largely in its simple and straightforward solution of the problems at hand. It was not the creation of a master architect but of ordinary builders and craftsmen following the traditions of their fathers, varied by the restrictions of local material and newer requirements. It is this rugged and sturdy simplicity that gives to it an enduring charm; it was the very lack of a set style that gave to the remodeling of it an unfail- ing zest, increased by the very difficulty of the experiment that might result in a woeful failure or a great success. In dealing with houses such as this, it is impossible for the architect to rely on any formula or book of rules to direct him in a correct restoration. It requires a much deeper study and an understanding of the problems that confronted the builder in erecting the structure and the conditions under which he worked. It is then that the spirit of the old house will be mani- fest, and its adaptation to modern requirements will be but the thought of former years revised to meet present needs. There are few buildings that can claim a more sympathetic handling in their restoration than this early, pre-Georgian farmhouse, which is called Three Acres. The excellent line of the [90] 3G h THREE ACRES wide, gabled roof, broken by a succession of out- buildings, forms an unusually attractive picture, with the weather-stained shingles softened against a background of oak and pine trees. The house now faces away from the main road and fronts upon a wooded slope that falls sharply down to the shores of a picturesque little pond. This is partly hidden by dense woods that form a back- ground and a windbreak for the house. Formerly the public road went along here within a few yards of the front of the house, but it has been aban- doned for the broader highway in the rear, and only the vaguest traces of it remain to-day. The building was a two-story, shingled struc- ture with an uncompromising squareness about it. The wide, gable roof sloped down to the stud of the first floor, giving but little room in the cham- bers above. It was of the central chimney type. In the rear, a small, gable-roofed ell had been added, and later still a flat-roofed shed at right angles to the ell, or parallel to the main house, was built. In still a third addition, a well was incorporated in the rear, under a continuation of the roof of the shed, and another small outhouse in an extension to the side. This seeming con- glomeration of roofs in reality made a rather in- REMODELED FARMHOUSES teresting and graceful play of line that lifted the little house from commonplaceness. It was found to be in such good condition on the exterior that little repairing was needed, but several alterations were made, adding both to the character of the building and the comfort of the occupants. The original front door opened very abruptly upon the stairs, leaving only enough hall space to open the door. This was remedied by the addition of a small, flat-roofed bay at the front, increasing the space in the hall by just that much. The old door with its bull's-eyes was used in the new position. The step before it was protected under the same roof, supported on two, small, square posts and a trellis at the sides, giving somewhat the effect of an old-time Colonial porch and serving not only the material purpose of adding room to the interior but of relieving the abrupt and uninteresting severity of the front lines. In the second story, unusually successful dormers were cut in both the back and front pitch of the roof. The plan of these dormers deserves especial study, as each group is in reality com- posed of three separate dormers, enlarging three rooms in the interior, but confined under the one flat roof. Note, too, how each end of the dormer [92] THREE ACRES extends beyond the middle portion, and how the shape of the windows accents the design. 1 A new entrance was cut at the side toward the lane, and a screened veranda added, with a flat roof corresponding to that at the front. Several new windows were made necessary by the rear- rangements in the interior, but they were placed with careful regard to the exterior proportion and balance. The glass used in the old windows when the house was bought was all the full size of the sashes, doubtless having been put there by some recent owner and seeming quite out of harmony with the details of the house ; consequently they were re- placed with small panes, twenty-four to a window, and the new windows were all of the casement type. The interior of the house with its ugly paint and paper, presented a rather hopeless appearance, that only a vivid imagination and an unwavering enthusiasm could have transformed into the at- tractive home that it is to-day. Beginning at the front, the cramped little hall was enlarged as has already been explained. This made a trifle more stair room, and the first seven steps reach- ing to the little landing were rebuilt with lower risers and broader treads that made ascent to the second floor a less arduous matter. [93] REMODELED FARMHOUSES On the left of the hall was the living-room, on the right a bedroom, and in the rear of the house the room originally designed for the kitchen; in each of these was a fireplace opening out of the one central chimney. The first step in the restoration consisted of tearing off the many layers of hideous wall-paper, removing the plaster where it was crumbling, and scraping the woodwork free from its dingy paint. In these operations a number of unexpected dis- coveries were made concerning the fine old panel- ing and great, hand-hewn beams that had been entirely covered up. The only change made in the plan of this floor was in the corner beyond the living-room and at the end of the kitchen. This was originally divided into a tiny chamber opening from the living-room, and a pantry off the kitchen. These were thrown into one, and the openings to living- room and kitchen enlarged. The former bed- room window was changed to a door leading on to the screened veranda, and an attractive group of three casement windows replaced the one in the rear wall, overlooking the charming vista of winding lane and old apple-trees and meadows beyond. This little apartment has been treated [94] A Corner of the Living Room THREE ACRES The Living Room The Dining Room THREE ACRES THREE ACRES as a sort of anteroom or really a wing of the living-room, and wall finish, paint, and furnish- ings all harmonize. In the living-room the fireplace holds the center of attention. It is faced with queer old Spanish tiles inserted at intervals in plain cement, the rich colorings of which give a quaintly exotic air to the fine white woodwork. The moldings about the frame and over the mantel are unusually fine for this type of house; the support of the heavy mantel shelf and the carved dentils in the ceiling cornice are especially interesting. At the right of the fireplace is a cupboard with an upper and lower door, in the old-time fashion; the upper one has small, square, mullioned panes of glass which disclose some attractive pieces of old china and silver. In the kitchen, which was turned into the dining- room, the old fireplace had been bricked up to receive a stovepipe, and the woodwork had been plastered over and papered. The fireplace was opened up to its original size, large enough to accommodate a six-foot log, and in refacing it, the old, blackened, fire-burned bricks were used with delightful effect. The paneling about it is very simple, but the proportions are interesting, and [951 REMODELED FARMHOUSES the quaint, double-panel cupboards on each side lend the whole an insistent charm. The two, great, hand-hewn beams in the ceiling have been left exposed, and the fact that they have settled a little on their supports, sagging toward one end, only adds to the effect, just as the unevenness of a hand-drawn line is more beautiful than the accuracy of one ruled. These three rooms opening so closely into each other have been treated so that there is a har- monious and striking vista from every point. The walls are covered with a soft, creamy gray, and the hangings of Russian crash are of the same tone. The color is supplied in fireplaces, rugs, books, pictures, and such ornaments. In the dining-room, there has been a slight accent of blue and rose in rug and table runner and candle- shades. In the living-room the deep green of the upholstery carries the strongest note. The char- acteristically old-time furniture, with a pleasant mingling of Dutch and English and American motifs of the eighteenth century, has been ar- ranged with studied care to preserve the possi- bilities of the open vistas from room to room. The entrance hall completes a delightful picture from the living-room; the soft gray colors of a [96] THREE ACRES lovely Japanese paper blend strikingly with tiny curtains of a wonderfully fresh old blue at the casement windows. The rag carpet carries this same blue up the white stairs to the second floor. The rooms on the right of the lower hallway have been kept nearly in their original state with the addition of fresh paint and attractive papers. They form a small suite of a study and bedroom, seeming quite apart from the rest of the house. On the second floor, a refreshing simplicity has been observed in the bedrooms. The dormers that have been cut in the roof add not only to their comfort but provide charming little bays and alcoves, giving unexpected opportunities for in- teresting furnishings. Quaint, old-time papers and hangings and coverlets on the four-poster beds, matched in rugs and cushions and candle- shades, contrast gaily with the spotless white paint. Considerable ingenuity has been necessary in planning this floor, as the original rooms were so tiny and space so very limited under the long slopes of the roof. The dormers gave the much needed increase in the size of the chambers, and part of the rear one was converted into the bath- room. [97] REMODELED FARMHOUSES In the ell and shed at the rear of the house, perhaps the most interesting feature of all is situated. A step lower than the dining-room and reached through swinging French doors of glass, is the little kitchen which has been fitted up in a most compact way. An additional window has been cut at the side to provide both light and air, and an outside door gives access to the small court on the far side of the house be- tween the main building and the rear shed. This has been turned into a miniature old-fashioned garden, where it is pleasant to sit among the flowers. Back of the kitchen is the laundry and an old well, which has been drained and is now used as a cooling cellar, and the wire basket containing meats and milk and butter is drawn up and down on the old crank. Beyond this, the old wood and coal shed has been transformed into the studio. Here Mrs. Shaw designs all her beautiful jewelry work at the long work-table across the rear under the four long windows. Opening from it is a tiny little apartment used as an office, and here at a quaint desk, the designs for the metal work are sketched out, and the correspondence con- nected with the business end transacted. [98] THREE ACRES In the adaptation of the outbuildings to the special and unusual requirements of the owner, an excellent example is given to others who have individual hobbies such as this to accommodate. But throughout the building the needs and the personality of the owner have been as carefully if not as ostensibly expressed. There has been no thought of comfort or of service sacrificed in the effort to revive the atmosphere of the past, but rather has that very simplicity and straight- forwardness been utilized to banish all that might complicate entire convenience. The personality of the owner has been interwoven into every detail, and shows nowhere more strongly than in the preservation of all the delightful vagaries and unevenness of hand work played upon and mel- lowed by time. [99] CHAPTER IX THE ROBERT SPENCER HOUSE THE prospective house owner generally has little or no idea of how to go about designing his own home. If he chances to see some other house that strikes his fancy, he realizes that it approaches, at least in part, what he has in mind. How to accomplish his desire, however, he has no definite knowledge. He hesitates to call in an architect who is a stranger to him and knows nothing of his needs and habits and preferences ; he fears that an attempt to combine his own ideas with those of the architect will result unsatisfactorily to both of them. To such a man as this, the remodeled farmhouse comes as a boon. From the old house he is able to determine what type his home will be; no matter how battered and worn it is to start with, he can get some impression of the possible room space and arrangement by studying other old interiors and their relation to each other. That is one of the reasons why the movement sweeping through the country to-day has become [ioo] Q O z o D O ffi a* w u 2 w a H THE ROBERT SPENCER HOUSE so extensive. It gives a substantial foundation upon which to develop an artistic home under one's own supervision. When a man purchases a weather-beaten farm- house, it is evident that he is up against a real problem in remodeling, and the task demands plenty of time and a wide-awake, ingenious brain. If he consults his friends and neighbors across the way, doubtless their opinions differ so materially from his own that the result is worse than if he had solved the questions in his own way. We all have ideals, but it is not always easy to express them; they need to be developed in order to be made practical and require thought and diligent research if they are to be concretely embodied in the altered home. Paper and pencil are good friends at this stage of the game, and even a rough sketch drawn carelessly on the back of an old envelope, as an idea occurs, gives subject matter for larger schemes and more realistic results. Few people who are planning to spend the summer months in a new house realize how much their comfort depends upon light and space. It would be foolish for you to buy an old farm- house and make the rooms small and cramped in size. You would lose a great part of the advan- [101] REMODELED FARMHOUSES tage of coming to the country to live, the pleasure of being as nearly out of doors as possible. Most of the old houses were cut up into small rooms, for, owing to the limited heating facilities in olden days, large rooms would have been freezing in winter; accordingly one or two bedrooms were invariably crowded into the first floor to receive the warmth from the kitchen. But it is almost always possible to tear out the partitions between some of the rooms and make them into one large apartment which can be used for living purposes. This can usually be done without weakening the structure; the floor above will be found to rest upon a great beam, or a new girder can be put across. If the stud is low, do not change it, or you will spoil the whole atmosphere of the place. A low stud and large rooms are good developments, so try" to achieve them when you are making over the house. Have plenty of windows ; in the old days, many windows meant a cold house in the winter, but if the farmhouse is to be used only as a summer home, the cooler the better. If for a winter residence also, modern systems of heating will counteract the difficulty. Windows of the long French type are especially desirable; they [102] THE ROBERT SPENCER HOUSE are more adapted to the requirements of country life, as they admit abundant light and air and are entirely in keeping with the style of the farmhouse. The house should represent a unit; the porch should be planned so that it leads into the living- room, and by throwing open the windows, will seem to become part of a large airy room. The dining-room should either be part of the living- room or open conveniently near. The service quarters must immediately adjoin the dining-room. If there is other space on the floor which cannot be used to increase the comfort of the two main rooms, well and good; it may then be devoted to whatever purpose you desire. But when the removal of partitions will make a place more pleasant to live in, it is always wise to make such a change. We know that there are few of these old houses that have not been cut up and divided; but the conditions which made that necessary in the earlier days have been changed, and for a simple country house one large living and dining- room is far better than divisions which shut out light and air. Many people look at these propo- sitions from a limited view-point and do not stop to consider the complete idea. We all learn [103] REMODELED FARMHOUSES from houses that we visit what is right and what is wrong to do. If we look deeper into the subject and go farther afield, we find it pays to carefully develop the plan before commencing to rebuild. The requirements of elaborate modes of life, liveried servants and much entertaining, demand, of course, many apartments ; reception-room and drawing-room, library and den seem essential in the house plan, but for those who come to the country to simplify existence, these are not needed. In remodeling your house, let three things be uppermost in your mind : convenience, comfort, and light; if you follow these, you will not go far astray. Even a very small house need not be devoid of these qualities. It may be very tiny and yet most attractive and complete in every detail. With careful thought and a broad conception of the whole, it is quite possible to make a place where it is a pleasure to visit and where even the casual guest realizes the application of small and inter- esting details in making a harmonious whole. Do not let your mind wander from the fact that the interior is of as much importance, and even more, than the exterior, for it is there that we live much of the time during the season, and it should [104] THE ROBERT SPENCER HOUSE therefore be harmonious and in good taste. The development of one room for common family use, and the elimination of the shut-up parlor for company, have brought about an atmosphere of simplicity that goes to make a perfect and livable house. This one-room idea has been charmingly carried out in a small house that has been remodeled for a summer home by Mr. Robert Spencer of New York and South Yarmouth. It is most attrac- tively situated, standing far back from the road, with a background of pine trees that give a pic- turesque touch to the little cottage. Originally it stood on the opposite side of the bay, on the shores of Cape Cod at South Dennis, Massachu- setts. Its possibilities seemed to the present owner worth developing, and he had it "flecked" and brought over the water to its present site. This was not a hard task to accomplish, as the timbers were stanch and in a good state of preservation. It was a typical fisherman's cottage, with a wide gable roof sloping down to the first story and four small rooms about a central chimney. To meet the needs of the new owner, it required considerable enlargement. A two-story building [105] REMODELED FARMHOUSES was added at the rear and side, meeting the main house only along the corner. Little attempt was made to have the two harmonize, for not only are the roof lines of widely different types, but the frame of one is of white clapboarding and of the other weathered shingle. At the angle where they join, the roof of the old building has been raised to accommodate the higher stud in the new, thus making a break in it near the ridge. Two dormers have been cut in the main roof to give extra room in the second floor; these are flat-roofed and well spaced, with two windows occupying the entire front of each. A porch has been added across the whole front of the house and half of it is roofed over. This breaks with the slope of the main roof, but follows that of the dormers. A detail which adds much to the appearance of the exterior is the simple, square-posted fence that surrounds the porch and encloses a quaint little garden in the square formed by the angle of the two buildings. This same detail has been adopted at the side of the porch roof in an effective way. This fence, and the clapboards and trim of the house, are white, and the shutters and shingles are green. The front door opens immediately into the liv- [106] Two Views of the Living Room THE ROBERT SPENCER HOUSE The Attic Chambers THE ROBERT SPENCER HOUSE THE ROBERT SPENCER HOUSE ing and dining-room which occupies the whole right side of the house and opens at the rear on to a grassy terrace. A triple window has been cut along the side to allow ample light and air. Small panes are used in these windows, and the French doors have glass of corresponding size. The feature of this room is the fine old fireplace at the center of the inside wall. It is very simple, with slight attempt at ornamentation, but the propor- tions are good, and the lines rather unusual. Over the fireplace is an old cupboard that used to be called a "nightcap closet" from the hos- pitable bottle which was kept there to be passed around among the men just before retiring. At the left is a cupboard with upper and lower doors ; in the panels of the former, panes of glass have been inserted. This end of the room has been treated as the living-room and the opposite end as the dining-room. The woodwork is all white, and the roughly finished plaster is tinted -a deep cream. Straight stairs lead to the second story along the wall at the dining end of the room. Here, about the walls, a wide molding has been carried over doors and windows, which serves as a plate- rail for numerous interesting old family plates [107] REMODELED FARMHOUSES and jugs. Beneath it, in several places, shelves have been bracketed to the wall to hold other pieces of china. The glass door at the end opens on to the terrace, and the paneled door beside it communicates with the kitchen and servants' quarters in the addition. The furnishings in this room admirably accord with the building in both age and simplicity. The older furniture has been supplemented with modern pieces of straightest and most unpreten- tious line and character. Clocks, mirrors, pic- tures, andirons, and fire-set are family heirlooms. The coverings on the floor are large and plain rag carpets; at the windows are simple muslin cur- tains, with overhangings of Colonial chintz in soft colors harmonizing with the cheerful and sunny atmosphere of the room. At the left of this room, occupying the other side of the house, are two bedrooms. One of them is the childrens' own room and has been furnished very attractively; fresh white tables and chairs harmonize with the older mahogany pieces and lend an air of distinctive charm to the apartment. The space up-stairs is divided into large and small rooms under the eaves. The slope of the roof allows room for many built-in drawers and [108] THE ROBERT SPENCER HOUSE closets, and every inch has been utilized. The white paint and the simple white furniture ar- ranged with a care and precision that is worthy of emulation contribute to make the effect of these rooms light and airy and inviting. The Japanese crepe or gay cretonne curtains at the windows add. just the necessary touch of color. The lighting fixtures in the house demand' especial notice, as it is so difficult a matter to attain a distinction in them when a house has not been wired but must depend upon older methods of illumination than electricity or gas. A number of simple candle brackets attaching to the wall have been purchased, and these are placed sym- metrically in pairs, balancing each other on either side of a fireplace or mirror or window. The candlesticks for shelf or table have been arranged with equal precision, and some are given all the more importance by attractive hand-made shades. An occasional simple, square, candle lantern hangs from the ceiling to contribute to the effect. The table and reading lamps have been chosen with equal success. [109] CHAPTER X THE DAVENPORT BROWN HOUSE IN planning the remodeling of a farmhouse, has it ever occurred to you how much of the ap- pearance of the exterior depends upon the archi- tecture of verandas and porches ? Not only must we give much thought to the alteration of the lines of the house which may be required by the interior plan, but we must be equally careful when it comes to the addition of entirely exterior features. Modern country life demands plenty of veranda room and, whenever possible, sleeping-porches. One does not go to the country to sit indoors, even if the windows are all thrown open. There is nothing that will so materially improve the health as outdoor life; tired and jaded nerves are soon restored by use of a sleeping-porch, where the fresh air can soothe and induce restful slumber. In the early days, the porch or ve- randa did not exist ; it may be supposed that our pioneer ancestors were too busy to enjoy any [no] THE DAVENPORT BROWN HOUSE leisurely hours out of doors ; at least, they made no provision in connection with their houses for such relaxation. As the details of the exterior became more elaborate, the entrance porch was developed with free-standing columns. In time, this assumed greater importance, especially in the south, where columns the height of the whole building sup- ported a roof across its entire front. In the north, the veranda was less frequently used, but there is occasional authority for both the front and the less pretentious back piazza. It is one of the additions which are imperative in remodel- ing the house, however, and it becomes something of a problem because there is no more definite authority for it. If there is to be simply an entrance porch, offering a bit of shelter at the front door for stranger or friend, it may have much precedent in the porches of Georgian houses. In planning this, take into consideration that it should be an index of what one will find in the interior ; it should be the keynote, as it were, of the entire house. Here we may have the same details and the same proportions as in the cornice of the roof, or the fireplace within. We find many porches that [in] REMODELED FARMHOUSES are sadly out of keeping with the rest of the house and seem very carelessly designed. It is far better to have none at all than one which is insignificant and out of scale ; yet it must not be more elaborate than the house itself and tend to dwarf the main structure. Few people realize how important this feature is and how necessary that it should be a satisfactory adjunct to the architecture of the whole. It is almost the first thing we notice as we approach the house. Whether it is well placed and rightly proportioned, whether it has a proper overhang, good roof lines, and adequately supported cornice, affects to a very great extent the style and character of the house. There were a great many different types of porch in the Georgian houses : the simple hood with a high-backed settle on either side that was commonly used at a side entrance; the gable- roofed and flat-roofed, square porch and circu- lar, open and partly enclosed, with round and oval windows at the sides, were all developed to high perfection. The simple, Doric column, plain or fluted, with corresponding pilasters or three- fourths round against the house, was used on many of the porches; but the Ionic and Corin- [112] J O ffi O 2i ffl Q a X The Hallway THE DAVENPORT BROWN HOUSE THE DAVENPORT BROWN HOUSE thian capitals are more elaborate than is appro- priate for the simplicity of a farmhouse. From the infinite number of models which can be found, it should be a comparatively easy matter to con- struct an entrance porch, utilizing the details found in the house. A veranda demands somewhat different manner of procedure. First it is necessary to decide where it shall be put. Where will it receive the best air and the least sun ? It must, presumably, open from or adjacent to the living-room and yet be so placed that its roof will not cut oif too much light. If the house is uncomfortably near the highway or neighbors, the matter of privacy cannot be neglected, and a thought may well be given to the outlook from the piazza. Let it enjoy any advantage of a fine view or a picturesque garden that may be compatible with its other requirements. Thus it may be at the front, at either or both sides, or in the rear. At the side of the ordinary, gable-roofed house, the roof of the veranda should as a rule be flat. If it is possible to continue the roof line of the house to include that of the porch, by all means let it be done; the unbroken sweep will usually be found excellent. At some angles it may seem too long REMODELED FARMHOUSES and severe; then it is often possible to put a slight "kick" in it, especially if there is anything of the Dutch type about the building. The floor of the porch in farmhouses should be low ; it may be on a level with that of the house, or a step below it. It is well to let the under- pinning be a continuation of that of the house, and it may then be covered with brick or tile, or the conventional boards. The columns or posts which support the roof are a stumbling block for many remodelers. These should closely copy the entrance porch, if there is one; even if it be no more than a flat semblance of a pilaster about the frame of the door, it will supply the correct motive. Lacking this, there will undoubtedly be some detail in the interior which can be magni- fied to the right proportion for the exterior, the upright of a mantel or the frame of a door. For a house which can boast no such source of sugges- tion, a straight, square post with a simple mold- ing would be the solution. The cornice should follow the detail of the entrance door or the house cornice ; and it is effective and increases the appar- ent unity to repeat the decoration of the one on the other. The rails and balusters of old houses were [114] THE DAVENPORT BROWN HOUSE extremely simple and should be kept so in the remodeling. In the very early examples, the balusters were square and spaced far apart ; later both square and turned balusters were used, and they were spaced twice their width. The design for these can often be taken from the stairs in the interior of the house. It is the modern tendency to use no railing about verandas, particularly when they are low or when they are screened in. Some of the flat-roofed type had a railing around the roof, and an open-air porch was thus made for the second story. Sometimes this porch can be utilized as a sleep- ing-porch on the second floor. This feature, while of course entirely foreign to the farmhouse, has become as much a necessity in many families as the open-air living-room, and it is therefore logical to introduce it where possible to do so with- out destroying the lines of the building. It is better, however, to do without it than to add it in such a way that it will seem an afterthought and not really incorporated in the structure. Often it can be placed in a wide dormer cut in the slope of the roof ; sometimes the roof line can be extended over the roof of the sleeping-porch, or again it may be merely a room with the walls ["Si REMODELED FARMHOUSES largely cut away. Each remodeler will have his own problem in connection with this, and by ingenuity and careful study must work it out to his own satisfaction. Remember always that the integral simplicity of the building must not be disturbed, and that whether it be sleeping- porch, veranda, or entrance portico, it must seem always a part of the original building, as if it were the conception of the master craftsman who erected the first timbers. Most gratifying results along this line are shown in an old farmhouse at Medfield, Massachusetts, which was built in 1755. Like many other old houses, this had fallen into decay and stood neg- lected and unoccupied by the side of the road while the extensive grounds lay unkempt and desolate. But Mr. Davenport Brown recognized in it a house that could be made to serve most acceptably as the foundation of his summer home. It is of the Georgian type, built with the hall and straight flight of stairs as the axis. There are two main chimneys opening into four fireplaces on the first floor. A service wing has been added at the left, parallel with the main building, and half its width. Back of that, an ell of equal size extends at right angles. Both of these are two [116] THE DAVENPORT BROWN HOUSE storied, but the upper stud is somewhat lower than in the main building, thus allowing it to re- tain its predominance in the design. The main part is given further importance by the dignified entrance porch. Two three- fourths round and two free-standing, fluted, Doric columns are used, supporting a cornice and a gabled roof, the details of which repeat those in the cornice of the house. A rather unusual type of scalloped dentation lends addi- tional interest. The frame about the door is arched over, and there are side lights and an overhead fanlight in a simple style that carries out the Colonial tradition. The hall leads past the stairs and through an open doorway to the rear of the house, where there is another entrance, repeating the design of the front one. This is some distance from the rear wall of the house, and consequently there is a small, arched-over portico formed within the lines of the building. The walls of this are pan- eled, and on each side is a built-in seat. The floor is tiled, and the woodwork painted white. At each end of the main part of the building is a flat-roofed veranda carrying out the details of the entrance porch in column and cornice. The REMODELED FARMHOUSES same dentil ornamentation that appears on the cornice of the house is used here in smaller size, as on the entrance porch. Around the edges of the flat roofs, boxes filled with blooming plants and vines form an original and most attractive method of softening the sharp lines and finish of the house. The veranda on the right side over- looking the wide lawns and gardens is used largely as the outdoor living-room and is screened in. The spacing of the bars and framework of the screening is well proportioned and adds not a little to the decoration. The floor of the veranda is edged with brick and paved in the center with square tiles which slope toward a drain at one side. This wing of the living-room has been com- fortably furnished with canvas hammocks and Chinese grass chairs and stools, and even a sand- box for the children finds room here. In the central hall, the details carry out the character of the old period carefully. There is a white unpaneled wainscot carved around the walls and up the stairs, with a similar treatment in the second-floor hall. The stairs are wide, with white risers and mahogany treads, and the hand- rail is mahogany supported on white, turned balusters and a mahogany newel post. The [118] The Sun-Parlor or Out-door Nursery The Library THE DAVENPORT BROWN HOUSE Two of the Chambers THE DAVENPORT BROWN HOUSE THE DAVENPORT BROWN HOUSE upper walls are papered in a gray landscape paper, and the furnishings consist of a pair of Sheraton card tables. At the right of the hall, the two rooms have been combined into a living-room by cutting double arches on either side of the fireplaces which open from the back and front of the chim- ney. The furnishings are especially interesting here, as there are a number of rare and beautiful pieces. The mantel mirror over the front fire- place is a fine example of American workmanship. The mahogany frame divides its length into three sections, and it is ornamented with carved and gilded husk festoons ; the scroll top is surmounted with a gilt spread eagle. In front of the fire there is a beautiful little Sheraton fire-screen. Chairs and tables are equally interesting ; there is an old "comb-back" chair and an upholstered "Martha Washington" chair, as well as more modern easy chairs and davenports. The upholstery and cur- tains are of small-patterned, Colonial fabrics that carry out the spirit of the room. In the back part of this room, a large double window has been cut, looking out over the gardens and the grounds. Underneath it is a most attractive window-seat suggestive of an old-time settle, and [H9l REMODELED FARMHOUSES on each side low book-shelves extend around the whole end of the room. The dining-room is situated at the left of the hallway. The fireplace and paneling hold the attention in this room. The woodwork is very simple but well proportioned, and on either side of the mantel are narrow, built-in, china closets with small, leaded, diamond panes in both upper and lower parts of the door and even in a transom over it. The walls above the un- paneled wainscot are painted white and divided into simple, large panels with narrow moldings. The furniture in this room is suggestive of the early part of the nineteenth century, with the exception of the Queen Anne type of chair. Over the heavy and massive sideboard is a long gilt mir- ror of the Empire "banister" type; between the two side windows is a gilt, convex girandole with three branching candlesticks on each side. On the mantel is a fine example of a Willard shelf clock, and on each side of it are tall mahogany candlesticks with the old-fashioned wind glasses. The over- curtains at the windows are a soft rose damask; they hang from gilded cornices and are caught back on gilded rosettes, the style of draping which is carried out in all the main rooms of the house. [120] THE DAVENPORT BROWN HOUSE The service wing opens from the left of the din- ing-room, and the den, which is back of it, with a fireplace on the opposite side of the same chimney, is reached from the rear of the hall. At the head of the stairs at the right, one enters the bright and sunny nursery. Here the fireplace is very simple and has no overmantel. The wood- work is white, and a broad molding divides the upper part of the wall. Below is a quaint paper picturing Mother Goose scenes which the children never tire of studying. The furniture is mainly white, and the little chairs and tables in child's size are decorated in peasant fashion with painted flowers and lines of color. There are two other bedrooms in the main part of the house and each has an open fireplace. The furnishings are simple and old-fashioned in char- acter, retaining the Colonial atmosphere admi- rably. In one room there is a Field bedstead of English make, dating about 1780, showing reeded posts and a curved canopy top. The chairs and the little night stand at the side of the bed are in close harmony with the period of its design. In the other chamber are twin beds which are modern reproductions of four-posters, but other furnishings retain the distinctive atmosphere of age. [121] REMODELED FARMHOUSES Over one bureau there is a fine mirror with the Georgian eagle ornamentation; in keeping with it are the old fireside wing chair and a side chair of Sheraton type. The most interesting bedroom, perhaps, is in the wing of the house, where Hannah Adams, the first American authoress, was born. This is reached by a cross hall which leads from the main one, and gives access to baths and rear stairs and another tiny bedroom. Although the old fireplace has been remodeled, the aspect of the room is much the same as when the house was built. The woodwork here is all dark, and the hand-hewn rafters and cross beams are exposed in the ceiling. An unusual wall-paper in black and gay colors forms an interesting background for the four-poster and other old furnishings. An old batten door with a quaint little window in the center strip leads from this room to the cham- bers in the service ell. Much of the house has been restored under the direction of the architect, Mr. John Pickering Putnam of Boston, and to him the credit for its successful remodeling must be largely given. The planning and laying out of the grounds about the house, however, are the work of the owner, [122] THE DAVENPORT BROWN HOUSE who has spared no pains to make a harmonious setting for his home. Between the house and the road is a row of great overshadowing elms that make a delightful setting for the red and white of the house. The drive sweeps around these trees to the stable on the left and is separated from the house and the lawns by white palings in a simple Colonial pat- tern, having fine, carved posts surmounted by balls. The fence stops at either side of the front to allow wide space for a heavy embankment of conifers. Somewhat back of this fence, along the whole length of the lawn, is a second lower one, with posts of the same height. This marks the boundary of the wide lawn and forms a charm- ing background for an old-fashioned hardy border that extends all the way to a swimming-pool and pergolas at the far end. Immediately behind the house is the flower garden, from which all the blossoms used to decorate the house are cut; this is screened by a white trellis and pergola, carrying out some of the details of the entrance porches and verandas. [123] CHAPTER XI THE DOCTOR CHARLES E. INCHES HOUSE A VERY interesting feature in an old farmhouse is the fireplace, which varies in size with the age of the house ; the oldest ones are large, with cavern- ous mouths, since they were the only means of heating the house. These are capable of holding a ten-foot log, for it must be remembered that at that period of our country's history the woods grew at the very door. A few of these old fireplaces are found to-day, principally in the old kitchens or living-rooms, although occasionally we see an old house which has them in almost every room. There is a great variety in their design as well as size, some being very simple and framed in wood, while others show tiling ; occasionally we find elaborate carving, but this is in the better class building rather than in the simple little farmhouse. These details denote the different periods and also the wealth of the former owner. With the introduction of stoves, many fireplaces [124] The Nursery The Service Wing THE DAVENPORT BROWN HOUSE *1 > u c w P B h THE DOCTOR CHARLES E. INCHES HOUSE were bricked in to accommodate an air-tight stove which gave more heat and saved fuel. One unaccustomed to the features of an old farmhouse would infer a lack of fireplaces. The removal of brick and mortar, however, reveals the large, cavernous hearth which was often three feet deep and sometimes showed a second bricking in, to make it smaller. Often in the narrowing of the fireplace, tiles are used, generally Dutch, which are blue and white in coloring. Occasionally in open- ing up these fireplaces, one comes across rare old andirons that were considered of too little value to be removed ; old cranes and kettles are also found, of the type common in the days of our early ancestors. It must be remembered that the chimneys of these old houses were often six feet square and had many fireplaces opening from them. It was the central feature of the house, around which the rooms were built. The earliest chimneys were daubed in clay, and in the masonry oak timbers were often used. In remodeling a house many people tear down these old chimneys for the space which may be converted into closet use and alcoves, making a smaller chimney do service. In the olden times, when the first chimneys REMODELED FARMHOUSES were erected, they were so carefully built that they were less liable to smoke than the smaller ones, so that it is better to let the old one remain if possible. Brick was generally used in the con- struction, although sometimes we find stone. It was not the finished brick of to-day but rough and unfaced. This was not true, however, of those which formed a part of cargoes from abroad, more especially those brought from Hol- land. The use of stone was not popular, as it was apt to chip when brought in contact with the heat; this is also true of the hearthstones, where the flagging became rough and most unsatisfac- tory. The fireback was a feature of some of the old fireplaces. The earliest of these made in our country were cast in Saugus, Massachusetts, and some were most elaborate in design. Often coats- of-arms and initials were worked out in their construction. In addition to the brick and stone, soapstone facings were sometimes shown, but seldom do we come across good carving. The crane was a feature of the fireplace, and on it were hung the pothooks from which depended the iron and brass pots in which food was cooked. In one side of the bricks, just at the left of the [126] THE DOCTOR CHARLES E. INCHES HOUSE fireplace, was often a large brick oven with an iron door, and here on baking days roaring wood fires were kindled to heat the bricks before the weekly baking was placed within. Examination of these old ovens will be very apt to reveal the age of the house. In the remodeling it is well to leave the fire- places much as they stand, with the exception of bricking them in, for the old ones allowed too much air to come down the chimney, and at the present high price of wood, we are not able to indulge in the ten-foot logs that were in evidence in our grandmothers' time. A house with many fireplaces that stands back from the winding country road on the border line between Medfield and Walpole in Massachusetts was chosen for a summer home by Charles E. Inches. It is shaded now as it was long ago by large, old elms whose widespreading branches seem to add a note of hospitality to this most attractive estate. Possibly there are better exam- ples of the restored farmhouse than this one found at Medfield, but it is very picturesque, not only in type but in surroundings. It stands near a turn of the road, where it was erected, in 1652, situated in a sheltered glen and protected from cold winds. [127] REMODELED FARMHOUSES At that time it was a small and unpretentious building about twenty feet long and showing in the interior fine examples of hand-hewn timbers. Even in its dilapidated state it was most attrac- tive, with its many fireplaces and old woodwork. This particular house has two values, the one re- lating to its historical record and the other to its old-time construction. Through two centuries this little farmhouse had been the home of the Adams family, a branch that was near in kin to the presidential line of Adams who lived at Quincy, Massachusetts. At the time of its building, a stream wound in and out through the meadow land that was a part of the property. It was such a large stream that it afforded sufficient power to run an old mill that originally stood on the estate and which for many years ground the neighbors' grain. On a ridge opposite the house, worn stone steps lead up through pastures to a sturdy oak which stands nearly opposite the front of the house and is known in history as the "whipping tree." Here, in Colonial days, wrong-doers were tied to be whipped. Just before we reach the stone wall, which was laid probably by the slaves held by the landowner of that period, we find an old [128] THE DOCTOR CHARLES E. INCHES HOUSE mounting-block. On the side of one of the stones are the figures 1652; and it was from this block that many a Colonial dame mounted to her pillion to ride in slow and dignified style behind her worthy squire. Even in those days the grounds were very extensive and reached for many acres. These to-day have been reclaimed and laid down to grass land and garden. Half way between the house and the tennis court which defines the estate is a wonderful old garden which has been designed not so much for show purposes as to supply flowers all through the season. This is not the only garden on the place, for back of it is the vegetable garden and the old-fashioned one. The dividing line between the two is a row of stately trees which hide the former from view at the front of the house. Rows of apple-trees, many of which were on the estate when it was first purchased, remnants of the original orchard, surround in part the tennis court, behind which is a swimming pool which is in frequent use. This is about twenty-five feet long and twelve wide, cemented to a depth of seven feet; with its background of tall poplars it is very artistic and lends itself to all sorts of water contests. [129] REMODELED FARMHOUSES During the latter part of the nineteenth cen- tury, new life came to the old house. It had stood for years, weather-beaten and old, guarding the family name. While the outside was very attractive and in tolerably good repair, it was the interior that appealed especially. There was beautiful old wainscoting and paneling of wide boards, some of which was split from logs at least thirty inches in width. Great reverence was paid by the owner to the original structure, partic- ularly to the old kitchen with its large, brick fireplace and chimney which was restored to its early beauty. Sagging plaster was removed, and underneath were found well-preserved, hand-hewn beams and rafters. These were carefully cleaned and consid- ered of such great beauty that they were left exposed as far as possible, more especially those which showed the sign of the adze. The walls, which had been previously neglected, were stripped of wall-papers which were in some places ten thicknesses deep. In removing one of these, a wonderfully fine landscape paper was discovered, and although every attempt was made to save it, it was too far defaced. Under the paper was a wide paneling of white pine, so good that it needed [130] bJO _C *u -O O E u rt O DC X h -C D O DC en W X o w U w h THE DOCTOR CHARLES E. INCHES HOUSE only a slight restoration. In the opening of the fireplace the crane, pothook, and hangers were found to be intact, while many pieces of ancestral pewter and copper were polished and placed in proper position on the wide, receding chimney. This was to give it the look of the olden days, when pewter was used for the table. There was no bricking in of this old fireplace, for it was considered such a wonderful example that it was left in its original state. The old flint-lock that did service in the early war was hung over the fireplace, while from the chimney hook the old-time kettles were swung much as they did in the days when they were used for cooking purposes. The old brick oven used by the Adams family was not removed, and at one side of the fireplace a long braid of corn was hung in conformity with the custom of that period. The hand-hewn rafters and beams have been left intact in this room, as has the old woodwork, so that the kitchen, now used as a den, is an exact reproduction of the original room. It is the most interesting apart- ment in the house, being situated at the right of the entrance and furnished with old family heir- looms, including five rare slat-back chairs, a rush- bottomed rocking-chair, and a settle of the same [131] REMODELED FARMHOUSES period. Even the wide boards that were used in the original flooring have been retained, and the old brick hearth, showing wide bricks such as are never found in modern residences. To meet present re- quirements, the cellar was cemented, and a furnace added, in order that the occupants need not depend entirely on the fireplaces for heat. In the hallway, the stairway, following the lines of many Colonial houses, rises at one side. Here the wall-paper is wonderfully preserved, being in the old colors of yellow and white and of a very old design. It was made in England over a century ago and gives an appropriate atmosphere to the entrance of the attractive old home. .The living-room, which is spacious and com- fortable, is at the right just before you enter the den. The woodwork has been painted white, following the Colonial idea, while old-fashioned, diamond-paned windows have been substituted for the original ones. Here, as throughout all the house, one comes unexpectedly upon groups of shelves filled with books. There are built-in cupboards that provide places for the wonderful collection of books, many of which are rare editions, owned by the present occupants. Like every room in the house, this shows several tables of THE DOCTOR CHARLES E. INCHES HOUSE unusually fine design, a handsome side-wing chair, and a few other choice pieces. The great open fireplace with its Colonial accessories lends much to the hominess of this room. At the left of the hallway is the large and spa- cious dining-room, which is in reality three rooms opened into one, the partitions showing in the beamed ceilings. The walls are finished in green textile and are left unornamented with the excep- tion of one or two choice pictures. There was a method in the construction of this room which was planned for unbroken spaces to bring out to advantage the lines of the beautiful old side- board. Then, too, the space shows off the lines of the rush-bottomed chairs that are used for dining-chairs. The mantel, framed in white wood, is hung with rare porringers, ranging from large to baby size. There is a restful atmosphere about this room, that, combined with its perfect setting, is most refreshing. At the farther end of the room, French doors open upon the sun par- lor which is used during the summer months for a breakfast-room. This overlooks the garden. The bedrooms up-stairs are large and airy, each one of them being carefully furnished with Colonial pieces which include four-posters, high and low- REMODELED FARMHOUSES boys as well as quaint, old-time chests of drawers that can do service as bureaus, or as storage space for extra blankets, hangings, or rugs. The floors throughout the entire house are of hard wood, many of them being the original ones that were laid when the house was built. Rare old Chippendale, Sheraton, and Hepplewhite chairs are used in the furnishings, while hand-woven rugs cover the floors. The windows are screened by chintz hangings of bright colors and gay designs, and the whole house presents a sunny, restful atmosphere. If At the rear of the house an ell has been added where the new kitchen with all modern conven- iences, pantries, servants' dining and sitting rooms are found. Thus while the exterior features of the old house have been carefully preserved, the addition of the ell gives comfort and conven- ience to the new building. Shrubbery has been planted around the house, and a veranda thrown out; window-boxes filled with brilliantly blossoming plants add a bit of color to the remodeled farmhouse which is painted red with white trim. Velvety lawns have re- placed the old-time farming lands, and the plant- ing of trees has done much to add to the pictur- [134] The Hall and Stairway The Living Room THE CHARLES E. INCHES HOUSE -1 35 < I U - o o a w X h THE DOCTOR CHARLES E. INCHES HOUSE esqueness of this estate. The grounds themselves are extensive, covering forty-five acres, and the natural beauties are unusually varied. Broad stretches of fields and hills intersected with trees make a most appropriate setting for the old Adams homestead. [i3Sl CHAPTER XII THE CHARLES MARTIN LOEFFLER HOUSE IT was a staircase that was responsible for the remodeling of one house which had no other unusual feature. It was designed by a village car- penter whose object was four walls and a shelter rather than architectural beauty. The structure was so simple and unobtrusive that it did not arouse any enthusiasm in the heart of the archi- tect who examined it, for it presented no chance to show his ability in its remodeling. It was the kind of a farmhouse that one would find in almost any suburban town, built without any pretensions, its only good feature being the staircase which saved it from passing into oblivion and caused it to be remodeled into a charming, all-the-year-round home. It had been unoccupied for a long period and with exterior weather-beaten and interior unin- habitable, it presented a forlorn appearance, re- pelling to most would-be purchasers. It stood by the side of a traveled road and in its best days [136] THE CHARLES MARTIN LOEFFLER HOUSE was occupied by a farmer and his family who cared more for the barn adjoining the house than they did for the farmhouse itself. The estate was a large one that had been neglected and allowed to run down until weeds and rank grass were so intermingled that it seemed a discouraging task to bring it back into a good state of cultivation. Adjoining the house, and connected with it by a shed, was a large barn with sagging roof and so dilapidated that it seemed past restoring. Across the front, defining the estate, was once a neat paling fence that had been torn down until only a small portion remained. Many acres of the estate were meadow-land which swept to the horizon of trees, yet the once fine apple orchard, though sadly in need of pruning, showed promise, and there were possibilities in the whole estate that needed only attention and development to make them profitable. There had been no one to care for the old house, and it stood discouraged by the roadside awaiting a sympathetic owner. It was in this condition when first seen by Mr. Charles Martin Loeffler, whose experienced eye discerned its possibilities. It is the wise man who fits his house to his grounds and who in the [1371 REMODELED FARMHOUSES general scheme considers its surroundings. The grass land, the garden, the orchards, the fencing of the estate, each one of which demands separate treatment, should be so arranged that they will be profitable in the end. The new owner realized this and also that he could not be too careful in combining house and garden so that they would make a harmonious whole. The location was ideal, quiet and retired and exactly what had been most desired, so the remodeling was placed in the hands of a careful architect, who, after thoroughly considering the situation, decided it could not be done. It was then that Mr. Loeifler took the matter into his own hands, drawing exact plans of what was necessary to achieve the desired result, and it was under his personal direction that the workmen began to remodel the unattractive little cottage. It was borne in mind that even the addition of a porch or veranda must be carefully considered to avoid confusion of architecture so that the house itself, when finished, should follow a single idea and not a composite mass of details that were entirely out of place and in bad taste. It was realized that no house, no matter how situated, should have discordant surroundings. Out-build- [138] D O DC O W -o o u THE CHARLES MARTIN LOEFFLER HOUSE ings should not be allowed to mar the symmetry of the house and should be removed so that they would not be an eyesore but in keeping with the general plan. The house itself, however, demanded attention first; it was very small, with a pitched roof in the upper story and a long ell connecting it with the farm buildings. The exterior was left prac- tically as when first purchased, with the excep- tion of a small and well-planned porch at the front, a long ell for servants' quarters, and a wide veranda at the rear that extended the entire length of the house. In the porch settles were added on either side which help to give the house an air of dignity and invite the guest to rest and enjoy the beautiful scenery. The screened-in veranda at the back is used as an out-of-doors living-room. It is wide, carpeted with rugs, and furnished with simple but sub- stantial pieces. It is a most comfortable place, where charming views and wonderful vistas can be enjoyed, for beyond lie the old orchard with the meadows between and a background of finger- pointed pines that seemingly melt into the blue of the sky. Trellises were built on the garden side of the house to carry vines, but this was REMODELED FARMHOUSES after the house had been given a coat of white paint and the blinds painted green. Over the veranda a balcony was built which can be used for outdoor sleeping purposes if desired. The picket fence was restored and painted white to match the coloring of the house, and a stone wall was built at the farther end to enclose the garden ; on the outside wild shrubs were planted to give a note of color to the gray stone. The old trees, pruned, took on a new life and are now in a most flourishing condition; across the entire front, as a partial screening, silver-leafed poplars were planted. The farm lands were reclaimed, new trees planted in the old apple orchard, and at the side of the house an attractive garden was laid out with a background of apple-trees. It was a small garden, only about an eighth of an acre in size, and filled with old-fashioned flowers to make it harmonize with the period in which the house was built. A single path divides it in two, and its color schemes have been given careful study. At one side of the garden a rustic pergola has been built with a central path of grass, and over this a grapevine has been trained which makes it a restful, shady place in summer, while in early [140] THE CHARLES MARTIN LOEFFLER HOUSE fall the vines are loaded with great clusters of purple grapes. Everywhere surrounding the gar- den are stretches of green lawns that prove a fitting setting to the bright blossoms in the trim and well- kept beds. The fields beyond have been brought back to a good state of cultivation and present a beautiful green tract beyond which stretch rich meadows with waving grass where flit the bobo- link and the red-winged blackbird. In' the trees around the house orioles and robins nest, while everywhere the old apple-trees grow, many of them gnarled and twisted with age. In the early fall, loaded with fruit, they t form an attractive color note of red and yellow in the landscape. Great care has been taken to remove the branches of the old trees in order to afford attractive vistas. This gives a landscape picture carefully planned and creates a delightful feeling of restfulness and a sense of relief from the bustle of city life. Over the porch has been built a lattice to be covered eventually with rambler roses, and in order to obtain more light, clusters of windows have been let in on either side of the front" door. The interior as well as the exterior has been carefully planned with a regard to light and views. One enters the house through the little [141] REMODELED FARMHOUSES porch and finds himself in a spacious hallway which extends to the living-room. The staircase is at the right of the entrance. It is not a primi- tive affair of the ladder type which is the earliest on record ; neither is it steep with flat treads, high risers and molded box stringers, but the kind that shows simple posts and rail with plain balusters. It is of the box stringer type and has no carving in either post or balusters ; it is perfectly straight and leads by easy treads to the second-story floor. The dining-room is at the left of the hallway and is a room built for comfort and for every- day life, showing plenty of windows. A feature is the great, open fireplace and the bricked chimney- breast, with small closets at one side. The wood- work in this room is the same that was in the house when it was discovered by Mr. Loeffler and, cleaned and treated to a coat of paint, is most attractive. The wide board floor has been retained and stained dark to bring out the color schemes of the rugs. This room leads directly into the living-room which extends entirely across the house and is also entered from the hallway. Its windows face the green fields studded with trees and also [142] Two Views of the Living Room THE CHARLES M. LOEFFLER HOUSE The Dining Room The Music Room in the Studio Building THE CHARLES M. LOEFFLER HOUSE THE CHARLES MARTIN LOEFFLER HOUSE overlook the old-fashioned garden which is near enough to the house so that every summer breeze wafts the perfume of its flowers to the occupants. A central feature is a bricked-in fireplace that has been built into the room. Instead of plastering, the old oaken cross beams have been left in their original state, and the room is finished with a wainscot painted white, above which is a wall covering of Japanese grass-cloth. Bookcases form an important furnishing of this room which also contains many pieces of antique furniture. It is a cheerful, homelike apartment, into which the sun shines practically all day long. Through large French windows one steps from the living-room on to the veranda. The second story is devoted to chambers and bath. Its location has a distinctive charm, as it is not too near the city or too far away from neighbors. It is well adapted for outdoor living, with its wide, inviting veranda and the side garden where bloom the stately phlox, the gaudy poppies, and the bright-hued marigold. As time went on, the house grew too small for the owner's needs, and so another house just across the way that had passed its prime and stood desolate and deserted was also purchased [I43l REMODELED FARMHOUSES and remodeled into a studio, one room expressly designed for Mr. Loeffler's work, large and commodious with high, vaulted ceiling. Here, too, a veranda was built across one end that can be used if need be for an outdoor living-room. It is shaded by many trees, more especially some fine old elms whose graceful branches shadow the house, while a stretch of lawn extends to the street. Across the front a paling fence corre- sponding in style to that across the street was built, entrance being through a swinging gate that leads directly to the outside porch. This house shows less remodeling than the first one; it is principally in the interior that changes have been made. The whole front of the house is made into a music-room of unusual type, being hung with pictures of the old masters. Here the second-story flooring has been removed, and the ceiling vaulted and sheathed, in order to secure acoustic properties. A large chimney has been introduced into the inner wall, with brick mantel and chimney breast, and big enough to hold a six-foot log. The floors are of polished hardwood, and the orna- mentation shows Chinese ships hung upon the walls, an interesting feature for interior decora- [144] THE CHARLES ;MARTIN LOEFFLER HOUSE tion. The room is entered through French win- dows that lead on to the outside porch. In addition to the music-room, this house is also used for the caretaker and week-end guests. The long ell at one side is used for the former, while at the back of the music-room several rooms are fitted up for the use of guests, thus solving a problem that is to-day vexing the minds of many a house owner, more especially in subur- ban towns. There is about the whole place a restfulness that has been achieved by careful planning and attention to details. There is no part of the estate where one may wander without coming upon picturesque bits of landscape, that while apparently in their natural state, yet are restored and preserved with a true appreciation of nature. This estate is a lesson in reclaiming and remodeling that cannot fail to be instructive to all home build- ers. It goes to show that forethought and in- genuity can create a comfortable and inviting home in the midst of desolation, and transform an old dilapidated cottage into a charming and picturesque abode. CHAPTER XIII LITTLE ORCHARD THE old farmhouse can well be copied as a type for the modern summer home, for its lines are excellent, and its design is often so striking that it lends itself to easy reproduction. To the house owner of to-day it may seem a little strange that, with the trend of modern improvements, the old houses should be used for this purpose, and the architecture of the master builders of long ago shown preference over that of modern architects who have given their life to this subject. The builders and designers of old houses had to depend on their own ideas or possibly on a few designs that were sent over in the cumbersome ships that plied between England and the new country, the work of Sir Christopher Wren, one of the most celebrated architects of his day. There are no more satisfactory details of house construction than we find in these old houses, where fireplaces, doors, porches, and carving show individuality. These ideas, modified and LITTLE ORCHARD improved upon, are found in many a twentieth- century home, lending a dignity and charm that would otherwise be lacking. If you are remodeling an old house and wish to change a fireplace that is unsatisfactory or a stairway that is not artistic in design, do not intro- duce modern ideas, but rather seek for an old house that is being torn down and from it take bits that will satisfactorily fit into the work of remodeling. It is not a hard matter to find de- tails of this kind, for many an old farmhouse has been neglected so long that it is past redemption, and it is the blending of the old with the old that does much to keep distinctive the period that you are seeking to preserve. Sometimes the house has been badly mutilated, often to such an extent that its best features are disguised, and it is a serious problem to eliminate the wrong ideas and duplicate the original. The old craftsmen before Colonial times were apt to build houses along certain lines which often failed to bring proper results ; details varied and some- times were incongruous with the type of the house. The first houses were generally one-roomed; later, other rooms like units were gathered around it, and the result in some cases was the appear- [147] REMODELED FARMHOUSES ance of a lean-to. Later on came the ell, and, to save steps, chambers were designed on the lower floor, leading off the main rooms of the houses. Naturally in houses of this kind the largest room was the kitchen, for this was the family living-room, more especially during the cold weather. We will find as we examine an old farmhouse that the dominant portion of the building was the first floor, and that the chambers were adapted to the lower-story plan. These were not always satisfactory, as little or no care was given to the arrangement of the rooms, and in many houses closets were little considered. The partitions between these rooms were not double, like those found to-day, but were made of matched board and accommodated themselves to the frame- work. Later on plastering came into vogue and this made the rooms warmer and much more habitable. The windows were generally spaced carefully and were in harmony with the front door, making an attractive exterior. The walls were of wood, often with a layer of brick to keep out the cold and also to form a better protection. The roofs, more especially in the early houses, were very [148] u s J3 U 4-t gg S O O a a u < ^ T 4-1 X s a u O bJD c LITTLE ORCHARD steep, since they were planned for thatching; later on, when shingles came into use, they grew lower and wider. It was not until 1700 that the gambrel roof came into style. In considering the evolution of the house we must look back- ward, and thus we come to realize the progres- sion of architecture. We then discover that every old house shows interesting features, and it is the house with a history that makes its greatest appeal to the antiquarian ; while the re- vival of Colonial architecture brings a renewed interest in the history of that period. There is no more attractive remodeled farm- house than that of Mr. Roland C. Lincoln, which is a charming, rambling, summer home situated on the Gloucester road half way between Man- chester-by-the-Sea and Magnolia. It is a low, yellow cottage, picturesquely placed against a background of trees and nestled on the side of a hill seemingly as if it had been there for centuries. At the front is the ocean, while surrounding it is well-placed shrubbery and artistically trained vines. The grounds are just at the left of the main road and separated from it by a low stone wall; the entrance is by a driveway at one side that [149] REMODELED FARMHOUSES winds to an entrance porch. All around the house are carefully trimmed lawns and gardens gay with flowers, while the soft expanse of green sward extends to the shadowing trees and the background of forest and rock. The house was built two hundred and fifteen years ago. At that time it stood on the road and was overshad- owed by the very oldest house there was in the town, which stood on the crest of an adjoining hill. It then contained four rooms only, each one of which was thirteen and a half feet square. Surrounding the old farmhouse was an orchard of apple-trees that even in the early days gave to it its present name of Little Orchard. The possibilities of the little cottage, as it stood forlorn by the side of the road, attracted the attention of the present owner, who purchased it, moved it back from the road to its present location, and remodeled it, adding a wing at the left. The old front door was improved by the addition of a semicircular porch which is an exact reproduction of the porch on the White house at Salem, Massachusetts. The side porch was unique and most picturesque in its design. Ivy has been trained to cover the veranda and outline many of the windows. [150] LITTLE ORCHARD At the rear, facing the garden with its frontage of gnarled apple-trees, we find the veranda or out-of-doors living-room. This is used during the summer months and commands one of the most picturesque views on the estate, overlooking lawns and forest. Entrance to the old house is through the porch, and one finds himself in a most charming hall- way, at one side of which is an alcoved recess. This is hung in blue and white Morris paper. Near the front door at the right is the staircase which leads with low treads and broad landing to the second-story floor; it has a hand-carved balustrade with a mahogany rail, while its newel post shows fine carving. Half way up between two huge beams have been placed some wonderful old pieces of china of the Colonial period, and under them is the quaint inscription, a welcome to the home, "In God's hands stands this house, may good luck come to it and bad luck go out of it." The staircase is reproduced from a partic- ularly fine model found in a house in Boston that was originally the home of one of America's greatest statesmen, Edward Everett. It fits into its new surroundings as if it had always been there and is exactly the type one would expect [151] REMODELED FARMHOUSES to find in such a house as this. There is a fine old cabinet near the staircase that is considered one of the best pieces in the country. Inside is an entire tea-set of Lowestoft originally brought to Manchester by one of the old sea captains as a commercial venture and placed on sale. It was purchased by the present owner and holds a prominent place in her collection. At the foot of the stairs, inside the front door, the name of the house has been done in burnt wood. Mrs. Lincoln arranged to have this exe- cuted while she was traveling abroad and when talking with the workman she told him the story of her remodeled farmhouse and why it was named Little Orchard. He was very much inter- ested in her description, and when the inscription was finished, it bore not only the name, but decor- ations in each corner of tiny little apples. At the end of the entrance hall is the dining- room which is long and well lighted by many windows on two sides. This was a part of the original house, enlarged and added to. Here we find the low stud and the beamed ceiling so prevalent in houses of that day. It is hung with a most interesting Morris paper done in pink and blue, and at one end is a recessed sideboard. The Stairway LITTLE ORCHARD The Entrance Porch The Dining Room LITTLE ORCHARD LITTLE ORCHARD The upper part of this is used as a china cup- board, while on either side bookcases have been inserted. The furnishing of this room is all of the Colonial period; the chairs are Sheraton, as is also the sideboard. The fireplace is unusually good, being handsomely carved with a basket of fruit as the central decoration. Opening from the dining-room is the living- room, a large, square room with beamed ceiling, a feature being a built-in bookcase at the farther end. On the walls are many original paintings including one by the late William H. Hunt, "Tired of Work." An interesting inglenook is a space-saving device that has been introduced. Underneath the window-seat, studded in brass nails, is the name of the house again, Little Orchard. . The reception-room is back of the living-room and shows the staircase of old Colonial design at the farther end. The fireplace was taken from a house which once sheltered General Lafay- ette. When the house was torn down, the beauty of the carving and the graceful design attracted the attention of the present owner, who purchased it for his remodeled house. When it was brought home, it was found to be almost impracticable, REMODELED FARMHOUSES through being so badly worm-eaten; under the hands of skilful workmen, however, it has been thoroughly renovated and is now a prominent feature of the room. The apartment is well lighted by many windows, each one of which is of a different design. These have been perfectly planned, and there is no discordant note. The second story has been so arranged that all the rooms open into each other and also into the hallway. They are of low stud and contain dormer windows. The Colonial atmosphere has been carefully observed, so that new pieces which have been introduced fit in harmoniously with the old ones. Each room has a large, open fire- place with a crane, suggestive of good cheer. The success of this house has been attained through the careful thought of the owners, and it is an example of a charmingly remodeled farm- house of a type such as one seldom finds. CHAPTER XIV WILLOWDALE SHOULD you chance to run across an old farm- house that shows good interior woodwork, do not carelessly pass it by, for such houses are not easy to discover. You must realize that when restored it will be much more attractive than one with a plain mopboard and narrow cornice. Woodwork was not of the Colonial type in the earliest houses; it was used merely as a wall covering and was called wainscot, the same as it is to-day. This was because the paneling was originally made from wainscot oak which was well grained and without knots. Differing from that in nineteenth-century houses, it was put on the walls vertically, the boards being rough and wide. It must be remembered that in those days trees had not been felled to any extent, and the giants of the forest provided the best of lum- ber for this purpose. These boards were either lapped or put together with tongue-strips. Later on, we find interiors where they were laid hori- REMODELED FARMHOUSES zontally, like those of a century or more ago, and instead of being plain boards, were well finished. Wainscot is an inheritance from our early ances- tors, for in the manor houses in the mother country there is wonderful woodwork, used not only for wainscot, but for other parts of the interior finish. White pine, which at that time grew abundantly in our native woods, was employed for interior as well as exterior purposes, this being more especially true in the northern and eastern parts of the country, where it was more plentiful. It has generally been conceded that this wood was the best on account of its wearing properties, and as it did not show figure in either the grain or mark- ings. It was often called "cheese-like" and for this reason was preferred by wood-carvers and cabinetmakers for their art. The wainscot was used until about the time of the Revolution and not until a later period were the walls plastered. It has never lost its popu- larity and is found in many twentieth-cen- tury houses. It is generally shown in paneled effects which came into vogue much later than the plain board period. This woodwork was generally in the lower story, where more time and thought were given to interior finish; very [156] WILLOWDALE rarely is it found in the chambers and then only in the better class of houses. Wainscot is not the only interior woodwork used; we often find whole walls finished in paneled wood, and fire- places with a simple frame in paneled effects. Many of these old fireplaces showed a wooden shelf only, while later on, in the early part of the nineteenth century, fine carvings were included. Occasionally we run across a mantel of this kind in an old farmhouse, but it is very rare. It would be out of place for the house owner to introduce a mantel of this kind, no matter how attractive, in some types of old farmhouses. It would not be in keeping with the style and, while handsome and graceful in design, would be incon- gruous even in remodeled surroundings. Door-frames as well as the wainscot betoken the age of the house, for in the earlier ones doors are perfectly plain in finish, elaboration in design of paneling and wood-carving coming into play at a little later period. Cornices widened and also became more elaborate as house building progressed, and a century after the first wainscot was used, we find them sometimes several inches in width and showing different motives, such as the egg and dart. These also are rarely found in [iS7l REMODELED FARMHOUSES an old farmhouse, for it must be remembered that our early ancestors had little time to think out elaboration in the interior finish of their homes which were built solely as shelters. In the reproductions of to-day the wide boards are not easy to find, unless they are taken from some old house. One of the most valuable boards is the pumpkin pine which is now rarely found, having disappeared from the New England forest long ago. Fortunate is the house owner who dis- covers this wood in his old farmhouse, for it is found only in the very oldest buildings. The softness of the wood and the great width of the boards distinguish it from the white pine. In 1695, on the shores of Cape Cod, not far from Cataumet, a small farmhouse was built, with four rooms down-stairs and two rooms and an unfinished attic above. It was the home of one of the early settlers and stood facing the highway, a simple, unpretentious dwelling of no particular design and incongruous architecture. Although it had been substantially built, it had been aban- doned for many years and was in a most dilapi- dated condition. Originally the water came nearly to its door, but the shore line gradually had re- ceded, so when first discovered, the little building [158] Before Remodeling The Front View WILLOWDALE C u -a o g EC u WILLOWDALE stood with its back to the road, and its face to the bare meadows. Like other houses of this early period, it was guiltless of paint, and its weather-beaten sides showed the wear and exposure of many years' conflict with the elements. To transform this house into a summer home equipped with ac- commodations adequate for a modern family, was a difficult problem. The proportions of the exterior were good but so simple that in order to extend the original quaint outline of the house without marring it, the additions had to be made with unusual care. The first step was to carefully study the period for correct remodeling and to lay out the five acres of grounds to balance the house and preserve symme- try of detail. A driveway starts at the entrance, where on a high pole swings a shield-like sign with a red background and showing the name of the house, Willowdale, in white. The estate is defined by a fence, and the house in its remodeled state is attractively located on rising land, many feet back from the main highway. A hundred years after the house was built, a new highway was opened at the rear; thus the front or south side was wholly screened from [iS9l REMODELED FARMHOUSES observation, and it was here that the new owner decided to lay out his garden. It is enclosed by a high fence painted white, with latticed panels stained green ; at the end a summer- house was erected, whose axis is the central path of flat stepping-stones that leads to the quaint porch entrance. Its three outer sides extend beyond the fence and command a broad view of the picturesque shore territory. The garden proper is of the old-fashioned type, in conformity with the old-time atmosphere of the estate, and the same sorts of flowers thrive in the trim beds that bloomed no doubt in the first owner's garden. Trailing vines conceal the fence outlining this plot from view. The only distinctive modern touch and yet one quite in harmony with the quaintness of the grounds is a large crystal gazing- bowl. This reflects in its luminous surface the nodding heads of the flowers, the floating clouds, the children dashing past, or the still loveliness of the summer sunset which preludes the night. The original house had been substantially built, and while appearing dilapidated, few of the shin- gles needed replacing even after two hundred years' wear. In the interior comparatively few repairs were necessary, paint and paper being the prin- [160! WILLOWDALE cipal requisites. Additions had to be made to secure the needed room, and the first problem was to arrange these to conform with the original quaint outline. The old part was of the old farm- house type, low of build. To the right a wing was built to contain three bedrooms and a bath- room, and to balance this a broad, covered ve- randa was added at the left ; behind this, at the rear, quarters for the kitchen, servants' hall, and chambers were thrown out. There was need of more light for the second-floor rooms in the old building, so dormers were inserted in the deep pitched roof at the front. The exterior was then painted dark red with a white trim, following the style of the first painted houses. Whether the red was used for economy's sake or not is a question, but it probably was, and proved most appropriate. Yellow was the next coloring used, which is shown by the fact that it is sometimes found with red underneath; the white paint came into vogue still later. Over the front door a small porch was built which was in strict keeping with the period. Trel- lises were erected at one side of the house for rambler roses and vines that would break the plain, solid effect of the shingled surface. An [161] REMODELED FARMHOUSES old-fashioned well was boxed in, at the rear of the kitchen entrance, and furnishes drinking- water for the family. The old chimney was retained, so that the fireplaces could be used. When the house was first built, there were two rooms at the front and at the rear a kitchen, kitchen-bedroom, and a dairy. The three small rooms were thrown into one large room which is now used as a dining-room. When the plaster was scraped off from the ceiling, it was found that there were hand-hewn beams underneath in such a good state of preservation that they were left uncovered, giving to the new apart- ment a distinctive touch. It was then discovered that the house had been built around a tree, for a substantial oak, with its roots deep in the ground and its large trunk still shouldering the roof beam, was disclosed. Underneath the old paper was found fine wood paneling which was scraped and painted white; next the fireplace was opened, and proved to be eight feet wide with a swinging crane at the back. This was restored to its original size, and a square, brick hearth was laid. The old floors were replaced by new ones, and the entire room was given the tone of the period. Rag rugs are laid on the floor, and [162] A Rear View The Living Room WlLLOWDALE Two of the Chambers WlLLOWDALE WILLOWDALE all the furniture represents seventeenth-century pieces. At one end of the room is the dining- table, and at the farther side, large French windows hung with chintz open on to a vine-clad veranda. The parlor, which opened from the dining-room, was covered with many layers of dirty wall-paper. When these were removed, it was discovered that there was a very fine wainscoting. In one corner was a three-cornered cupboard with a paneled door underneath. The fireplace was opened up, and when the room was painted it developed into one of the most charming rooms in the house. The paneling was painted just off the white, and the walls were hung with soft, gray paper with tiny pink flowers, making the color scheme of the room gray and pink. This was carried out in all the furnishings, the chintz used for cushions and the hangings harmonizing with these tones. Instead of having all the furniture of the Colonial period, comfortable willow chairs were introduced, in order to give the light, airy touch that makes a summer home distinctive. This is a large, livable room, well-lighted by many windows and looking out upon the lawn and the garden. The hallway is of the plain, simple type which was so common in the oldest houses. The walls [163] REMODELED FARMHOUSES are covered with a reproduction of an old-time landscape paper, and the passage forms the divi- sion line between the old sitting-room and the dining-room. This dining-room is now used as a chamber; it is large and sunny with a wide- open fireplace. It is furnished with an Empire bed and shows everything that would have been found in the early days in a chamber of this kind, even to the spirit lamp that stands on the high mantel, the warming-pan beside the generous fireplace, the oval mirror, and the wooden cradle with its hand-woven blanket, where now sleeps a twentieth-century baby. On the second story the rooms have been re- modeled and show the same good taste which prevails all through the house. The unfinished attic has been plastered, papered, and converted into two bedrooms which are equipped with the old-time furnishings and are used primarily as guest rooms. The gable windows make them light and airy and at the same time afford a charming glimpse of the garden, heavy with the fragrance of the sweet-smelling blossoms, much as it was two centuries ago. Willowdale is one of the most comfortable and well appointed of the many remodeled houses [164] WILLOWDALE that are found in New England. It is the posses- sion of such a quantity of fine old woodwork that has given the house its distinctive atmosphere, though this has been preserved and heightened by the good taste of the present residents, who have succeeded in making it a most livable dwell- ing. Every room is well lighted and well venti- lated, yet the house maintains in its renovated state all the quaintness and charm of a seventeenth- century home. It is a fine example of how an old house can be remodeled with little trouble and expense, and how the old and new can be combined harmoniously. [165] CHAPTER XV THE GEORGE E. BARNARD ESTATE IN remodeling a farmhouse, one should plan to build wide verandas, overlooking pleasing views. These can be glass-enclosed, so that during inclement weather one need not stay in- doors. Outdoor life is a part of the essentials in planning a summer home, and it means so much to the house owner that every possible means should be devised to secure it. With this object in view, why not lay out around the house attrac- tive flower beds ? Just a plain lawn does not mean much, but planted with trees, effective shrubbery, and well-planned gardens, it furnishes an induce- ment to sit on the porch and watch the ever changing views. In attempting this work, plan for vistas, well- selected spaces through which one can get glimpses of the world beyond. Have an objective point in view, so that the beauty of the setting sun and the clouds clothed in rainbow hues make it more attractive. Panorama effects are always inter- [166] Before Remodeling The Front of the House THE GEORGE E. BARNARD HOUSE