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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:47:22 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 02:47:22 -0700 |
| commit | 92f98b28de4df869c684073e2acb5b4a16753000 (patch) | |
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diff --git a/29334-h/29334-h.htm b/29334-h/29334-h.htm new file mode 100644 index 0000000..d386011 --- /dev/null +++ b/29334-h/29334-h.htm @@ -0,0 +1,10326 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of +The Colonial Architecture +of Philadelphia, by Frank Cousins and Phil M. Riley. + </title> + <style type="text/css"> + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + text-indent: 2%; + } + .c {text-align: center; + text-indent: 0%; + } + .cb {text-align: center; + text-indent: 0%;font-weight:800; + } + .copies {font-size:70%; + text-indent: 0%;margin:15% 30% 15% 30%; + } + .head {text-align: center;margin:5% auto 5% auto; + text-indent: 0%;font-weight:800; + } + .noindent {text-indent:0%; + } + h1 {text-align: center;clear: both; + } + h2,h3 {margin-top:15%; + text-align: center; + clear: both; + } + .top5 {margin-top: 5%;} + .top15 {margin-top: 15%;} + hr.full { width: 100%; + margin-top: 5%; + margin-bottom: 5%; + border: solid black; + height: 5px; } + table {margin-left: auto; margin-right: auto;} + body{margin-left: 10%; + margin-right: 10%; + background:#fdfdfd; + color:black; + font-family: "Times New Roman", serif; + font-size: large; + } + ul {list-style-type: none;text-indent: -1em;} + li {padding:0.4%;} + a:link {background-color: #ffffff; color: blue; text-decoration: none; } + link {background-color: #ffffff; color: blue; text-decoration: none; } + a:visited {background-color: #ffffff; color: blue; text-decoration: none; } + a:hover {background-color: #ffffff; color: red; text-decoration:underline; } + .page-number { position: absolute; + left: 92%; + font-size: 70%; + text-align: right; + border: 1px solid silver; + color: gray; + background-color: #ffffff; + padding: 1px 4px 1px 4px; + font-variant: normal; + font-weight: normal; + text-decoration: none; + text-indent: 0em; + } + .smcap {font-variant: small-caps; + font-family: "Times New Roman", serif; + font-size: 100%; + } + .smcap2 {font-variant: small-caps; + font-family: "Times New Roman", serif; + font-size: 115%;font-weight:800; + } + .lg {float:left; + font-size:325%; + line-height:38px; + padding:2.%;margin-top:.51%; + } + .sml {font-size:90%;} + img {border: none;} + .box {border: double 15px black; + margin:15% auto 10% auto;max-width:450px;} + .caption {font-size:80%;text-align: center; + text-indent: 0%;font-weight:700;} + .illustration {margin:3% auto 3% auto; text-align: center;padding:1.5%;} + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Colonial Architecture of Philadelphia, by +Frank Cousins and Phil M. Riley + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Colonial Architecture of Philadelphia + +Author: Frank Cousins + Phil M. Riley + +Release Date: July 6, 2009 [EBook #29334] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK COLONIAL ARCHITECTURE--PHILADELPHIA *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at https://www.pgdp.net (This file was +produced from images generously made available by the +Digital & Multimedia Center, Michigan State University +Libraries.) + + + + + + +</pre> + + +<hr class="full" /> + +<table summary="note" border="2" cellpadding="10" style="background-color: #ffffcc;"> + <tr> + <td valign="top"> + Note from the producer of this etext:<br />A larger version of any of the images may be viewed +by clicking directly on the image.</td> + </tr> +</table> + +<h2><i>The Colonial Architecture<br /> +of Philadelphia</i></h2> + + +<p class="copies">Nine hundred and seventy-five copies of <b><i>The Colonial Architecture of +Philadelphia</i></b>, of which nine hundred and fifty are for sale, have been +printed from type and the type distributed.<br /> <br /> +This copy is Number 201</p> + + + +<div class="illustration" style="width: 223px;"><a name="PL_1" id="PL_1"></a> +<a href="images/ill_002_pl_1.png"> +<img src="images/ill_002_pl_1_th.png" width="223" height="400" +alt="Plate I.—Doorway, Cliveden, Germantown." /></a> +<span class="caption"><span class="smcap">Plate I</span>.—Doorway, Cliveden, Germantown.</span> +</div> + +<div class="box"> +<h1> +<i>The<br /> +Colonial Architecture<br /> +of Philadelphia</i></h1> + + +<p class="cb"><i>By</i></p> + +<p class="cb"><i>Frank Cousins and Phil M. Riley</i></p> + +<p class="cb"><i>Illustrated</i></p> + +<p class="c top5"><img src="images/ill_001.png" +width="75" +height="108" +alt="logo" /></p> + +<p class="cb top5"><i>Boston</i><br /> +<br /> +<i>Little, Brown, and Company</i><br /> +<br /> +<i>1920</i></p> +</div> + +<p class="c sml"> +<b><i>Copyright, 1920,</i><br /> +<br /> +<span class="smcap">By Little, Brown, and Company.</span><br /> +<br /> +<i>All rights reserved</i></b><br /> +</p> + +<p> + +<span class='page-number'><a name="Page_v" id="Page_v">v</a></span></p> + +<h3><i>Foreword</i></h3> + +<p class="noindent"><span class="lg">S</span><span class="smcap2">o</span> many books have been published which are devoted wholly or in part to +the fine old Colonial residences and public buildings of Philadelphia, +including Germantown, that it might seem almost the part of temerity to +suppose there could be a place for another one. A survey of the entire +list, however, discloses the fact that almost without exception these +books are devoted primarily to a picture of the city in Colonial times, +to the stories of its old houses and other buildings now remaining, or +to an account of the activities of those who peopled them from one to +two centuries ago. Some more or less complete description of the +structures mentioned has occasionally been included, to be sure, but +almost invariably this has been subordinate to the main theme. The +narrative has been woven upon a historical rather than an architectural +background, so that these books appeal to the tourist, historian and +antiquary rather than to the architect, student and prospective home +builder.</p> + +<p>Interesting as was the provincial life of this community; absorbing as +are the reminiscences attaching to its well-known early buildings; +important as + +<span class='page-number'><a name="Page_vi" id="Page_vi">vi</a></span> were the activities of those who made them part and parcel +of our national life, the Colonial architecture of this vicinity is in +itself a priceless heritage—extensive, meritorious, substantial, +distinctive. It is a heritage not only of local but of national +interest, deserving detailed description, analysis and comparison in a +book which includes historic facts only to lend true local color and +impart human interest to the narrative, to indicate the sources of +affluence and culture which aided so materially in developing this +architecture, and to describe the life and manners of the time which +determined its design and arrangement. Such a book the authors have +sought to make the present volume, and both Mr. Riley in writing the +text and Mr. Cousins in illustrating it have been actuated primarily by +architectural rather than historic values, although in most instances +worthy of inclusion the two are inseparable.</p> + +<p>For much of the historic data the authors acknowledge their indebtedness +to the authors of previous Philadelphia books, notably "Philadelphia, +the City and Its People" and "The Literary History of Philadelphia", +Ellis Paxon Oberholtzer; "Old Roads Out of Philadelphia" and "The +Romance of Old Philadelphia", John Thomson Faris; "The History of +Philadelphia" and "Historic Mansions of Philadelphia", T. Westcott; "The +Colonial Homes of Philadelphia and Its Neighborhood", Harold Donaldson + +<span class='page-number'><a name="Page_vii" id="Page_vii">vii</a></span> +Eberlein and Horace Mather Lippincott; "Colonial Mansions ", Thomas +Allen Glenn; "The Guide Book to Historic Germantown", Charles Francis +Jenkens; "Germantown Road and Its Associations", Townsend Ward. Ph. B. +Wallace, of Philadelphia, photographed some of the best subjects.</p> + +<p>The original boundaries of Philadelphia remained unchanged for one +hundred and seventy-five years after the founding of the city, the +adjoining territory, as it became populated, being erected into +corporated districts in the following order: Southwark, 1762; Northern +Liberties, 1771; Moyamensing, 1812; Spring Garden, 1813; Kensington, +1820; Penn, 1844; Richmond, 1847; West Philadelphia, 1851; and Belmont, +1853. In 1854 all these districts, together with the boroughs of +Germantown, Frankford, Manayunk, White Hall, Bridesburg and Aramingo, +and the townships of Passyunk, Blockley, Kingsessing, Roxborough, +Germantown, Bristol, Oxford, Lower Dublin, Moreland, Byberry, Delaware +and Penn were abolished by an act of the State legislature, and the +boundaries of the city of Philadelphia were extended to the Philadelphia +county lines.</p> + +<p>Such of these outlying communities as had been settled prior to the +Revolution were closely related to Philadelphia by common interests, a +common provincial government and a common architecture. For these +reasons, therefore, it seems more logical + +<span class='page-number'><a name="Page_viii" id="Page_viii">viii</a></span> that this treatise devoted to +the Colonial architecture of the first capitol of the United States +should embrace the greater city of the present day rather than confine +itself to the city proper of Colonial times. Otherwise it would be a +problem where to draw the line, and much of value would be omitted. The +wealth of material thus comprehended is so great, however, that it is +impossible in a single book of ordinary size to include more than a +fractional part of it. An attempt has therefore been made to present an +adequate number of representative types chosen with careful regard, +first, to their architectural merit, and second, to their historic +interest. Exigencies of space are thus the only reason for the omission +of numerous excellent houses without historic association and others +rich in history but deficient in architecture.</p> + +<p><span style="margin-left: 30%;"><span class="smcap">Frank Cousins and Phil M. Riley.</span></span></p> + +<p><span class="smcap">April</span> <span class="sml">1, 1920</span></p> + + + +<h3><i>Contents</i></h3> + +<p><span class='page-number'><a name="Page_ix" id="Page_ix">ix</a></span></p> + + +<table +border="0" +summary="toc" +cellspacing="2" +cellpadding="4" +class="smcap"> +<tr><td>chapter</td><td> </td><td>page</td></tr> + +<tr><td> </td><td>Foreword</td><td align="right"><a href="#Page_v">v</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_I"><b>I</b></a>.</td><td>Philadelphia Architecture</td><td align="right"><a href="#Page_1">1</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_II"><b>II</b></a>.</td><td>Georgian Country Houses of Brick</td><td align="right"><a href="#Page_16">16</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_III"><b>III</b></a>.</td><td>City Residences of Brick</td><td align="right"><a href="#Page_38">38</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_IV"><b>IV</b></a>.</td><td>Ledge-stone Country Houses</td><td align="right"><a href="#Page_53">53</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_V"><b>V</b></a>.</td><td>Plastered Stone Country Houses</td><td align="right"><a href="#Page_69">69</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_VI"><b>VI</b></a>.</td><td>Hewn Stone Country Houses</td><td align="right"><a href="#Page_86">86</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_VII"><b>VII</b></a>.</td><td>Doorways and Porches</td><td align="right"><a href="#Page_101">101</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_VIII"><b>VIII</b></a>.</td><td>Windows and Shutters</td><td align="right"><a href="#Page_134">134</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_IX"><b>IX</b></a>.</td><td>Halls and Staircases</td><td align="right"><a href="#Page_153">153</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_X"><b>X</b></a>.</td><td>Mantels and Chimney Pieces</td><td align="right"><a href="#Page_169">169</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_XI"><b>XI</b></a>.</td><td>Interior Wood Finish</td><td align="right"><a href="#Page_185">185</a></td></tr> + +<tr><td align="right"><a href="#CHAPTER_XII"><b>XII</b></a>.</td><td>Public Buildings</td><td align="right"><a href="#Page_196">196</a></td></tr> + +<tr><td> </td><td>Index</td><td align="right"><a href="#INDEX">227</a></td></tr> +</table> + + + +<p><span class='page-number'><a name="Page_xi" id="Page_x">x</a></span></p> +<p> </p> + +<h3><i>List of Plates</i></h3> + +<p><span class='page-number'><a name="Page_xi" id="Page_xi">xi</a></span></p> +<table +border="0" +summary="plates" +cellspacing="2" +cellpadding="5"> +<tr><td valign="top" align="right"><a href="#PL_1"><b>I</b></a>.</td><td>Doorway, Cliveden, Germantown</td><td align="right" valign="bottom"><a href="#PL_1"><i>Frontispiece</i></a></td></tr> + +<tr valign="top"><td colspan="2"> </td><td class="smcap" align="right">page</td></tr> + +<tr><td valign="top" align="right"><a href="#PL_2"><b>II</b></a>.</td><td>Old Mermaid Inn, Mount Airy; Old Red Lion +Inn</td><td align="right" valign="bottom"><a href="#Page_6">6</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_3"><b>III</b></a>.</td><td>Camac Street, "The Street of Little Clubs"; +Woodford, Northern Liberties, Fairmount +Park. Erected by William Coleman in 1756</td><td align="right" valign="bottom"><a href="#Page_7">7</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_4"><b>IV</b></a>.</td><td>Stenton, Germantown Avenue, Germantown. +Erected by James Logan in 1727</td><td align="right" valign="bottom"><a href="#Page_12">12</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_5"><b>V</b></a>.</td><td>Hope Lodge, Whitemarsh Valley. Erected by +Samuel Morris in 1723; Home of Stephen +Girard</td><td align="right" valign="bottom"><a href="#Page_13">13</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_6"><b>VI</b></a>.</td><td>Port Royal House, Frankford. Erected in 1762<br /> +by Edward Stiles</td><td align="right" valign="bottom"><a href="#Page_16">16</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_7"><b>VII</b></a>.</td><td>Blackwell House, 224 Pine Street. Erected +about 1765 by John Stamper; Wharton +House, 336 Spruce Street. Erected prior to +1796 by Samuel Pancoast</td><td align="right" valign="bottom"><a href="#Page_17">17</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_8"><b>VIII</b></a>.</td><td>Morris House, 225 South Eighth Street. Erected +in 1786 by John Reynolds</td><td align="right" valign="bottom"><a href="#Page_20">20</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_9"><b>IX</b></a>.</td><td>Wistar House, Fourth and Locust Streets. +Erected about 1750; Betsy Ross House, +239 Arch Street</td><td align="right" valign="bottom"><a href="#Page_21">21</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_10"><b>X</b></a>.</td><td>Glen Fern, on Wissahickon Creek, Germantown. +Erected about 1747 by Thomas Shoemaker; +Grumblethorpe, 5261 Germantown Avenue, +Germantown. Erected in 1744 by John +Wister</td><td align="right" valign="bottom"><a href="#Page_24">24</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_11"><b>XI</b></a>.</td><td> +<span class='page-number'><a name="Page_xii" id="Page_xii">xii</a></span> +Upsala, Germantown Avenue and Upsala +Streets, Germantown. Erected in 1798<br /> +by John Johnson; End Perspective of +Upsala</td><td align="right" valign="bottom"><a href="#Page_25">25</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_12"><b>XII</b></a>.</td><td>The Woodlands, Blockley Township, West +Philadelphia. Erected in 1770 by +William Hamilton; Stable at The +Woodlands</td><td align="right" valign="bottom"><a href="#Page_28">28</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_13"><b>XIII</b></a>.</td><td>Wyck, Germantown Avenue and Walnut Lane, +Germantown. Erected by Hans Millan +about 1690; Hall and Entrance Doorways, +Wyck</td><td align="right" valign="bottom"><a href="#Page_29">29</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_14"><b>XIV</b></a>.</td><td>Mount Pleasant, Northern Liberties, Fairmount +Park. Erected in 1761 by Captain +James Macpherson; The Main House, +Mount Pleasant</td><td align="right" valign="bottom"><a href="#Page_32">32</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_15"><b>XV</b></a>.</td><td>Deschler-Perot-Morris House, 5442 Germantown +Avenue, Germantown. Erected +in 1772 by Daniel Deschler; Vernon, +Vernon Park, Germantown. Erected in +1803 by James Matthews</td><td align="right" valign="bottom"><a href="#Page_33">33</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_16"><b>XVI</b></a>.</td><td>Loudoun, Germantown Avenue and Apsley +Street, Germantown. Erected in 1801 by +Thomas Armat; Solitude, Blockley Township, +Fairmount Park. Erected in 1785<br /> +by John Penn</td><td align="right" valign="bottom"><a href="#Page_34">34</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_17"><b>XVII</b></a>.</td><td>Cliveden, Germantown Avenue and Johnson +Street, Germantown. Erected in 1781 by +Benjamin Chew</td><td align="right" valign="bottom"><a href="#Page_35">35</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_18"><b>XVIII</b></a>.</td><td>Detail of Cliveden Façade; Detail of Bartram +House Façade</td><td align="right" valign="bottom"><a href="#Page_40">40</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_19"><b>XIX</b></a>.</td><td>The Highlands, Skippack Pike, Whitemarsh. +Erected in 1796 by Anthony Morris</td><td align="right" valign="bottom"><a href="#Page_41">41</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_20"><b>XX</b></a>.</td><td><span class='page-number'><a name="Page_xiii" id="Page_xiii">xiii</a></span> Bartram House, Kingsessing, West Philadelphia. +Erected in 1730-31 by +John Bartram; Old Green Tree Inn, +6019 Germantown Avenue, Germantown. +Erected in 1748</td><td align="right" valign="bottom"><a href="#Page_46">46</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_21"><b>XXI</b></a>.</td><td>Johnson House, 6306 Germantown Avenue, +Germantown. Erected in 1765-68 by +Dirck Jansen; Billmeyer House, +Germantown Avenue, Germantown. +Erected in 1727</td><td align="right" valign="bottom"><a href="#Page_47">47</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_22"><b>XXII</b></a>.</td><td>Hooded Doorway, Johnson House, Germantown; +Hooded Doorway, Green Tree +Inn</td><td align="right" valign="bottom"><a href="#Page_52">52</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_23"><b>XXIII</b></a>.</td><td>Pedimental Doorway, 114 League Street; +Pedimental Doorway, 5933 Germantown +Avenue</td><td align="right" valign="bottom"><a href="#Page_53">53</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_24"><b>XXIV</b></a>.</td><td>Doorway, 5011 Germantown Avenue; +Doorway, Morris House, 225 South +Eighth Street</td><td align="right" valign="bottom"><a href="#Page_56">56</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_25"><b>XXV</b></a>.</td><td>Doorway, 6504 Germantown Avenue; +Doorway, 709 Spruce Street</td><td align="right" valign="bottom"><a href="#Page_57">57</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_26"><b>XXVI</b></a>.</td><td>Doorway, 5200 Germantown Avenue; +Doorway, 4927 Frankford Avenue</td><td align="right" valign="bottom"><a href="#Page_60">60</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_27"><b>XXVII</b></a>.</td><td><span class='page-number'><a name="Page_xiv" id="Page_xiv">xiv</a></span> Doorway, Powel House, 244 South Third +Street; Doorway, Wharton House, +336 Spruce Street</td><td align="right" valign="bottom"><a href="#Page_61">61</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_28"><b>XXVIII</b></a>.</td><td>Doorway, 301 South Seventh Street</td><td align="right" valign="bottom"><a href="#Page_64">64</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_29"><b>XXIX</b></a>.</td><td>Doorway, Grumblethorpe, 5621 Germantown +Avenue; Doorway, 6105<br /> +Germantown Avenue</td><td align="right" valign="bottom"><a href="#Page_65">65</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_30"><b>XXX</b></a>.</td><td>Doorway, Doctor Denton's House, +Germantown</td><td align="right" valign="bottom"><a href="#Page_68">68</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_31"><b>XXXI</b></a>.</td><td>West Entrance, Mount Pleasant, Fairmount +Park; East Entrance, Mount Pleasant</td><td align="right" valign="bottom"><a href="#Page_69">69</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_32"><b>XXXII</b></a>.</td><td>Doorway, Solitude, Fairmount Park; +Doorway, Perot-Morris House, 5442<br /> +Germantown Avenue</td><td align="right" valign="bottom"><a href="#Page_72">72</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_33"><b>XXXIII</b></a>.</td><td>Entrance Porch and Doorway, Upsala, Germantown; +Elliptical Porch and Doorway, +39 Fisher's Lane, Wayne Junction</td><td align="right" valign="bottom"><a href="#Page_73">73</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_34"><b>XXXIV</b></a>.</td><td>Doorway, 224 South Eighth Street; Doorway, +Stenton</td><td align="right" valign="bottom"><a href="#Page_78">78</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_35"><b>XXXV</b></a>.</td><td>Doorway and Ironwork, Southeast Corner +of Eighth and Spruce Streets</td><td align="right" valign="bottom"><a href="#Page_79">79</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_36"><b>XXXVI</b></a>.</td><td>Doorway and Ironwork, Northeast Corner +of Third and Pine Streets; Stoop +with Curved Stairs and Iron Handrail, +316 South Third Street</td><td align="right" valign="bottom"><a href="#Page_84">84</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_37"><b>XXXVII</b></a>.</td><td>Stoop and Balustrade, Wistar House; Stoop +and Balustrade, 130 Race Street</td><td align="right" valign="bottom"><a href="#Page_85">85</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_38"><b>XXXVIII</b></a>.</td><td>Detail of Iron Balustrade, 216 South +Ninth Street; Stoop with Wing +Flights, 207 La Grange Alley</td><td align="right" valign="bottom"><a href="#Page_88">88</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_39"><b>XXXIX</b></a>.</td><td>Iron Newel, Fourth and Liberty Streets; +Iron Newel, 1107 Walnut Street</td><td align="right" valign="bottom"><a href="#Page_89">89</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_40"><b>XL</b></a>.</td><td>Footscraper, Wyck; Old Philadelphia +Footscraper; Footscraper, Third and +Spruce Streets; Footscraper, Dirck-Keyser +House, Germantown</td><td align="right" valign="bottom"><a href="#Page_92">92</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_41"><b>XLI</b></a>.</td><td>Footscraper, 320 South Third Street; +Footscraper, South Third Street; +Footscraper, Vernon, Germantown; +Footscraper, 239 Pine Street</td><td align="right" valign="bottom"><a href="#Page_93">93</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_42"><b>XLII</b></a>.</td><td> +<span class='page-number'><a name="Page_xv" id="Page_xv">xv</a></span> Iron Stair Rail and Footscraper, South +Seventh Street (section); Iron Stair +Rail and Footscraper, South Fourth +Street (section); Iron Stair Rail and +Footscraper, Seventh and Locust +Streets (section); Iron Stair Rail +and Footscraper, Seventh and Locust +Streets (section)</td><td align="right" valign="bottom"><a href="#Page_98">98</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_43"><b>XLIII</b></a>.</td><td>Detail of Window and Shutters, Morris +House</td><td align="right" valign="bottom"><a href="#Page_99">99</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_44"><b>XLIV</b></a>.</td><td>Window and Shutters, Free Quakers' +Meeting House, Fifth and Arch +Streets; Second Story Window, Free +Quakers' Meeting House</td><td align="right" valign="bottom"><a href="#Page_102">102</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_45"><b>XLV</b></a>.</td><td>Detail of Window, Combes Alley; Window +and Shutters, Cliveden; Window, Bartram +House</td><td align="right" valign="bottom"><a href="#Page_103">103</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_46"><b>XLVI</b></a>.</td><td>Window, Stenton; Window and Shutters, +128 Race Street</td><td align="right" valign="bottom"><a href="#Page_106">106</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_47"><b>XLVII</b></a>.</td><td>Dormer, Witherill House, 130 North Front +Street; Dormer, 6105 Germantown +Avenue, Germantown; Foreshortened +Window, Morris House; Dormer, +Stenton; Window and Shutters, +Witherill House; Window and +Blinds, 6105 Germantown Avenue</td><td align="right" valign="bottom"><a href="#Page_107">107</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_48"><b>XLVIII</b></a>.</td><td>Shutter Fastener, Cliveden; Shutter +Fastener, Wyck; Shutter Fastener, +Perot-Morris House; Shutter Fastener, +6043 Germantown Avenue</td><td align="right" valign="bottom"><a href="#Page_110">110</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_49"><b>LIX</b></a>.</td><td>Detail of Round Headed Window, Congress +Hall; Detail of Round Headed +Window, Christ Church</td><td align="right" valign="bottom"><a href="#Page_111">111</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_50"><b>L</b></a>.</td><td>Fenestration, Chancel End, St. Peter's +Church</td><td align="right" valign="bottom"><a href="#Page_114">114</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_51"><b>LI</b></a>.</td><td>Details of Round Headed Windows, +Christ Church</td><td align="right" valign="bottom"><a href="#Page_115">115</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_52"><b>LII</b></a>.</td><td>Chancel Window, Christ Church; Palladian +Window and Doorway, Independence +Hall</td><td align="right" valign="bottom"><a href="#Page_118">118</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_53"><b>LIII</b></a>.</td><td><span class='page-number'><a name="Page_xvi" id="Page_xvi">xvi</a></span> Palladian Window, The Woodlands</td><td align="right" valign="bottom"><a href="#Page_119">119</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_54"><b>LIV</b></a>.</td><td>Great Hall and Staircase, Stenton</td><td align="right" valign="bottom"><a href="#Page_122">122</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_55"><b>LV</b></a>.</td><td>Hall and Staircase, Whitby Hall; Detail +of Staircase, Whitby Hall</td><td align="right" valign="bottom"><a href="#Page_123">123</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_56"><b>LVI</b></a>.</td><td>Hall and Staircase, Mount Pleasant; +Second Floor Hall Archway and +Palladian Window, Mount Pleasant</td><td align="right" valign="bottom"><a href="#Page_126">126</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_57"><b>LVII</b></a>.</td><td>Hall and Staircase, Cliveden; Staircase +Detail, Cliveden</td><td align="right" valign="bottom"><a href="#Page_127">127</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_58"><b>LVIII</b></a>.</td><td>Detail of Staircase Balustrade and Newel, +Upsala; Staircase Balustrade, Roxborough</td><td align="right" valign="bottom"><a href="#Page_130">130</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_59"><b>LIX</b></a>.</td><td>Staircase Detail, Upsala; Staircase +Balustrade, Gowen House, Mount +Airy</td><td align="right" valign="bottom"><a href="#Page_131">131</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_60"><b>LX</b></a>.</td><td>Detail of Stair Ends, Carpenter House, +Third and Spruce Streets; Detail of +Stair Ends, Independence Hall +(horizontal section)</td><td align="right" valign="bottom"><a href="#Page_134">134</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_61"><b>LXI</b></a>.</td><td>Chimney Piece in the Hall, Stenton; +Chimney Piece and Paneled Wall, +Great Chamber, Mount Pleasant</td><td align="right" valign="bottom"><a href="#Page_135">135</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_62"><b>LXII</b></a>.</td><td>Chimney Piece and Paneled Wall, Parlor, +Whitby Hall</td><td align="right" valign="bottom"><a href="#Page_138">138</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_63"><b>LXIII</b></a>.</td><td>Chimney Piece, Parlor, Mount Pleasant; +Chimney Piece, Parlor, Cliveden</td><td align="right" valign="bottom"><a href="#Page_139">139</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_64"><b>LXIV</b></a>.</td><td>Chimney Piece and Paneled Wall on the +Second Floor of an Old Spruce Street +House; Detail of Mantel, 312 Cypress +Street</td><td align="right" valign="bottom"><a href="#Page_142">142</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_65"><b>LXV</b></a>.</td><td>Parlor Mantel, Upsala; Detail of Parlor +Mantel, Upsala</td><td align="right" valign="bottom"><a href="#Page_143">143</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_66"><b>LXVI</b></a>.</td><td>Mantel at Upsala; Mantel at Third and<span class='page-number'><a name="Page_xvii" id="Page_xvii">xvii</a></span>DeLancy Streets</td><td align="right" valign="bottom"><a href="#Page_144">144</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_67"><b>LXVII</b></a>.</td><td>Mantel, Rex House, Mount Airy; Mantel +at 729 Walnut Street</td><td align="right" valign="bottom"><a href="#Page_145">145</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_68"><b>LXVIII</b></a>.</td><td>Parlor, Stenton; Reception Room, Stenton</td><td align="right" valign="bottom"><a href="#Page_148">148</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_69"><b>LXIX</b></a>.</td><td>Dining Room, Stenton; Library, Stenton</td><td align="right" valign="bottom"><a href="#Page_149">149</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_70"><b>LXX</b></a>.</td><td>Pedimental Doorway, First Floor, Mount +Pleasant; Pedimental Doorway, +Second Floor, Mount Pleasant</td><td align="right" valign="bottom"><a href="#Page_152">152</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_71"><b>LXXI</b></a>.</td><td>Doorways, Second Floor Hall, Mount +Pleasant; Doorway Detail, Whitby +Hall</td><td align="right" valign="bottom"><a href="#Page_153">153</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_72"><b>LXXII</b></a>.</td><td>Inside of Front Door, Whitby Hall; +Palladian Window on Stair Landing, +Whitby Hall</td><td align="right" valign="bottom"><a href="#Page_156">156</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_73"><b>LXXIII</b></a>.</td><td>Window Detail, Parlor, Whitby Hall; +Window Detail, Dining Room, Whitby +Hall</td><td align="right" valign="bottom"><a href="#Page_157">157</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_74"><b>LXXIV</b></a>.</td><td>Ceiling Detail, Solitude; Cornice and +Frieze Detail, Solitude</td><td align="right" valign="bottom"><a href="#Page_160">160</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_75"><b>LXXV</b></a>.</td><td>Independence Hall, Independence Square +Side. Begun in 1731</td><td align="right" valign="bottom"><a href="#Page_161">161</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_76"><b>LXXVI</b></a>.</td><td>Independence Hall, Chestnut Street +Side</td><td align="right" valign="bottom"><a href="#Page_164">164</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_77"><b>LXXVII</b></a>.</td><td>Independence Hall, Stairway; Liberty +Bell, Independence Hall</td><td align="right" valign="bottom"><a href="#Page_165">165</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_78"><b>LXXVIII</b></a>.</td><td>Stairway Landing, Independence Hall; +Palladian Window at Stairway Landing</td><td align="right" valign="bottom"><a href="#Page_170">170</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_79"><b>LXXIX</b></a>.</td><td>Declaration Chamber, Independence Hall</td><td align="right" valign="bottom"><a href="#Page_171">171</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_80"><b>LXXX</b></a>.</td><td>Judge's Bench, Supreme Court Room, +Independence Hall; Arcade at Opposite +End of Court Room</td><td align="right" valign="bottom"><a href="#Page_174">174</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_81"><b>LXXXI</b></a>.</td><td>Banquet Hall, Second Floor, Independence<span class='page-number'><a name="Page_xviii" id="Page_xviii">xviii</a></span>Hall; Entrance to Banquet Hall</td><td align="right" valign="bottom"><a href="#Page_175">175</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_82"><b>LXXXII</b></a>.</td><td>Congress Hall, Sixth and Chestnut Streets. +Completed in 1790; Congress Hall +from Independence Square</td><td align="right" valign="bottom"><a href="#Page_180">180</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_83"><b>LXXXIII</b></a>.</td><td>Stair Hall Details, Congress Hall</td><td align="right" valign="bottom"><a href="#Page_181">181</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_84"><b>LXXXIV</b></a>.</td><td>Interior Detail of Main Entrance, Congress +Hall; President's Dais, Senate +Chamber, Congress Hall</td><td align="right" valign="bottom"><a href="#Page_190">190</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_85"><b>LXXXV</b></a>.</td><td>Gallery, Senate Chamber, Congress Hall</td><td align="right" valign="bottom"><a href="#Page_191">191</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_86"><b>LXXXVI</b></a>.</td><td>Carpenters' Hall, off Chestnut Street +between South Third and South +Fourth Streets. Erected in 1770; +Old Market House, Second and Pine +Streets</td><td align="right" valign="bottom"><a href="#Page_196">196</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_87"><b>LXXXVII</b></a>.</td><td>Main Building, Pennsylvania Hospital. +Erected in 1755</td><td align="right" valign="bottom"><a href="#Page_197">197</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_88"><b>LXXXVIII</b></a>.</td><td>Main Hall and Double Staircase, Pennsylvania +Hospital</td><td align="right" valign="bottom"><a href="#Page_206">206</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_89"><b>LXXXIX</b></a>.</td><td>Custom House, Fifth and Chestnut +Streets. Completed in 1824; Main +Building, Girard College. Begun in +1833</td><td align="right" valign="bottom"><a href="#Page_207">207</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_90"><b>XC</b></a>.</td><td>Old Stock Exchange, Walnut and Dock +Streets; Girard National Bank, 116<br /> +South Third Street</td><td align="right" valign="bottom"><a href="#Page_210">210</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_91"><b>XCI</b></a>.</td><td>Christ Church, North Second Street near +Market Street. Erected in 1727-44; +Old Swedes' Church, Swanson and +Christian Streets. Erected in 1698-1700</td><td align="right" valign="bottom"><a href="#Page_211">211</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_92"><b>XCII</b></a>.</td><td>St. Peter's Church, South Third and +Pine Streets. Erected in 1761; Lectern, +St. Peter's Church</td><td align="right" valign="bottom"><a href="#Page_216">216</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_93"><b>XCIII</b></a>.</td><td>Interior and Chancel, Christ Church; +Interior and Lectern, St. Peter's<span class='page-number'> +<a name="Page_xix" id="Page_xix">xix</a></span>Church</td><td align="right" valign="bottom"><a href="#Page_217">217</a></td></tr> + + +<tr><td valign="top" align="right"><a href="#PL_94"><b>XCIV</b></a>.</td><td>Interior and Chancel, Old Swedes' Church; +St. Paul's Church, South Third Street +near Walnut Street</td><td align="right" valign="bottom"><a href="#Page_220">220</a></td></tr> + +<tr><td valign="top" align="right"><a href="#PL_95"><b>XCV</b></a>.</td><td>Mennonite Meeting House, Germantown. +Erected in 1770; Holy Trinity +Church, South Twenty-first and Walnut +Streets</td><td align="right" valign="bottom"><a href="#Page_221">221</a></td></tr> +</table> + + +<h2><span class='page-number'><a name="Page_1" id="Page_1"> +<span class="sml">Page 1</span></a></span><i>The Colonial Architecture<br />of Philadelphia</i></h2> + + +<h3 class="top5"><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h3> + +<p class="head">PHILADELPHIA ARCHITECTURE</p> + +<p class="noindent"><span class="lg">P</span><span class="smcap2">hiladelphia</span> +occupies a unique position in American architecture. Few of +the early settled cities of the United States can boast so extensive or +so notable a collection of dwellings and public buildings in the +so-called Colonial style, many of them under auspices that insure their +indefinite perpetuation. These beautiful old structures are almost +exclusively of brick and stone and of a more elaborate and substantial +character than any contemporary work to be found above the Mason and +Dixon line which later became in part the boundary between the North and +the South. Erected and occupied by the leading men of substance of the +Province of Pennsylvania, the fine old countryseats, town residences and +public buildings of the "City of Brotherly Love" not only comprise a +priceless architectural inheritance, but the glamour of their historic +association renders them almost<span class='page-number'><a name="Page_2" id="Page_2">2</a></span>national monuments, and so object +lessons of material assistance in keeping alive the spirit and ideals of +true Americanism.</p> + +<p>Much of the best Colonial domestic architecture in America is to be +found in this vicinity, a great deal of it still standing in virtually +its pristine condition as enduring memorials of the most elegant period +in Colonial life. Just as men have personality, so houses have +individuality. And as the latter is but a reflection of the former, a +study of the architecture of any neighborhood gives us a more intimate +knowledge of contemporary life and manners, while the history of the +homes of prominent personages is usually the history of the community. +Such a study is the more interesting in the present instance, however, +in that not merely local but national history was enacted within the +Colonial residences and public buildings of old Philadelphia. Men +prominent in historic incidents of Colonial times which profoundly +affected the destiny of the country lived in Philadelphia. The fathers +of the American nation were familiar figures on the streets of the city, +and Philadelphians in their native city wrote their names large in +American history.</p> + +<p>Philadelphia was not settled until approximately half a century later +than the other early centers of the North,—Plymouth, New York, Salem, +Boston and Providence. Georgian archi + +<span class='page-number'><a name="Page_3" id="Page_3">3</a></span>tecture had completely won the +approval of the English people, and so it was that few if any buildings +showing Elizabethan and Jacobean influences were erected here as in New +England. Although several other nationalities were from the first +represented in the population, notably the Swedish, Dutch and German, +the British were always in the majority, and while a few old houses, +especially those with plastered walls, have a slightly Continental +atmosphere, all are essentially Georgian or pure Colonial in design and +detail.</p> + +<p>To understand how this remarkable collection of Colonial architecture +came into being, and to appreciate what it means to us, it is necessary +briefly to review the early history of Philadelphia. Although some small +trading posts had been established by the Swedes and Dutch in the lower +valley of the Delaware River from 1623 onward, it was not until 1682 +that Philadelphia was settled under a charter which William Penn +obtained from Charles II the previous year, providing a place of refuge +for Quakers who were suffering persecution in England under the +"Clarendon Code." The site was chosen by Penn's commission, consisting +of Nathaniel Allen, John Bezan and William Heage, assisted by Penn's +cousin, Captain William Markham, as deputy governor, and Thomas Holme as +surveyor-general. The Swedes had established a settlement at the mouth +of the Schuylkill River + +<span class='page-number'><a name="Page_4" id="Page_4">4</a></span> not later than 1643, and the site selected by +the commissioners was held by three brothers of the Swaenson family. +They agreed, however, to take in exchange land in what is now known as +the Northern Liberties, and in the summer of 1682, Holme laid out the +city extending from the Delaware River on the east to the Schuylkill +River on the west—a distance of about two miles—and from Vine Street +on the north to Cedar, now South Street, on the south,—a distance of +about one mile. Penn landed at New Castle on the Delaware, October 27, +1682, and probably came to his newly founded city soon afterward. A +meeting of the Provincial Council was held March 10, 1683, and from that +time Philadelphia was the capital of Pennsylvania until 1799, when +Lancaster was chosen.</p> + +<p>Not only did Penn obtain a grant of land possessed of rare and +diversified natural beauty, extreme fertility, mineral wealth and +richness of all kinds, but he showed great sagacity in encouraging +ambitious men of education and affluence, and artisans of skill and +taste in many lines, to colonize it. To these facts are due the quick +prosperity which came to Philadelphia and which has made it to this day +one of the foremost manufacturing centers in the United States. Textile, +foundry and many other industries soon sprang up to supply the wants of +these diligent people three thousand miles from the mother country and +to provide a + +<span class='page-number'><a name="Page_5" id="Page_5">5</a></span> basis of trade with the rest of the world. Shipyards were +established and a merchant marine built up which soon brought to +Philadelphia a foreign and coastwise commerce second to none in the +American colonies. Local merchants engaged in trade with Europe and the +West Indies, and these profitable ventures soon brought great affluence +and a high degree of culture. By the time of the Revolution Philadelphia +had become the largest, richest, most extravagant and fashionable city +of the American colonies. Society was gayer, more polished and +distinguished than anywhere else this side of the Atlantic.</p> + +<p>Among the skilled artisans attracted by the promise of Penn's "Sylvania" +were numerous carpenters and builders. Penn induced James Portius to +come to the new world to design and execute his proprietary buildings, +and Portius was accompanied and followed by others of more or less skill +in the same and allied trades. While some of the building materials and +parts of the finished woodwork were for a time brought from England, +local skill and resources were soon equal to the demands, as much of +their handiwork still existing amply shows. As early as 1724 the master +carpenters of the city organized the Carpenters' Company, a guild +patterned after the Worshipful Company of Carpenters of London, founded +in 1477. Portius was one of the leading members, and on his + +<span class='page-number'><a name="Page_6" id="Page_6">6</a></span> death in +1736 laid the foundation of a valuable builders' library by giving his +rare collection of early architectural books to the company.</p> + +<p>Toward the middle of the eighteenth century American carpenters and +builders everywhere, Philadelphia included, were materially aided by the +appearance of handy little ready reference books of directions for +joinery containing measured drawings with excellent Georgian detail. +Such publications became the fountainhead of Colonial design. They +taught our local craftsmen the technique of building and the art of +proportion; instilled in their minds an appreciation of classic motives +and the desire to adapt the spirit of the Renaissance to their own needs +and purposes. In those days some knowledge of architecture was +considered essential to every gentleman's education, and with the aid of +these builders' reference books many men in other professions throughout +the country became amateur architects of no mean ability as a pastime. +In and about Philadelphia their Georgian adaptations, often tempered to +a degree by the Quaker preference for the simple and practical, +contributed much to the charm and distinction of local architecture. To +such amateur architects we owe Independence Hall, designed by Andrew +Hamilton, speaker of the Pennsylvania Assembly, and Christ Church, +designed mainly by Doctor John Kearsley.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_2" id="PL_2"></a> +<a href="images/ill_003_pl_2a.png"> +<img src="images/ill_003_pl_2a_th.png" width="300" height="227" alt="Plate II. + +—Old Mermaid Inn, Mount Airy; Old Red Lion Inn." /></a> +</div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_2b" id="PL_2b"></a> +<a href="images/ill_003_pl_2b.png"> +<img src="images/ill_003_pl_2b_th.png" width="300" height="215" alt="Plate II. + +—Old Mermaid Inn, Mount Airy; Old Red Lion Inn." /></a> +<span class="caption">Plate II.—Old Mermaid Inn, Mount Airy; Old Red Lion Inn.</span> +</div> + + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 230px;"> +<a name="PL_3" id="PL_3"></a> +<a href="images/ill_004_pl_3a.png"> +<img src="images/ill_004_pl_3a_th.png" width="230" height="300" alt="Plate III.—Camac Street, "The Street of Little Clubs"; +Woodford, Northern Liberties, Fairmount Park. Erected by William Coleman +in 1756." /></a> +</div> +</td><td> + +<div class="illustration" style="width: 230px;"> +<a name="PL_3b" id="PL_3b"></a> +<a href="images/ill_004_pl_3b.png"> +<img src="images/ill_004_pl_3b_th.png" width="230" height="300" alt="Plate III.—Camac Street, "The Street of Little Clubs"; +Woodford, Northern Liberties, Fairmount Park. Erected by William Coleman +in 1756." /></a> +</div> +</td></tr> + +<tr><td colspan="2" align="center"><span class="caption">Plate III.—Camac Street, "The Street of Little Clubs"; +Woodford, Northern Liberties, Fairmount<br />Park. Erected by William Coleman +in 1756.</span></td></tr> +</table> + +<p>During the whole of the eighteenth century + + +<span class='page-number'><a name="Page_7" id="Page_7">7</a></span> +Philadelphia was the most +important city commercially, politically and socially in the American +colonies. For this there were several reasons. Owing to its liberal +government and its policy of religious toleration, Philadelphia and the +outlying districts gradually became a refuge for European immigrants of +various persecuted sects. Nowhere else in America was such a +heterogeneous mixture of races and religions to be found. There were +Swedes, Dutch, English, Germans, Welsh, Irish and Scotch-Irish; Quakers, +Presbyterians, Episcopalians, Catholics, Reformed Lutherans, Mennonites, +Dunkers, Schwenkfelders and Moravians. Until the Seven Years' War +between France and England from 1756 to 1763 the Quakers dominated the +Pennsylvania government, and Quaker influence remained strong in +Philadelphia long after it had given way to that of the more belligerent +Scotch-Irish, mostly Presbyterians, in the rest of Pennsylvania, until +the failure of the Whiskey Insurrection in 1794. This Scotch-Irish +ascendancy was due not only to their increasing numbers, but to the +increasing general dissatisfaction with the Quaker failure to provide +for the defense of the province. The Penns lost their governmental +rights in 1776 and three years later had their territorial rights vested +in the commonwealth.</p> + +<p>Its central location among the American colonies, and the fact that it +was the largest and most successful<span class='page-number'><a name="Page_8" id="Page_8">8</a></span> of the proprietary provinces, +rendered Pennsylvania's attitude in the struggle with the mother country +during the Revolution of vital importance. The British party was made +strong by the loyalty of the large Church of England element, the policy +of neutrality adopted by the Quakers, Dunkers and Mennonites, and the +general satisfaction felt toward the free and liberal government of the +province, which had been won gradually without such reverses as had +embittered the people of Massachusetts and some of the other British +provinces. The Whig party was successful, however, and Pennsylvania +contributed very materially to the success of the War of Independence, +by the important services of her statesmen, by her efficient troops and +by the financial aid rendered by Robert Morris, founder of the Bank of +North America, the oldest financial institution in the United States.</p> + +<p>Meanwhile Philadelphia became the very center of the new republic in +embryo. The first Continental Congress met in Carpenters' Hall on +September 5, 1774; the second Continental Congress in the old State +House, now known as Independence Hall, on May 10, 1775; and throughout +the Revolution, except from September 26, 1777, to June 18, 1778, when +it was occupied by the British, and the Congress met in Lancaster and +York, Pennsylvania, and then in Princeton, New Jersey, Philadelphia was +virtually the capital of the American colonies<span class='page-number'><a name="Page_9" id="Page_9">9</a></span> and socially the most +brilliant city in the country.</p> + +<p>In Philadelphia the second Continental Congress adopted the Declaration +of Independence, which the whole Pennsylvania delegation except Franklin +regarded as premature, but which was afterward well supported by the +State. The national convention which framed the constitution of the +United States sat in Philadelphia in 1787, and from 1790 to 1800, when +the seat of government was moved to Washington, Philadelphia was the +national capital. Here the first bank in the colonies, the Bank of North +America, was opened in 1781, and here the first mint for the coinage of +United States money was established in 1792. Here Benjamin Franklin and +David Rittenhouse made their great contributions to science, and here on +September 19, 1796, Washington delivered his farewell address to the +people of the United States. Here lived Robert Morris, who managed the +finances of the Revolution, Stephen Girard of the War of 1812 and Jay +Cooke of the Civil War.</p> + +<p>Not only in politics, but in art, science, the drama and most fields of +progress Philadelphia took the lead in America for more than a century +and a half after its founding. Here was established the first public +school in 1689; the first paper mill in 1690; the first botanical garden +in 1728; the first Masonic Lodge in 1730; the first subscription library +in<span class='page-number'><a name="Page_10" id="Page_10">10</a></span> 1731; the first volunteer fire company in 1736; the first magazine +published by Franklin in 1741; the first American philosophical society +in 1743; the first religious magazine in 1746; the first medical school +in 1751; the first fire insurance company in 1752; the first theater in +1759; the first school of anatomy in 1762; the first American dispensary +in 1786; the first water works in 1799; the first zoölogical museum in +1802; the first American art school in 1805; the first academy of +natural sciences in 1812; the first school for training teachers in +1818; the first American building and loan association in 1831; the +first American numismatic society in 1858. From the Germantown Friends' +Meeting, headed by Francis Daniel Pastorius, came in 1688 the first +protest against slavery in this country. In Philadelphia was published +the first American medical book in 1740; here was given the first +Shakespearean performance in this country in 1749; the first lightning +rod was erected here in 1752; from Philadelphia the first American +Arctic expedition set forth in 1755; on the Schuylkill River in 1773 +were made the first steamboat experiments; the earliest abolition +society in the world was organized here in 1774; the first American +piano was built here in 1775; here in 1789 the Protestant Episcopal +Church was formally established in the United States; the first carriage +in the world propelled by steam was built here in 1804; the oldest +American playhouse<span class='page-number'><a name="Page_11" id="Page_11">11</a></span> now in existence was built here in 1808; the first +American locomotive, "Ironsides", was built here in 1827; and the first +daguerreotype of the human face was made here in 1839. The Bible and +Testament, Shakespeare, Milton and Blackstone were printed for the first +time in America in Philadelphia, and Thackeray's first book originally +appeared here.</p> + +<p>During the latter half of the eighteenth century Philadelphia became +noted throughout the American colonies for its generous hospitality of +every sort, and this trait was reflected in the domestic architecture of +the period, which was usually designed with that object in view. For the +brilliance of its social life there were several reasons. Above all, it +was the character of an ever-increasing number of inhabitants asserting +itself. Moreover, the tendency was aided by the fact that as the +largest, most important and most central city in the colonies, it became +the meeting place for delegates from all the colonies to discuss common +problems, and therefore it was incumbent upon Philadelphians to +entertain the visitors. And this they did with a lavish hand. From the +visit of the Virginia Commissioners in 1744 until the seat of the United +States Government was moved to Washington in 1790, every meeting of men +prominent in political life was the occasion of much eating, drinking +and conviviality in the best Philadelphia homes and also in the inns, +where it was the custom of that day to<span class='page-number'><a name="Page_12" id="Page_12">12</a></span> entertain considerably. The old +Red Lion Inn at North Second and Noble streets, a picturesque +gambrel-roof structure of brick with a lean-to porch along the front, is +an interesting survival of the inns and taverns of Colonial days, as was +also the old Mermaid Inn in Mount Airy, until torn down not long ago. At +such gatherings were represented the most brilliant minds this side of +the Atlantic, and scintillating wit and humor enlivened the festive +board, as contrasted with the bitter religious discussions which had +characterized American gatherings in the preceding century when +tolerance had not been so broad.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_4" id="PL_4"></a> +<a href="images/ill_005_pl_4.png"> +<img src="images/ill_005_pl_4_th.png" width="300" height="219" alt="Plate IV.—Stenton, Germantown Avenue, Germantown. +Erected by James Logan in 1727." /></a> +<span class="caption">Plate IV.—Stenton, Germantown Avenue, Germantown. +Erected by James Logan in 1727.</span> +</div> + + + +<p>But the brilliancy of social life in Philadelphia was by no means +confined to the entertainment of visitors. Despite its importance, +Philadelphia was a relatively small place in those days. Everybody knew +everybody else of consequence, and social exchanges were inevitable +among people of wealth and culture, prominent in public life and +successful in commerce, of whom there were a larger number than in any +other American city. While there were two separate and distinct social +sets, the staid and sober Quakers and the gay "World's People", they +were ever being drawn more closely together. The early severity of the +Quakers had been greatly tempered by the increasing worldly influences +about them. They were among the richest inhabitants and prominent in the +government, holding the<span class='page-number'><a name="Page_13" id="Page_13">13</a></span> majority in the House of Assembly. This +brought them into constant association with and under the influence of +men in public life elsewhere, demonstrating the fact that, like the +"World's People", they dearly loved eating and drinking. One has but to +peruse some of the old diaries of prominent Friends which are still in +existence to see that they occasionally "gormandized to the verge of +gluttony", and even got "decently drunk."</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_5" id="PL_5"></a> +<a href="images/ill_006_pl_5a.png"> +<img src="images/ill_006_pl_5a_th.png" width="300" height="225" alt="Plate V.—Hope Lodge, Whitemarsh Valley. Erected by +Samuel Morris in 1723; Home of Stephen Girard." /> +</a></div> +</td><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_5b" id="PL_5b"></a> +<a href="images/ill_006_pl_5b.png"> +<img src="images/ill_006_pl_5b_th.png" width="300" height="225" alt="Plate V.—Hope Lodge, Whitemarsh Valley. Erected by +Samuel Morris in 1723; Home of Stephen Girard." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"><span class="caption">Plate V.—Hope Lodge, Whitemarsh Valley. Erected by +Samuel Morris in 1723; Home of Stephen Girard.</span></td></tr> +</table> + +<p>Toward the outbreak of the Revolution, life among most Quakers had +ceased to be as strict and monotonous as many have supposed. There were +fox hunting, horse racing, assembly dances, barbecues, cider frolics, +turtle and other dinners, tea parties and punch drinking, both under +private auspices and among the activities of such clubs as the Colony in +Schuylkill and the Gloucester Fox Hunting Club, in which the First City +Troop originated. At the time of monthly, quarterly and yearly meetings +whole families of Friends often visited other families for several days +at a time, a custom which became an important element in the social +intercourse of the province.</p> + +<p>Cock fighting and bull baiting were among the frequent pastimes of +Philadelphians, although frowned upon by the strict Quaker element. The +same was true of theatrical entertainments, which began in 1754 and +continued occasionally thereafter. Following the first Shakespearean +performance<span class='page-number'><a name="Page_14" id="Page_14">14</a></span> +in America at Philadelphia in 1749, a storehouse on Water +Street near Pine Street, belonging to William Plumstead, was fitted up +as a theater, and in April, 1754, the drama was really introduced to +Philadelphia by a series of plays given by William Hallam's old American +Company. In 1759 the first theater in Philadelphia purposely erected for +the exhibition of plays was built at the southwest corner of Vernon and +South (then Cedar) streets, and was opened by David Douglass, the +manager of the company started by Hallam. A few years later, in 1766, +was built the old Southwark or South Street Theater in South Street +above Fourth, where Major John André and Captain John Peter De Lancy +acted during the British occupation of the city, and which after twenty +years of illegal existence was opened "by authority" in 1789. None of +these now remains, but the Walnut Street Theater, erected in 1808, is +said to be the oldest playhouse in the United States.</p> + +<p>Taking all these facts into consideration, it is not surprising that, +except for some of the earliest houses now remaining and others built +with less ample fortunes, little difference is distinguishable between +the homes of Quakers and "World's People", and that the distinctive +characteristics of the Colonial architecture of Philadelphia are more or +less common to all buildings of the period.</p> + +<p>Shortly after the Revolution the built-up portion<span class='page-number'><a name="Page_15" id="Page_15">15</a></span> of the city was +bounded by the Delaware River on the east and Seventh Street on the +west, and by Poplar Street on the north and Christian Street on the +south. While houses in blocks were the rule, numerous unoccupied lots +made many trees and gardens in the rear and at the sides of detached +houses quite common. This was regarded as not entirely sufficient by the +wealthier families, which considered country living essential to health, +comfort and pleasure, and so maintained two establishments,—a town +house for winter occupancy and a countryseat as a summer retreat. Others +desiring to live more nearly in the manner of their English forbears in +the mother country chose to make an elaborate countryseat their +year-round place of residence. Thus the surrounding countryside—but +especially to the northwestward along the high, wooded banks of the +Schuylkill River and Wissahickon Creek—became a community of great +estates with elegant country houses which have no parallel in America +other than the manorial estates along the James River in Virginia. The +Philadelphia of to-day, therefore, has not only a distinctive +architecture in its brick, stone and woodwork, but a diversified +architecture embracing both the city and country types of design and +construction.<span class='page-number'><a name="Page_16" id="Page_16">16</a></span></p> + + + +<h3><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h3> + +<p class="head">GEORGIAN COUNTRY HOUSES OF BRICK</p> + +<p class="noindent"><span class="lg">T</span><span class="smcap2">hroughout</span> +the Colonial period, and to a degree during the early years +of the American nation, Philadelphia clung to the manners and customs of +the mother country as did few other communities in the new world. In +architecture, therefore, it is not surprising to find the oldest houses +and public buildings of the American metropolis of those days reflecting +the tendencies of the times across the water. Wood had already ceased to +be a cheap building material in England, and although it was abundantly +available in America, brick and stone were thought necessary for the +better homes, despite the fact that for some years, until sources of +clay and limestone were found, bricks and lime for making mortar had to +be brought at great expense from overseas. So we find that in 1683, the +year following the founding of the "City of Brotherly Love", William +Penn erected for his daughter Letitia the first brick house in the town, +which was for several years occupied by Penn and his family. It was +located in Letitia Court, a small<span class='page-number'><a name="Page_17" id="Page_17">17</a></span> street running from Market to +Chestnut streets between Front and Second streets. Although of little +architectural value, it was of great historic interest, and when in 1883 +the encroachments of the wholesale district threatened to destroy it, +the house was removed to Fairmount Park by the city and rebuilt on +Lansdowne Drive west of the Girard Avenue bridge. It is open to the +public and contains numerous Penn relics.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_6" id="PL_6"></a> +<a href="images/ill_007_pl_6.png"> +<img src="images/ill_007_pl_6_th.png" width="300" height="212" alt="Plate VI.—Port Royal House, Frankford. Erected in 1762 +by Edward Stiles." /></a> +<span class="caption">Plate VI.—Port Royal House, Frankford. Erected in 1762 +by Edward Stiles.</span> +</div> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 221px;"> +<a name="PL_7" id="PL_7"></a> +<a href="images/ill_008_pl_7a.png"> +<img src="images/ill_008_pl_7a_th.png" width="221" height="300" alt="Plate VII.—Blackwell House, 224 Pine Street. Erected +about 1765 by John Stamper; Wharton House, 336 Spruce Street. Erected +prior to 1796 by Samuel Pancoast." /> +</a></div></td><td> +<div class="illustration" style="width: 221px;"> +<a name="PL_7b" id="PL_7b"></a> +<a href="images/ill_008_pl_7b.png"> +<img src="images/ill_008_pl_7b_th.png" width="221" height="300" alt="Plate VII.—Blackwell House, 224 Pine Street. Erected +about 1765 by John Stamper; Wharton House, 336 Spruce Street. Erected +prior to 1796 by Samuel Pancoast." /></a></div></td></tr> +<tr><td colspan="2" align="center"><span class="caption">Plate VII.—Blackwell House, 224 Pine Street. Erected +about 1765 by John Stamper; Wharton<br />House, 336 Spruce Street. Erected +prior to 1796 by Samuel Pancoast.</span> +</td></tr> +</table> + +<p>Thus from the very outset brick construction has been favored in +preference to wood in Philadelphia. Homes in the city proper were built +of it chiefly, and likewise many of the elegant countryseats in the +neighboring townships, now part of the greater Philadelphia of to-day. +The wealthier residents very early set the fashion of both city and +country living, following in this custom the example of William Penn, +the founder, who not only had his house in town, but a country place, a +veritable mansion, long since gone, on an island in the Delaware River +above Bristol.</p> + +<p>British builders had forsaken the Jacobean manner of the early +Renaissance and come completely under the spell of the English Classic +or so-called Georgian style. Correspondingly, American men of means were +erecting country houses of brick, with ornamental trim classic in +detail, and of marble and white-painted wood. Marked by solidity, +spaciousness and quiet dignity, they are thoroughly Georgian in +<span class='page-number'><a name="Page_18" id="Page_18">18</a></span> +conception, and as such reminiscent of the manorial seats of Virginia, +yet less stately and in various respects peculiar to this section of the +colonies. Like the bricks, the elaborate interior woodwork was at first +brought from overseas, but later produced by resident artisans of whom +there was an ever increasing number of no mean order.</p> + +<p>Almost without exception the Colonial brickwork of Philadelphia was laid +up with wide mortar joints in Flemish bond, red stretcher and black +header bricks alternating in the same course. The arrangement not only +imparts a delightful warmth and pleasing texture, but the headers +provide frequent transverse ties, giving great strength to the wall. +With this rich background the enlivening contrast of marble lintels and +sills and white-painted wood trim, in which paneled shutters play a +prominent part, form a picture of rare charm, rendered all the more +satisfying by an appearance of obvious comfort, permanence and intrinsic +worth which wood construction, however good, cannot convey.</p> + +<p>Many of the splendid old pre-Revolutionary country houses of brick no +longer remain to us. Some are gone altogether; others are remodeled +almost beyond recognition; a few, hedged around by the growing city, +have been allowed to fall into a state of hopeless decay. Woodford, +however, located in the Northern Liberties, Fairmount Park, at York and +Thirty-third streets, is fairly <span class='page-number'><a name="Page_19" id="Page_19">19</a></span>representative of the type of Georgian +countryseat of brick, so many of which were erected in the suburbs of +Philadelphia about the middle of the eighteenth century.</p> + +<p>It is a large square structure, two and a half stories in height, with a +hipped roof rising above a handsome cornice with prominent modillions +and surmounted by a balustraded belvedere. Two large chimneys, much +nearer together than is ordinarily the case, emerge within the inclosed +area of the belvedere deck. A heavy pediment springs from the cornice +above the pedimental doorway, and this repetition of the motive imparts +a pleasing interest and emphasis to the façade. The subordinate cornice +at the second-floor level is most unusual and may perhaps reflect the +influence of the penthouse roof which became such a characteristic +feature of the ledge stone work of the neighborhood. Few houses have the +brick pilaster treatment at the corners with corresponding cornice +projections which enrich the ornamental trim. Six broad soapstone steps +with a simple wrought-iron handrail at either side lead up to a fine +doorway, Tuscan in spirit, with high narrow doors. Above, a beautiful +Palladian window is one of the best features of the façade. An +interesting fenestration scheme, with paneled shutters at the lower +windows only, is enhanced by the pleasing scale of twelve-paned upper +and lower window sashes having broad white muntins throughout.<span class='page-number'><a name="Page_20" id="Page_20">20</a></span></p> + +<p>Opening the front door, one finds himself in a wide hall with doorways +giving entrance to large front rooms on each side. Beyond, a beautifully +detailed arch supported by pilasters spans the hall. The stairway is +located near the center of the house in a hall to one side of the main +hall and reached from it through a side door. Interior woodwork of good +design and workmanship everywhere greets the eye, especially noticeable +features being the rounding cornices, heavy wainscots and the floors an +inch and a half in thickness and doweled together. Each room has a +fireplace with ornamental iron back, a hearth of square bricks and a +well-designed wood mantel. In the south front room blue tiles depicting +Elizabethan knights and their ladies surround the fireplace opening. +Brass handles instead of door knobs lend distinction to the hardware.</p> + +<p>Woodford was erected in 1766 by William Coleman, a successful merchant, +eminent jurist and a friend of Franklin. He was a member of the Common +Council in 1739, justice of the peace and judge of the county courts in +1751 and judge of the Supreme Court of Pennsylvania from 1759 until his +death ten years later.</p> + +<p>Coleman's executors sold the place to Alexander Barclay, comptroller of +His Majesty's Customs at Philadelphia, and the grandson of Robert +Barclay of Ury, the noted Quaker theologian and "Apologist."</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_8" id="PL_8"></a> +<a href="images/ill_009_pl_8.png"> +<img src="images/ill_009_pl_8_th.png" width="300" height="228" alt="Plate VIII.—Morris House, 225 South Eighth Street. +Erected in 1786 by John Reynolds." /></a> +<span class="caption">Plate VIII.—Morris House, 225 South Eighth Street. +Erected in 1786 by John Reynolds.</span> +</div> + + + + + +<p>On Barclay's death in 1771, Woodford became the<span class='page-number'><a name="Page_21" id="Page_21">21</a></span> home of David Franks, +a wealthy Jewish merchant and one of the signers of the Non-Importation +Resolutions of 1765 by which a large body of leading American merchants +agreed "not to have any goods shipped from Great Britain until after the +repeal of the Stamp Act." He was prominent both socially and +politically, a member of the Provincial Assembly in 1748 and the +register of wills. Prior to the outbreak of the Revolution, he was the +agent of the Crown in Philadelphia and was then made commissary of the +British prisoners in the American lines. In 1778, however, he was +arrested by General Benedict Arnold for attempting to transmit a letter +harmful to the American cause, deprived of his commission and property, +and obliged to remove to New York two years later.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 222px;"> +<a name="PL_9" id="PL_9"></a> +<a href="images/ill_010_pl_9a.png"> +<img src="images/ill_010_pl_9a_th.png" width="222" height="300" alt="Plate IX.—Wistar House, Fourth and Locust Streets. +Erected about 1750; Betsy Ross House, 239 Arch Street." /> +</a></div> +</td><td> +<div class="illustration" style="width: 233px;"> +<a name="PL_9b" id="PL_9b"></a> +<a href="images/ill_010_pl_9b.png"> +<img src="images/ill_010_pl_9b_th.png" width="233" height="300" alt="Plate IX.—Wistar House, Fourth and Locust Streets. +Erected about 1750; Betsy Ross House, 239 Arch Street." /> +</a></div></td></tr> +<tr><td colspan="2" align="center"><span class="caption">Plate IX.—Wistar House, Fourth and Locust Streets. +Erected about 1750; Betsy Ross House, 239<br />Arch Street.</span> +</td></tr> +</table> + +<p>One of Franks' daughters, Abigail, married Andrew Hamilton of The +Woodlands, afterwards attorney-general of Pennsylvania. Another +daughter, Rebecca, married General Sir Henry Johnson, who was defeated +and captured by General Anthony Wayne at Stony Point. Rebecca Franks was +one of the most beautiful and brilliant women of her day. Well educated, +a gifted writer and fascinating conversationalist, witty and winsome, +she was popular in society and one of the belles of the celebrated +"Mischianza", which was given May 18, 1778, by the British officers in +honor of General Lord Howe upon his departure for England. This<span class='page-number'><a name="Page_22" id="Page_22">22</a></span> was a +feast of gayety with a tournament somewhat like those common in the age +of chivalry, and was planned largely by Major John André, who was later +hanged by order of an American military commission for his connection +with the treason of General Benedict Arnold.</p> + +<p>Following the confiscation of Franks' property in 1780, Woodford was +sold to Thomas Paschall, a friend of Franklin. Later it was occupied for +a time by William Lewis, a noted advocate, and in 1793 was bought by +Isaac Wharton, son of Joseph Wharton, owner of Walnut Grove in Southwark +at about Fifth Street and Walnut Avenue, where the "Mischianza" was +held. A son, Francis Rawle Wharton, inherited the place on his father's +death in 1798 and was the last private owner. In 1868 the estate was +made part of Fairmount Park, and since 1887 it has been used as a +guardhouse.</p> + +<p>A country house typical of the time, though unlike most other +contemporary buildings in the details of its construction, is Hope Lodge +in Whitemarsh Valley on the Bethlehem Pike just north of its junction +with the Skippack Pike. It is thoroughly Georgian in conception, and +most of the materials, including all of the wood finish, were brought +from England. The place reached a deplorable state of decay several +years ago, yet the accompanying photograph shows enough remaining to be +of considerable architectural interest.<span class='page-number'><a name="Page_23" id="Page_23">23</a></span></p> + +<p>It is a large, square house two and a half stories high, its hipped roof +broken by handsome pedimental dormers with round-topped windows. The +front is of brick laid up in characteristic Flemish bond, while the +other walls are of plastered rubble stone masonry, the brickwork and +stonework being quoined together at the front corners. A broad plaster +coving is the principal feature of the simple molded cornice, and one +notes the much used double belt formed by two projecting courses of +brick at the second-floor level. The fenestration differs in several +respects from that of similar houses erected a quarter century later. +The arrangement of the ranging windows is quite conventional, but +instead of marble lintels above them there are nicely gauged flat brick +arches, while the basement windows are set in openings beneath segmental +relieving arches with brick cores. The latter are reflected in effect by +the recessed elliptical arches above all the windows in the walls of +plastered rubble masonry. The windows themselves, with nine-paned upper +and lower sashes having unusually heavy muntins, likewise the shutters +on the lower story and the heavy paneled doors, are higher and narrower +than was the rule a few years later. The entrance, with its +characteristic double doors, is reached by a porch and four stone steps, +its low hip roof with molded cornice being supported by two curious, +square, tapering columns. Porches were an unusual <span class='page-number'><a name="Page_24" id="Page_24">24</a></span>circumstance in the +neighborhood, and this one is so unlike any others of Colonial times +which are worthy of note as to suggest its having been a subsequent +addition. Above, a round-arched recess with projecting brick sill +replaces the conventional Palladian window.</p> + +<p>Indoors, an exceptionally wide hall extends entirely through the house +from front to back, opening into spacious rooms on both sides through +round-topped doorways with narrow double doors heavily paneled. An +elliptical arch supported by fluted pilasters spans the hall about +midway of its length, and a handsome staircase ascends laterally from +the rear part after the common English manner of that day. Throughout +the house the woodwork is of good design and execution, the paneled +wainscots, molded cornices, door and window casings all being very +heavy, and the broad fireplaces and massive chimney pieces in complete +accord. Deep paneled window seats, very common in contemporary houses, +are a feature of the first-floor rooms. The kitchens and the servants' +quarters are located in a separate building to the rear, a brick-paved +porch connecting the two. This custom, as in the South, was +characteristic of the locality and period.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_10" id="PL_10"></a> +<a href="images/ill_011_pl_10a.png"> +<img src="images/ill_011_pl_10a_th.png" width="300" height="216" alt="Plate X.—Glen Fern, on Wissahickon Creek, Germantown. +Erected about 1747 by Thomas Shoemaker; Grumblethorpe, 5261 Germantown +Avenue, Germantown. Erected in 1744 by John Wister." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_10b" id="PL_10b"></a> +<a href="images/ill_011_pl_10b.png"> +<img src="images/ill_011_pl_10b_th.png" width="300" height="235" alt="Plate X.—Glen Fern, on Wissahickon Creek, Germantown. +Erected about 1747 by Thomas Shoemaker; Grumblethorpe, 5261 Germantown +Avenue, Germantown. Erected in 1744 by John Wister." /></a> +<span class="caption">Plate X.—Glen Fern, on Wissahickon Creek, Germantown. +Erected about 1747 by Thomas Shoemaker; Grumblethorpe, 5261 Germantown +Avenue, Germantown. Erected in 1744 by John Wister.</span> +</div> + + + +<p>Hope Lodge was erected in 1723 by Samuel Morris, a Quaker of Welsh +descent, who was a justice of the peace in Whitemarsh and an overseer of +Plymouth Meeting. Morris built it expecting to marry a + + +<span class='page-number'><a name="Page_25" id="Page_25">25</a></span> young +Englishwoman to whom he had become affianced while on a visit to England +with his mother, Susanna Heath, who was a prominent minister among the +Friends. The wedding did not occur, however, and Samuel Morris died a +bachelor in 1772, leaving his estate to his brother Joshua, who sold +Hope Lodge in 1776 to William West. In 1784 West's executors conveyed it +to the life interest of Colonel James Horatio Watmough with a reversion +to his guardian, Henry Hope, a banker. It was Colonel Watmough who named +the place Hope Lodge as a compliment to his guardian. One of his +daughters married Joseph Reed, son of General Joseph Reed, and another +married John Sargent, the famous lawyer. Both the Reeds and Sargents +occupied Hope Lodge at various times, and it eventually passed into the +Wentz family.</p> + + +<div class="illustration" style="width: 300px;"> +<a name="PL_11" id="PL_11"></a> +<a href="images/ill_012_pl_11a.png"> +<img src="images/ill_012_pl_11a_th.png" width="300" height="225" alt="Plate XI.—Upsala, Germantown Avenue and Upsala Streets, +Germantown. Erected in 1798 by John Johnson; End Perspective of Upsala." /> +</a></div> +<div class="illustration" style="width: 300px;"> +<a name="PL_11b" id="PL_11b"></a> +<a href="images/ill_012_pl_11b.png"> +<img src="images/ill_012_pl_11b_th.png" width="300" height="230" alt="Plate XI.—Upsala, Germantown Avenue and Upsala Streets, +Germantown. Erected in 1798 by John Johnson; End Perspective of Upsala." /></a> +<span class="caption">Plate XI.—Upsala, Germantown Avenue and Upsala Streets, +Germantown. Erected in 1798 by John Johnson; End Perspective of Upsala.</span> +</div> + +<p>No other Colonial country house of brick that now remains holds an +interest, either architectural or historic, quite equal to that of +Stenton, which stands among fine old oaks, pines and hemlocks in a +six-acre park, all that now remains of an estate of five hundred acres +located on Germantown Avenue on the outskirts of Germantown near the +Wayne Junction railroad station. One of the earliest and most +pretentious countryseats of the neighborhood, it combines heavy +construction and substantial appearance with a picturesque charm that is +rare in buildings of such early origin. This is due in<span class='page-number'><a name="Page_26" id="Page_26">26</a></span> part to the +brightening effect of the fenestration, with many small-paned windows +set in white-painted molded frames, and quite as much to the slender +trellises between the lower-story windows supporting vines which have +spread over the brickwork above in the most fascinating manner. Both +features impart a lighter sense of scale, while the profusion of white +wood trim emphasizes more noticeably the delightful color and texture of +the brickwork.</p> + +<p>The house is a great, square, hip-roofed structure two and a half +stories high with two large square chimneys and severely plain +pedimental dormers. Servants' quarters, kitchens and greenhouses are +located in a separate gable-roof structure a story and a half high, +extending back more than a hundred feet from the main house, and +connected with it by a covered porch along the back. In the kitchen the +brick oven, the copper boiler and the fireplace with its crane still +remain.</p> + +<p>The walls of the house consist of characteristic brickwork of red +stretchers and black headers laid up in Flemish bond, with square piers +at the front corners and on each side of the entrance, and there is the +more or less customary projecting belt at the second-floor level. On the +second story the windows are set close up under the heavy overhanging +cornice, with its prominent modillions, while on the lower story there +are relieving arches with cores of brick instead of stone lintels so +common on houses<span class='page-number'><a name="Page_27" id="Page_27">27</a></span> a few decades later. There are similar arches over the +barred basement windows set in brick-lined areaways. Interesting indeed +is the scheme of fenestration. Although formal and symmetrical on the +front, the windows piercing the other walls frankly correspond to the +interior floor plan, although ranging for the most part. Unlike the +usual arrangement, there are two widely spaced windows above the +entrance, while the narrow flanking windows either side of the doorway +may be regarded as one of the earliest instances of side lights in +American architecture. The severely simple entrance with its high narrow +paneled doors without either knob or latch is reached from a brick-paved +walk about the house by three semicircular stone steps such as were +common in England at the time, the various nicely hewn pieces fastened +securely together with iron bands.</p> + +<p>The front door opens into a large square hall with a brick-paved floor +and walls wainscoted to the ceiling with white-painted wood paneling. +There is a fireplace on the right, and beyond an archway in the rear a +staircase ascends to the second floor. To the right of the hall is the +parlor, also with paneled walls, and a fireplace surrounded by pink +tiles. In the wainscoted room back of this the sliding top of a closet +offers opportunity for a person to conceal himself and listen through a +small hole to the conversation in the adjoining hall. To the + +<span class='page-number'><a name="Page_28" id="Page_28">28</a></span> left of +the hall is the dining room, beautifully wainscoted and having a +built-in cupboard for china and a fireplace faced with blue tiles. The +iron fireback bears the inscription "J. L. 1728." Back of this through a +passageway is a small breakfast room, whence an underground passage for +use during storms or sieges leads from a trap door in the floor to the +barns.</p> + +<p>The second-story floor plan is most unusual. The library, a great long +room, extends entirely across the front of the house, with its range of +six windows and two fireplaces on the opposite wall, one faced with blue +tiles and the other with white. Here, with the finest private collection +of books in America at that time, the scholarly owner spent his +declining years, the library going to the city of Philadelphia on his +death. Two small bedrooms, each with a fireplace, were occupied by his +daughters. A little back staircase leads to the third floor, where the +woodwork of the chambers was unpainted.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_12" id="PL_12"></a> +<a href="images/ill_013_pl_12a.png"> +<img src="images/ill_013_pl_12a_th.png" width="300" height="243" alt="Plate XII.—The Woodlands, Blockley Township, West +Philadelphia. Erected in 1770 by William Hamilton; Stable at The +Woodlands." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_12b" id="PL_12b"></a> +<a href="images/ill_013_pl_12b.png"> +<img src="images/ill_013_pl_12b_th.png" width="300" height="230" alt="Plate XII.—The Woodlands, Blockley Township, West +Philadelphia. Erected in 1770 by William Hamilton; Stable at The +Woodlands." /></a> +<span class="caption">Plate XII.—The Woodlands, Blockley Township, West +Philadelphia. Erected in 1770 by William Hamilton; Stable at The +Woodlands.</span> +</div> + +<p>Stenton was erected in 1728 by James Logan, a scholar, philosopher, man +of affairs, the secretary and later the personal representative of +William Penn, the founder, and afterwards chief justice of the colony. +Descended from a noble Scottish family, his father a clergyman and +teacher who joined the Society of Friends in 1761, James Logan himself +was for a time a teacher in London, but soon engaged in the shipping +trade. In 1699 he<span class='page-number'><a name="Page_29" id="Page_29">29</a></span> came to America with William Penn as his secretary, +and on Penn's return to England he was left in charge of the province. +Thereafter Logan became a very important personage, much liked and fully +trusted by all who knew him, including the Indians, with whom he +maintained friendly relations. For half a century he was a mighty factor +in provincial affairs, and to read his life is to read the history of +Pennsylvania for that period, for he was chief justice, provincial +secretary, commissioner of property, surveyor-general and president of +the council. His ample fortune, amassed in commerce with Edward Shippen, +in trade with the Indians, and by the purchase and sale of lands, +enabled him to live and entertain at Stenton in a princely manner many +distinguished American and European personages of that day.</p> + + + +<div class="illustration" style="width: 300px;"> +<a name="PL_13" id="PL_13"></a> +<a href="images/ill_014_pl_13a.png"> +<img src="images/ill_014_pl_13a_th.png" width="300" height="243" alt="Plate XIII.—Wyck, Germantown Avenue and Walnut Lane, +Germantown. Erected by Hans Millan about 1690; Hall and Entrance +Doorways, Wyck." /> +</a></div> +<div class="illustration" style="width: 300px;"> +<a name="PL_13b" id="PL_13b"></a> +<a href="images/ill_014_pl_13b.png"> +<img src="images/ill_014_pl_13b_th.png" width="300" height="236" alt="Plate XIII.—Wyck, Germantown Avenue and Walnut Lane, +Germantown. Erected by Hans Millan about 1690; Hall and Entrance +Doorways, Wyck." /></a> +<span class="caption">Plate XIII.—Wyck, Germantown Avenue and Walnut Lane, +Germantown. Erected by Hans Millan about 1690; Hall and Entrance +Doorways, Wyck.</span> +</div> + + +<p>When Logan died in 1751, he was succeeded by his son William, who +continued faithful to the proprietary interests and carried on the +Indian work. His son, Doctor George Logan, was the next proprietor +during the Revolutionary period. Educated in England and Scotland, he +traveled extensively in Europe; after his return to America he became a +member of the Agricultural and Philosophical Societies and was elected a +senator from Pennsylvania from 1801 to 1807.</p> + +<p>During Doctor Logan's occupancy Washington, Jefferson, Franklin and many +other distinguished<span class='page-number'><a name="Page_30" id="Page_30">30</a></span> American and European personages were entertained +at Stenton. It was Washington's headquarters on August 23, 1777, while +he was on his way to the Brandywine from Hartsville. Ten years later, on +July 8, 1787, he came again as President of the Constitutional +Convention, then sitting in Philadelphia, to see a demonstration of land +plaster on grass land that had been made by Doctor Logan.</p> + +<p>Sir William Howe occupied Stenton as his headquarters during the battle +of Germantown, October 4, 1777, and on November 22 ordered it destroyed, +along with the homes of other "obnoxious persons." The story of its +narrow escape is interesting. Two dragoons came to fire it. Meeting a +negro woman on their way to the barn for straw, they told her she might +remove the bedding and clothing. Meanwhile a British officer and several +men happened along, inquiring for deserters, whereupon the negro servant +with ready wit said that two were hiding in the barn. Despite their +protests, the men were carried away and the house was saved, as the +order to fire it was not repeated.</p> + +<p>After Doctor Logan's death in 1821, Stenton was occupied by his widow, +Deborah Logan, until her death in 1839, when it passed to her son +Albanus, an agriculturalist and sportsman. His son Gustavus was the last +private owner, as the house was acquired by the city and occupied as +their headquarters by<span class='page-number'><a name="Page_31" id="Page_31">31</a></span> the Colonial Dames, the descendants of the Logan +family removing to Loudoun near by.</p> + +<p>No account of the Colonial houses of Philadelphia would be reasonably +complete which failed to include the home of Stephen Girard. Although of +scant architectural distinction, it is of interest through its +association with one of the chief outstanding figures of a city noted +for its celebrated residents. It is a two-story hip-roofed structure, +rather narrow but of exceptional length, taking the form of two +plaster-walled wings on opposite sides of a central portion of brick +having a pediment springing from the main cornice and a circular, +ornamental window. As at Hope Lodge a broad plaster coving is the +principal feature of the simple cornice. The windows and chimneys differ +in various parts of the house, and the doors are strangely located, all +suggesting alterations and additions. The central part of the house has +casement sashes with blinds as contrasted with Georgian sashes with +paneled shutters elsewhere, and all second-story windows are +foreshortened.</p> + +<p>Stephen Girard, a wealthy and eccentric Philadelphia merchant, +financier, philanthropist and the founder of Girard College, was born +near Bordeaux, France, in 1750, the son of a sea captain. He lost the +sight of his right eye when eight years old and had only a meager +education. Beginning a seafaring life as a cabin boy, he in time became +master<span class='page-number'><a name="Page_32" id="Page_32">32</a></span> and part owner of a small vessel trading between New York, New +Orleans and Port au Prince. In May, 1776, he was driven into the port of +Philadelphia by a British fleet and settled there as a merchant. +Gradually he built up a fleet of vessels trading with New Orleans and +the West Indies, and by the close of the Revolution, Girard was one of +the richest men of his time, and he used his wealth in numerous ways to +benefit the nation and humanity. In 1810 he utilized about a million +dollars deposited with the Barings of London to purchase shares of the +much depreciated stock of the Bank of the United States, which +materially assisted the government in bolstering European confidence in +its securities. When the bank was not rechartered, Girard bought the +building and cashier's house for a third of their original cost, and in +May, 1812, established the Bank of Stephen Girard. In 1814, when the +government needed money to bring the second conflict with England to a +successful conclusion, he subscribed for about ninety-five per cent of +the war loan of five million dollars, of which only twenty thousand +dollars besides had been taken, and he generously offered to the public +at par shares which, following his purchase, had gone to a premium.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_14" id="PL_14"></a> +<a href="images/ill_015_pl_14a.png"> +<img src="images/ill_015_pl_14a_th.png" width="300" height="234" alt="Plate XIV.—Mount Pleasant, Northern Liberties, Fairmount +Park. Erected in 1761 by Captain James Macpherson; The Main House, Mount +Pleasant." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_14b" id="PL_14b"></a> +<a href="images/ill_015_pl_14b.png"> +<img src="images/ill_015_pl_14b_th.png" width="300" height="231" alt="Plate XIV.—Mount Pleasant, Northern Liberties, Fairmount +Park. Erected in 1761 by Captain James Macpherson; The Main House, Mount +Pleasant." /></a> +<span class="caption">Plate XIV.—Mount Pleasant, Northern Liberties, Fairmount +Park. Erected in 1761 by Captain James Macpherson; The Main House, Mount +Pleasant.</span> +</div> + + + +<p>Girard showed his public spirit personally as well as financially. +During the yellow fever epidemic in Philadelphia in 1793 and in +1797-1798 he took the lead in relieving the poor and caring for the +sick.<span class='page-number'><a name="Page_33" id="Page_33">33</a></span> He volunteered to act as manager of the hospital at Bush Hill +and with the assistance of Peter Helm he cleansed the place and +systemized the work.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_15" id="PL_15"></a> +<a href="images/ill_016_pl_15a.png"> +<img src="images/ill_016_pl_15a_th.png" width="300" height="219" alt="Plate XV.—Deschler-Perot-Morris House, 5442 Germantown +Avenue, Germantown. Erected in 1772 by Daniel Deschler; Vernon, Vernon +Park, Germantown. Erected in 1803 by James Matthews." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_15b" id="PL_15b"></a> +<a href="images/ill_016_pl_15b.png"> +<img src="images/ill_016_pl_15b_th.png" width="300" height="237" alt="Plate XV.—Deschler-Perot-Morris House, 5442 Germantown +Avenue, Germantown. Erected in 1772 by Daniel Deschler; Vernon, Vernon +Park, Germantown. Erected in 1803 by James Matthews." /></a> +<span class="caption">Plate XV.—Deschler-Perot-Morris House, 5442 Germantown +Avenue, Germantown. Erected in 1772 by Daniel Deschler; Vernon, Vernon +Park, Germantown. Erected in 1803 by James Matthews.</span> +</div> + +<p>On his death in 1831, Girard's estate, the greatest private fortune in +America, was valued at about seven and a half million dollars, and his +philanthropy was again shown in his disposition of it. Being without +heirs, as his child had died soon after its birth and his beautiful wife +had died after many years in an insane asylum, his heart went out to +poor and orphan children. In his will he bequeathed $116,000 to various +Philadelphia charities; $500,000 to the city for improvement of the +Delaware River front, streets and buildings; $300,000 to Pennsylvania +for internal improvements, especially canals, and the bulk of the estate +to Philadelphia, chiefly for founding and maintaining a non-sectarian +school or college, but also for providing a better police system, making +municipal improvements and lessening taxation. The college was given for +the support and education of poor white male orphans, of legitimate +birth and character, between the ages of six and ten; and it was +specified that no boy was to be permitted to stay after his eighteenth +year, and that as regards admission, preference was to be shown, first +to orphans born in Philadelphia, second to orphans born in any other +part of Pennsylvania, third to orphans born in New York City, and fourth +to orphans born in New Orleans.<span class='page-number'><a name="Page_34" id="Page_34">34</a></span></p> + +<p>Work upon the buildings was begun in 1833, and the college was opened +with five buildings in 1848. The central one, an imposing structure in +the Corinthian style of architecture designed by Thomas Ustick Walter, +has been called "the most perfect Greek temple in existence." To it in +1851 were removed the remains of Stephen Girard and placed in a +sarcophagus in the south vestibule. The college fund, originally +$5,260,000, has grown to more than thirty-five million dollars; likewise +the college has become virtually a village in itself. Some twenty +handsome buildings and residences, valued at about three and a half +million dollars, and more than forty acres of land accommodate about two +thousand students, teachers and employes.</p> + +<p>Under the provisions of the Girard trust fund nearly five hundred +dwelling houses have been erected by the city in South Philadelphia, all +heated and lighted by a central plant operated by the trustees, and more +than seventy million tons of coal have been mined on property belonging +to his estate. Few philanthropists have left their money so wisely or +with such thoughtful provisions to meet changing conditions.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_16" id="PL_16"></a> +<a href="images/ill_017_pl_16a.png"> +<img src="images/ill_017_pl_16a_th.png" width="300" height="217" alt="Plate XVI.—Loudoun, Germantown Avenue and Apsley Street, +Germantown. Erected in 1801 by Thomas Armat; Solitude, Blockley +Township, Fairmount Park. Erected in 1785 by John Penn." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_16b" id="PL_16b"></a> +<a href="images/ill_017_pl_16b.png"> +<img src="images/ill_017_pl_16b_th.png" width="300" height="227" alt="Plate XVI.—Loudoun, Germantown Avenue and Apsley Street, +Germantown. Erected in 1801 by Thomas Armat; Solitude, Blockley +Township, Fairmount Park. Erected in 1785 by John Penn." /></a> +<span class="caption">Plate XVI.—Loudoun, Germantown Avenue and Apsley Street, +Germantown. Erected in 1801 by Thomas Armat; Solitude, Blockley +Township, Fairmount Park. Erected in 1785 by John Penn.</span> +</div> + + + +<p>Perhaps the brick mansion most thoroughly representative of the type of +Georgian country house, of which so many sprang up about Philadelphia +from 1760 to 1770, is Port Royal House on Tacony Street between Church +and Duncan streets<span class='page-number'><a name="Page_35" id="Page_35">35</a></span> in Frankford. This great square, hip-roofed +structure with its quoined corners and projecting stone belt at the +second-floor level; its surmounting belvedere, ornamental dormers and +great chimney stacks; its central pediment springing from a heavy +cornice above a projecting central portion of the façade in which are +located a handsome Palladian window and characteristic Doric doorway; +its large, ranging, twenty-four-paned windows with keyed stone lintels +and blinds on the lower story, is in brick substantially what Mount +Pleasant is in plastered stone, as will be seen in Chapter V. As in the +latter, a broad central hall extends entirely through the house, and the +staircase is located in a small side hall. The rooms throughout are +large and contain excellent woodwork and chimney pieces.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_17" id="PL_17"></a> +<a href="images/ill_018_pl_17.png"> +<img src="images/ill_018_pl_17_th.png" width="300" height="214" alt="Plate XVII.—Cliveden, Germantown Avenue and Johnson +Street, Germantown. Erected in 1781 by Benjamin Chew." /></a> +<span class="caption">Plate XVII.—Cliveden, Germantown Avenue and Johnson +Street, Germantown. Erected in 1781 by Benjamin Chew.</span> +</div> + +<p>Port Royal House was erected in 1762 by Edward Stiles, a wealthy +merchant and shipowner, who like many others emigrated from Bermuda to +the Bahama island of New Providence and thence to Philadelphia about the +middle of the eighteenth century, to engage in American commerce. He was +the great-grandson of John Stiles, one of the first settlers of Bermuda +in 1635, and the son of Daniel Stiles, of Port Royal Parish, a vestryman +and warden of Port Royal Church and a member of the Assembly of Bermuda +in 1723. Commerce between the American colonies and Bermuda and the West +Indies was extensive, and Stiles' business + +<span class='page-number'><a name="Page_36" id="Page_36">36</a></span> prospered. He had a store in +Front Street between Market and Arch streets, and a town house in Walnut +Street between Third and Fourth streets. In summer, like other men of +his station and affluence, he lived at his countryseat, surrounded by +many slaves, on an extensive plantation in Oxford township, near +Frankford, that he had purchased from the Waln family. To it he gave the +name Port Royal after his birthplace in Bermuda.</p> + +<p>To Edward Stiles in 1775 befell the opportunity to carry relief to the +people of Bermuda, then in dire distress because their supplies from +America had been cut off by the Non-Importation Agreement among the +American colonies. In response to their petition to the Continental +Congress, permission was granted to send Stiles' ship, the <i>Sea Nymph</i> +(Samuel Stobel, master), laden with provisions to be paid for by the +people of Bermuda either in gold or arms, ammunition, saltpeter, sulphur +and fieldpieces.</p> + +<p>During the occupation of Philadelphia by the British in 1777 and 1778, +Frankford became the middle ground between the opposing armies and +subject to the depredations of both. Port Royal House, like many other +estates of the vicinity, was robbed of its fine furniture, horses, +slaves and provisions.</p> + +<p>Under the will of Edward Stiles his slaves were freed and educated at +the expense of his estate.<span class='page-number'><a name="Page_37" id="Page_37">37</a></span> In 1853 the Lukens family bought Port Royal +House and for several years a boarding school was conducted there. As +the manufacturing about Frankford grew, the locality lost its +desirability as a place of residence. The house was abandoned to chance +tenants and allowed to fall into an exceedingly delapidated condition. +The accompanying photograph, however, depicts enough of its former state +to indicate that in its day it was among the best brick country +residences of the vicinity.<span class='page-number'><a name="Page_38" id="Page_38">38</a></span></p> + + + +<h3><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h3> + +<p class="head">CITY RESIDENCES OF BRICK</p> + +<p class="noindent"><span class="lg">A</span><span class="smcap2">s</span> +the city of Philadelphia grew and became more densely populated, land +values increased greatly, and the custom developed of building brick +residences in blocks fronting directly on the street, the party walls +being located on the side property lines. Like the country houses +already described, these were laid up in Flemish bond with alternating +red stretcher and black header bricks, and thus an entire block +presented a straight, continuous wall, broken only by a remarkably +regular scheme of doorways and fenestration, and varied only by slight +differences in the detail of doors and windows, lintels, cornices and +dormers. These plain two-or three-story brick dwellings in long rows, in +street after street, with white marble steps and trimmings, green or +white shutters, each intended for one family, have been perpetuated +through the intervening years, and now as then form the dominant feature +of the domestic architecture of the city proper.</p> + +<p>For the most part these were single-front houses, that is to say, the +doorway was located to the right<span class='page-number'><a name="Page_39" id="Page_39">39</a></span> or left with two windows at one side, +while on the stories above windows ranged with the doorway, making three +windows across each story. There were exceptions, however, the so-called +Morris house at Number 225 South Eighth Street being a notable example +of a characteristic double-front house of the locality and period. They +were gable-roof structures with high chimneys in the party walls, +foreshortened, third-story windows and from one to three dormers +piercing the roof.</p> + +<p>At the end of the block the wall was often carried up above the ridge +between a pair of chimneys and terminated in a horizontal line, +imparting greater stability to the chimney construction and lending an +air of distinction to the whole house, which was further enhanced by +locating the entrance directly beneath in the end wall rather than in +the side of the building. The famous old Wistar house at the southeast +corner of Fourth and Locust streets is a case in point.</p> + +<p>Pedimental dormers were the rule, sometimes with round-headed windows. +Elaborate molded wood cornices were a feature, often with prominent, +even hand-tooled modillions. Slightly projecting belts of brick courses, +marble or other stone marked the floor levels, and keyed stone lintels +were customary, although in some of the plainer houses the window frames +were set between ordinary courses of brickwork, without decoration of +any sort. Most of<span class='page-number'><a name="Page_40" id="Page_40">40</a></span> the windows had either six-or nine-paned upper and +lower sashes with third-story windows foreshortened in various ways. +There were paneled shutters at the first-story windows and often on the +second story as well, although blinds were sometimes used on the second +story and rarely on the third. The high, deeply recessed doorways, with +engaged columns or fluted pilasters supporting handsome entablatures or +pediments, and beautifully paneled doors, often with a semicircular +fanlight above, were characteristic of most Philadelphia entrances. +Before them, occupying part of the sidewalk, was a single broad stone +step, or at times a stoop consisting of a flight of three or four steps +with a simple wrought-iron handrail, sometimes on both sides, but often +on only one side. Other common obstructions in the sidewalk were +areaways at one or two basement windows and a rolling way with inclined +double doors giving entrance from the street to the basement.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 237px;"> +<a name="PL_18" id="PL_18"></a> +<a href="images/ill_019_pl_18a.png"> +<img src="images/ill_019_pl_18a_th.png" width="237" height="300" alt="PLATE XVIII.—Detail of Cliveden Façade; Detail of +Bartram House Façade." /> +</a></div> +</td><td> </td><td> +<div class="illustration" style="width: 237px;"> +<a name="PL_18b" id="PL_18b"></a> +<a href="images/ill_019_pl_18b.png"> +<img src="images/ill_019_pl_18b_th.png" width="240" height="300" alt="PLATE XVIII.—Detail of Cliveden Façade; Detail of +Bartram House Façade." /> +</a></div></td></tr> + +<tr><td colspan="3" align="center"> +<span class="caption">PLATE XVIII.—Detail of Cliveden Façade; Detail of +Bartram House Façade.</span> +</td></tr> +</table> + + +<p>Many of these city residences were of almost palatial character, built +by wealthy merchants and men in political life who thought it expedient +to live near their wharves and countinghouses or within easy distance of +the seats of city, provincial and later of national government. +Beautiful gardens occupied the backyards of many such dwellings, +affording veritable oases in a desert of bricks and mortar, yet many of +the more affluent citizens<span class='page-number'><a name="Page_41" id="Page_41">41</a></span> maintained countryseats along the +Schuylkill or elsewhere in addition to their town houses.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_19" id="PL_19"></a> +<a href="images/ill_020_pl_19.png"> +<img src="images/ill_020_pl_19_th.png" width="300" height="202" alt="PLATE XIX.—The Highlands, Skippack Pike, Whitemarsh. +Erected in 1796 by Anthony Morris." /></a> +<span class="caption">PLATE XIX.—The Highlands, Skippack Pike, Whitemarsh. +Erected in 1796 by Anthony Morris.</span> +</div> + +<p>The location of many of these early city dwellings of brick was such +that as the city grew they became undesirable as places of residence. +Business encroached upon them more and more, so that, except for houses +which have remained for generations in the same family or have historic +interest sufficient to have brought about their preservation by the +city, relatively few still remain in anything like their original +condition. Of the quaint two-and three-story dwellings of modest though +delightfully distinctive character, which once lined the narrow streets +and alleys, most have become squalid tenements and small alien stores, +or else have been utilized for commercial purposes. To walk through +Combes Alley and Elfret Alley is to sense what once was and to realize +the trend of the times, but there is much material for study in these +rapidly decaying old sections that repay a visit by the architect and +student.</p> + +<p>Happily, however, one of these typical little streets is to be +perpetuated in something like its pristine condition. Camac Street, "the +street of little clubs", has become one of the unique features of the +city,—a typically American "Latin Quarter." To enter this little, +narrow, rough-paved alley, running south from Walnut Street between +Twelfth and Thirteenth streets, is like stepping back a<span class='page-number'><a name="Page_42" id="Page_42">42</a></span> century or +more. The squatty little two and a half story houses with picturesque +doorways and dormer windows have become the homes of numerous clubs +representing the best art interests of the city. Poor Richard Club, +Plastic Club, Sketch Club, Coin d'Or and Franklin Inn are among the +names to be seen painted on the signs beside the doors. The houses and +their gardens in the rear have been restored and provide excellent club, +exhibition and lecture rooms, at the same time preserving some fine +examples of a rapidly passing type of early American architecture. Would +that a similar course might be taken by local societies in every large +American city where a wealth of Colonial architecture exists!</p> + +<p>Among the fine old single-front houses of particular interest which have +suffered through the encroachment of business upon the former +residential sections of the city are the Blackwell house, Number 224 +Pine Street, and the Wharton house, Number 336 Spruce Street.</p> + +<p>The former was in many respects the most elegant residence in +Philadelphia, built almost without regard to cost by a man of great +wealth, whose taste and refinement called for luxurious living and a +beautiful home. The interior woodwork surpassed in design and execution +anything to be found elsewhere in the city. Many of the doorways had +fluted pilasters, heavily molded casings and carved<span class='page-number'><a name="Page_43" id="Page_43">43</a></span> broken pediments. +The doors were of mahogany as was likewise the wainscoting of the +staircases. The sides of the rooms where fireplaces were located were +completely paneled to the ceiling, and above the fireplace openings were +narrow panels on which were hunting scenes done in mastic. Some years +ago much of this beautiful woodwork was removed, and to-day, despoiled +of its former architectural splendor, dingy and dilapidated, the shell +of the building is used as a cigar factory.</p> + +<p>The house was built about 1765 by John Stamper, a wealthy English +merchant, who had been successively councilman, alderman and finally +mayor of Philadelphia in 1759. He bought the whole south side of Pine +Street from Second to Third from the Penns in 1761, and for many years +the house was surrounded by a garden containing flowers, shrubs and +fruit trees. Later the house passed into the hands of Stamper's +son-in-law, William Bingham, Senior, and afterwards to Bingham's +son-in-law, the Reverend Doctor Robert Blackwell.</p> + +<p>Doctor Blackwell was the son of Colonel Jacob Blackwell, of New York, +who owned extensive estates on Long Island along the East River, +Blackwell's Island being included. After graduating from Princeton, +Robert Blackwell studied first medicine and then theology. After several +years of tutoring at Philipse Manor, he was ordained to the ministry and +served the missions at Gloucester and<span class='page-number'><a name="Page_44" id="Page_44">44</a></span> St. Mary's, Colestown, New +Jersey. When both congregations were scattered by the Revolution, he +joined the Continental Army at Valley Forge as both chaplain and +surgeon. In 1870 he married Hannah Bingham, whose considerable fortune, +added to the estate of his father which he soon after inherited, made +him the richest clergyman in America and one of the richest men in +Philadelphia. The following year he was called to assist Doctor White, +the rector of Christ Church and St. Peter's, and to the latter Doctor +Blackwell chiefly devoted himself until his resignation in 1811 due to +failing health. It was the services of these united parishes which +Washington, his Cabinet and members of Congress attended frequently. On +Doctor Blackwell's death in 1831 the house passed into the Willing +family and has since changed owners many times.</p> + +<p>The Wharton house, Number 336 Spruce Street, was built in 1796 by Samuel +Pancoast, a house carpenter, who sold it to Mordecai Lewis, a prominent +merchant in the East India trade, shipowner, importer and one-time +partner of William Bingham, the brother-in-law of Doctor Blackwell, and +whose palatial mansion in Third Street above Spruce was one of the most +exclusive social centers of the city. Mordecai Lewis was a director of +the Bank of North America, the Philadelphia Contributorship for the +Insurance of Houses from Loss by Fire, the Philadelphia Library, and the +treasurer of the Penn<span class='page-number'><a name="Page_45" id="Page_45">45</a></span>sylvania Hospital. Much of the currency issued by +the Continental Congress of 1776 bore his name. Although a member of the +volunteer military company, he was never in active service.</p> + +<p>Following his death in 1799 the house was sold by his executors in 1809 +to his son, Samuel N. Lewis, also a successful merchant of great public +spirit. In 1817 the younger Lewis sold the house to Samuel Fisher, +another merchant and prominent Friend noted for his hospitality and his +charity, especially toward negroes and Indians. Because of his +neutrality during the Revolution, he was exiled to Virginia from 1777 +until 1779, when he was arrested because of a business letter to his +partner in New York which was regarded as antagonistic to the +government. He was committed to the "Old Gaol", and after refusing bail +was tried and because of the clamor of the mob was sentenced to +imprisonment for the duration of the war. Soon afterward, however, a +pardon was offered him, which he refused, and two years later he left +prison by invitation without terms, his health broken. His wedding gift +to his daughter, Deborah, on her marriage to William Wharton in 1817, +was the Spruce Street house, which has ever since borne Wharton's name.</p> + +<p>William Wharton was the son of Charles Wharton, who, with his wife, +Hannah, devoted themselves to a religious life among the Friends. +Deborah Wharton, William Wharton's wife, became a prominent<span class='page-number'><a name="Page_46" id="Page_46">46</a></span> minister of +the Society of Friends, traveling extensively in the interests of Indian +welfare and giving generously of her ample means to various +philanthropic causes. She was one of the early managers of Swarthmore +College, as has been a descendant in each generation of the family since +that time. Of her ten children, Joseph Wharton, also a prominent Friend, +was owner of the Bethlehem Steel Works and one of the most successful +ironmasters in the country. A liberal philanthropist, he founded the +Wharton School of Finance and Economy at the University of Pennsylvania +and was for many years president of the board of managers of Swarthmore +College. On his mother's death in 1888 the Spruce Street house came into +his possession and is still owned by his estate. Although rented as a +rooming house, it remains in a fair state of preservation.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_20" id="PL_20"></a> +<a href="images/ill_021_pl_20a.png"> +<img src="images/ill_021_pl_20a_th.png" width="300" height="232" alt="PLATE XX.—Bartram House, Kingsessing, West Philadelphia. +Erected in 1730-31 by John Bartram; Old Green Tree Inn, 6019 Germantown +Avenue, Germantown. Erected in 1748." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_20b" id="PL_20b"></a> +<a href="images/ill_021_pl_20b.png"> +<img src="images/ill_021_pl_20b_th.png" width="300" height="235" alt="PLATE XX.—Bartram House, Kingsessing, West Philadelphia. +Erected in 1730-31 by John Bartram; Old Green Tree Inn, 6019 Germantown +Avenue, Germantown. Erected in 1748." /></a> +<span class="caption">PLATE XX.—Bartram House, Kingsessing, West Philadelphia. +Erected in 1730-31 by John Bartram; Old Green Tree Inn, 6019 Germantown +Avenue, Germantown. Erected in 1748.</span> +</div> + + +<p>The Wistar house, at the southwest corner of Fourth and Locust streets, +to which architectural reference has previously been made, was built +about 1750 and for nearly three quarters of a century thereafter was the +scene of constant hospitality and lavish entertainment. Here lived +Doctor William Shippen, whose marriage to Alice, the daughter of Thomas +Lee, of Virginia, and the sister of Richard Henry and Arthur Lee, was +one of the numerous alliances which drew the county families of Virginia +and Maryland into close relationship with<span class='page-number'><a name="Page_47" id="Page_47">47</a></span> Philadelphia families. +Doctor Shippen's home quickly became the resort of the Virginia +aristocracy when visiting the national capital, and in consequence there +was a constant succession of balls and dinners during the winter season.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_21" id="PL_21"></a> +<a href="images/ill_022_pl_21a.png"> +<img src="images/ill_022_pl_21a_th.png" width="300" height="233" alt="Plate XXI.—Johnson House, 6306 Germantown Avenue, +Germantown. Erected in 1765-68 by Dirck Jansen; Billmeyer House, +Germantown Avenue, Germantown. Erected in 1727." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_21b" id="PL_21b"></a> +<a href="images/ill_022_pl_21b.png"> +<img src="images/ill_022_pl_21b_th.png" width="300" height="225" alt="Plate XXI.—Johnson House, 6306 Germantown Avenue, +Germantown. Erected in 1765-68 by Dirck Jansen; Billmeyer House, +Germantown Avenue, Germantown. Erected in 1727." /></a> +<span class="caption">Plate XXI.—Johnson House, 6306 Germantown Avenue, +Germantown. Erected in 1765-68 by Dirck Jansen; Billmeyer House, +Germantown Avenue, Germantown. Erected in 1727.</span> +</div> + +<p>In 1799 the house was occupied by Doctor Caspar Wistar, the eminent +anatomist, known to the élite of the city and nation for his brilliant +social gatherings and as the man for whom that beautiful climbing plant, +the <i>Wistaria</i>, was named. Doctor Wistar's geniality, magnetism, +intellectual leadership and generous hospitality made his home a +gathering place for the most distinguished personages of his day in the +professions, arts, sciences, letters and politics. Since he held a chair +at the University of Pennsylvania and carried on an extensive private +practice, the demands upon his time were great, but Sunday evenings, and +later on Saturday evenings, he was at home to his friends, who formed +the habit of calling regularly in numbers from ten to fifty and often +bringing new-found friends, sure of a hearty welcome, brilliant +conversation and choice refreshments. And so began one of the cherished +institutions of Philadelphia, the Wistar Parties, which were continued +after the doctor's death in 1818 by Wistar's friends and their +descendants. The Civil War brought an interruption, but in 1886 the +gatherings were again resumed; few of the distinguished visitors to the +city failed to be<span class='page-number'><a name="Page_48" id="Page_48">48</a></span> invited to attend, and, having attended, to praise +most highly the exceptional hospitality shown them. During Doctor +Wistar's lifetime the personnel of the parties gradually became +substantially the membership of that world-famous scientific +organization, the Philosophical Society, and later membership in that +society became requisite to eligibility for the Wistar Parties.</p> + +<p>By far the handsomest old city residence of brick that remains in +anything like its original condition is the so-called Morris house at +Number 225 South Eighth Street between Walnut and Spruce streets. +Although not built until very shortly after the struggle for American +independence had been won, it is pre-Revolutionary in character and +Colonial in style throughout. In elegance and distinction the façade is +unexcelled in early American city architecture. Unlike most houses of +the time and locality, it has a double front with two windows each side +of a central doorway, a range of five windows on the second and third +floors and three simple dormers in the gable roof above. The windows +have twelve-paned upper and lower sashes with paneled shutters on the +first and second stories, and foreshortened eight-paned upper and lower +sashes without shutters on the third story.</p> + +<p>The brickwork is of characteristic Flemish bond with alternating red +stretcher and black header bricks. Two slightly projecting courses, two +courses<span class='page-number'><a name="Page_49" id="Page_49">49</a></span> apart, form horizontal belts at the second-and third-floor +levels, while the first thirteen courses above the sidewalk level +project somewhat beyond the wall above and are laid up in running bond, +every sixth course being a tie course of headers. Beautifully tooled, +light stone lintels with fine-scale radial scorings greatly enhance the +beauty of the fenestration. Each lintel appears to consist of seven +gauged or keyed pieces each, but is in reality a single stone, the +effect being secured by deep scorings. A heavy molded cornice and +handsome gutter spouts complete the decorative features apart from the +chaste pedimental doorway with its fluted pilasters and dainty fanlight, +which is mentioned again in another chapter. A rolling way and areaways +at the basement windows pierce the wall at the sidewalk level after the +manner of the time. Indoors, the hall extends entirely through the house +to a door in the rear opening upon a box-bordered garden with rose trees +and old-fashioned flowers. There is a parlor on the right of the hall +and a library on the left. Back of the latter is the dining room, while +the kitchen and service portion of the house are located in an L +extension to the rear.</p> + +<p>As indicated by two marble date stones set in the third-story front wall +just below the cornice, this house was begun in 1786 and finished in +1787 by John Reynolds. Some years later it was purchased at a sheriff's +sale by Ann Dunkin, who sold it in<span class='page-number'><a name="Page_50" id="Page_50">50</a></span> 1817 to Luke Wistar Morris, the son +of Captain Samuel Morris. Since that time it has remained in the Morris +family, and its occupants have maintained it in splendid condition. Much +beautiful old furniture, silver and china adorn the interior, most of +the pieces having individual histories of interest; in fact, the place +has become a veritable museum of Morris and Wistar heirlooms. Within a +few years the two old buildings that formerly adjoined the house to the +right and left were removed so that the house now stands alone with a +garden space at each side behind a handsome wrought-iron fence.</p> + +<p>An enthusiastic horseman and sportsman, Samuel Morris was until his +death in 1812 president of the Gloucester Fox Hunting Club in which +originated in November, 1774, the Philadelphia Troop of Light Horse, +better known as the City Troop, the oldest military organization in the +United States. In 1775 Morris was a member of the Committee of Safety, +and throughout the Revolution he served as captain of the City Troop and +as a special agent for Washington, in whose esteem he stood high. Later +he was a justice of the peace and a member of the Pennsylvania assembly +from 1781 to 1783. A handsome china punch bowl presented to Captain +Samuel Morris by the members of the Gloucester Fox Hunting Club is one +of the most prized possessions in the Morris house.<span class='page-number'><a name="Page_51" id="Page_51">51</a></span></p> + +<p>Any book devoted to the Colonial houses of Philadelphia might perhaps be +considered incomplete that failed to include the quaint little two and a +half story building at Number 229 Arch Street, with its tiny store on +the street floor and dwelling on the floors above. Devoid of all +architectural pretension and showing the decay of passing years, it is +nevertheless typical of the modest shop and house of its day, and it +interests the visitor still more as the home of Betsy Ross, who for many +years was popularly supposed to have made the first American flag. Betsy +Ross was the widow of John Ross, a nephew of one of the signers of the +Declaration of Independence, who had conducted an upholsterer's business +in the little shop. For a time after his death she supported herself as +a lace cleaner and by continuing the business of her husband.</p> + +<p>The romantic tradition goes, unsupported by official record, that, +Congress having voted in June, 1777, for a flag of thirteen stripes, +alternate red and white, with thirteen white stars in a blue field, the +committee in charge consulted with Washington, then in Philadelphia, +concerning the matter. Knowing Mrs. Ross, Washington led the way to her +house and explained their mission. In her little shop under their eyes +she cut and stitched together cloths of the three colors we love so well +and soon produced the first version of the Stars and Stripes.<span class='page-number'><a name="Page_52" id="Page_52">52</a></span></p> + +<p>The tale is a pretty one, and it is a pity that it should not be based +on some good foundation, especially as the records show that +subsequently Betsy Ross did make numerous flags for the government. How +the story started is unknown, but none of the historians who have given +the matter any attention believe it. John H. Flow in "The True Story of +the American Flag" condemns it utterly, and the United States Government +refused to adopt the Betsy Ross house as a national monument after a +thorough investigation. Notwithstanding the facts, however, this ancient +little building still continues to be a place of interest to many +tourists every year.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 230px;"> +<a name="PL_22" id="PL_22"></a> +<a href="images/ill_023_pl_22a.png"> +<img src="images/ill_023_pl_22a_th.png" width="230" height="300" alt="Plate XXII.—Hooded Doorway, Johnson House, Germantown; +Hooded Doorway, Green Tree Inn." /> +</a></div> +</td><td> +<div class="illustration" style="width: 235px;"> +<a name="PL_22b" id="PL_22b"></a> +<a href="images/ill_023_pl_22b.png"> +<img src="images/ill_023_pl_22b_th.png" width="235" height="300" alt="Plate XXII.—Hooded Doorway, Johnson House, Germantown; +Hooded Doorway, Green Tree Inn." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXII.—Hooded Doorway, Johnson House, Germantown; +Hooded Doorway, Green Tree Inn.</span> +</td></tr> +</table> + + +<p><span class='page-number'><a name="Page_53" id="Page_53">53</a></span></p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 240px;"> +<a name="PL_23" id="PL_23"></a> +<a href="images/ill_024_pl_23a.png"> +<img src="images/ill_024_pl_23a_th.png" width="240" height="300" alt="Plate XXIII. Pedimental Doorway, 114 League Street; +Pedimental Doorway, 5933 Germantown Avenue." /> +</a></div> +</td><td> +<div class="illustration" style="width: 240px;"> +<a name="PL_23b" id="PL_23b"></a> +<a href="images/ill_024_pl_23b.png"> +<img src="images/ill_024_pl_23b_th.png" width="240" height="300" alt="Plate XXIII. Pedimental Doorway, 114 League Street; +Pedimental Doorway, 5933 Germantown Avenue." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXIII. Pedimental Doorway, 114 League Street; +Pedimental Doorway, 5933 Germantown Avenue.</span> +</td></tr> +</table> + +<h3><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h3> + +<p class="head">LEDGE-STONE COUNTRY HOUSES</p> + +<p class="noindent"><span class="lg">T</span><span class="smcap2">he</span> +use of natural building materials available on or near the site, +when they are suitable or can be made so, always elicits hearty +commendation; it gives local color and distinctive character. And so we +look with particular admiration at the fine old countryseats of local +rock-face and surfaced stone which abound in the neighborhood of +Philadelphia, especially at Germantown, finding among them the most +homelike and picturesque stone dwellings of the past and the best +prototypes for present-day adaptation. Nowhere can one discover better +inspiration for rock-face stonework, and nowhere have the architects of +to-day more successfully preserved and developed the best local +traditions of Colonial times.</p> + +<p>Wherein lies the superlative picturesque appeal of the typical ledge +stonework of Germantown? As distinguished from surfaced stonework, it +possesses that flexibility in use so essential to the many and varied +requirements of domestic architecture<span class='page-number'><a name="Page_54" id="Page_54">54</a></span> imposed by the personality and +mode of living of the owner. In a measure this ready adaptability is due +to the irregular lines and rock face of the stone itself, so pleasing in +scale, color and texture, and so completely in harmony with the natural +landscape. But to a far greater extent it is due to the fact that its +predominant lines are horizontal, the line of repose and stability. +Ledge stone, long and narrow, laid up in broken range, with the top and +bottom beds approximately level, but with end joints as the stone works +naturally, has an even more marked horizontal effect than brick, +clap-boarded or shingled walls that tends to a surprising degree to +simulate the impression of greater breadth of the entire mass.</p> + +<p>Such matters as color, surface texture and the bond or pattern formed by +the shape of the stones and their arrangement in the wall are the +refinements of stonework; the essentials are strength and durability of +the stone itself and stability of the wall. And this stability should be +apparent as well as actual. The integrity of stonework depends upon its +ability to stand alone, and nothing except high-cost surfaced stone is +so readily conducive to handsome, honest masonry as the natural ledge +stone of greater Philadelphia. A consistent wall should be of sound +construction without the aid of mortar, the mission of which is to chink +the joints and make the structure weather-tight.<span class='page-number'><a name="Page_55" id="Page_55">55</a></span></p> + +<p>Many different examples of stonework, both the pointed and unpointed, +stand virtually side by side for comparison about Philadelphia. Several +methods of pointing have been employed. There is the flush pointing and +the ridge or weathered type commonly known as Colonial or "barn" +pointing. Of them all, however, a method of laying and pointing +generally referred to as the Germantown type has been most widely +favored. It lends itself particularly well to the Colonial style of +house now so popular, the broad lines of the white pointing bringing the +gray stone into pleasing harmony with the white woodwork.</p> + +<p>The pointing itself is much like the Colonial or "barn" pointing already +referred to,—the wide open joints being filled with mortar brought well +to the surface of the stones and smoothed off by the flat of the trowel +with little regard to definiteness of line, after which about one-fourth +of the width of the pointing is cut sharply away at the bottom so as to +leave a sloping weathered edge considerably below the center of the +joint. This is sometimes left as cut, in order to preserve a difference +in texture, or is gone over with a trowel, either free hand or along a +straightedge, to give a more finished appearance or more pronounced +horizontal line effect.</p> + +<p>Generally gray in effect, a ledge-stone wall provides a delightful +neutral background against which trellises of roses, wistaria, +honeysuckle and other<span class='page-number'><a name="Page_56" id="Page_56">56</a></span> flowering climbers delight the eye, and to which +the spreading English ivy clings in the most charming intimacy. +White-painted woodwork, however, furnishes its prime +embellishment,—doors, windows, porches, dormers and such necessary +appurtenances of comfortable living punctuating its various parts with +high lights which brighten the effect, balance the form and mass and +lend distinctive character. One has but to examine the accompanying +illustrations of a few notable homes of the Colonial period to +appreciate the undeniable charm of white-painted woodwork in a setting +of ledge stone.</p> + +<p>In the midst of virgin forest at the end of Livezey's Lane in Germantown +on the banks of Wissahickon Creek, stands Glen Fern, more commonly known +as the Livezey house, with numerous old buildings near by which in years +past were mills, granaries and cooper shops. The house is of typically +picturesque ledge-stone construction and interesting arrangement, +consisting of three adjoining gable-roof structures in diminishing +order, each with a single shed-roof dormer in its roof. It is located on +a garden terrace with ledge-stone embankment wall and steps leading up +to the door, which originally had seats at each side, while a balcony +above was reached by the door in the second story. Two and a half +stories high and having a chimney at each end, the main house attracts +attention chiefly for its quaint fenestration, with two windows on<span class='page-number'><a name="Page_57" id="Page_57">57</a></span> +one side of the door and one on the other, the foreshortened +twelve-paned windows of the second story placed well up under the eaves, +the first-story windows having six-paned upper and nine-paned lower +sashes. As usual, there are shutters for the first-and blinds for the +second-story windows.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 234px;"> +<a name="PL_24" id="PL_24"></a> +<a href="images/ill_025_pl_24a.png"> +<img src="images/ill_025_pl_24a_th.png" width="234" height="300" alt="Plate XXIV.—Doorway, 5011 Germantown Avenue; Doorway, +Morris House, 225 South Eighth Street." /> +</a></div> +</td><td> +<div class="illustration" style="width: 234px;"> +<a name="PL_24b" id="PL_24b"></a> +<a href="images/ill_025_pl_24b.png"> +<img src="images/ill_025_pl_24b_th.png" width="234" height="300" alt="Plate XXIV.—Doorway, 5011 Germantown Avenue; Doorway, +Morris House, 225 South Eighth Street." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXIV.—Doorway, 5011 Germantown Avenue; Doorway, +Morris House, 225 South Eighth Street.</span> +</td></tr> +</table> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td +style="padding-right:8%;"> +<div class="illustration" style="width: 234px;"> +<a name="PL_25" id="PL_25"></a> +<a href="images/ill_026_pl_25a.png"> +<img src="images/ill_026_pl_25a_th.png" width="234" height="300" alt="Plate XXV.—Doorway, 6504 Germantown Avenue; Doorway, 709 +Spruce Street." /> +</a></div> +</td><td +style="padding-left:8%;"> +<div class="illustration" style="width: 244px;"> +<a name="PL_25b" id="PL_25b"></a> +<a href="images/ill_026_pl_25b.png"> +<img src="images/ill_026_pl_25b_th.png" width="244" height="300" alt="Plate XXV.—Doorway, 6504 Germantown Avenue; Doorway, 709 +Spruce Street." /> +</a></div> +</td></tr> +<tr><td colspan="3" align="center"> +<span class="caption">Plate XXV.—Doorway, 6504 Germantown Avenue; Doorway, 709 +Spruce Street.</span></td></tr> +</table> + +<p>A winding stairway leads upward from a rather small hall. White-paneled +wainscots and fireplaces surrounded by dark marble adorn each of the +principal rooms, while the great kitchen fireplace, in an inglenook with +a window beside a seat large enough to accommodate several persons, was +the "courtin' corner" of three generations of the Livezey family.</p> + +<p>The old grist mill on Wissahickon Creek, originally a considerable +stream, was built by Thomas Shoemaker, and in 1747 conveyed by him to +Thomas Livezey, Junior, who operated it the rest of his life and lived +at Glen Fern near by. The builder's father, Jacob Shoemaker, who gave +the land upon which the Germantown Friends' Meeting House stands at +Coulter and Main streets, came to this country with Pastorius in the +ship <i>America</i> in 1682 and became sheriff of the town in 1690. Thomas +Livezey, the progenitor of the Livezey family, and the great-grandfather +of Thomas, Junior, came from England in 1680, and the records show that +he served on the first grand jury of the first court held in the +province, January 2, 1681.</p> + +<p>Thomas Livezey, Junior, the miller, was a public-spirited<span class='page-number'><a name="Page_58" id="Page_58">58</a></span> and +many-sided man. Something of a wag and given to writing letters in +verse, his life also had its more serious side. Besides being one of the +founders and a trustee of the Union Schoolhouse of Germantown, now +Germantown Academy, he was a justice of the peace and a provincial +commissioner in 1765. Being a Friend, he took no part in the struggle +for independence, although his provocation was great.</p> + +<p>For safety's sake the girls of the family, with the eatables and +drinkables, were often locked up in the cellars during the occupancy of +Germantown by the British. On one occasion British soldiers came to the +house and demanded food, and being told by one of the women that after +cooking all day she was too weary to prepare it, one of the soldiers +struck off the woman's ear with his sword. An officer appeared +presently, however, demanded to know who had done so dastardly a thing +and instantly split the culprit's head with his saber.</p> + +<p>Livezey cultivated a large farm on the adjoining hillsides, and a dozen +bottles of wine from his vineyard, forwarded by his friend Robert +Wharton, elicited praise from Benjamin Franklin.</p> + +<p>Farmers brought their grain hither for miles around, and the mill +prospered. Gradually a large West Indian trade was built up in flour +contaminated with garlic and unmarketable in Philadelphia, the ships +returning with silk, crêpes and beautiful china,<span class='page-number'><a name="Page_59" id="Page_59">59</a></span> so that Livezey's son +John became a prominent Philadelphia merchant. Another son, Thomas, +continued to run the mill, which about the time of the Civil War was +converted to the manufacture of linseed oil. In 1869 the entire property +was purchased for Fairmount Park, and Glen Fern is now occupied by the +Valley Green Canoe Club, which has restored it under the direction of +John Livezey.</p> + +<p>Opposite the famous Chew house on Germantown Avenue, amid a luxurious +setting of splendid trees, clinging ivy and box-bordered gardens, stands +Upsala, one of the finest examples of the Colonial architecture of +Philadelphia. A great, square two and a half story house with a gable +roof, three handsome dormers in front, a goodly sized chimney toward +either end, and an L in the rear, it speaks eloquently of substantial +comfort. Like many houses of the time and place, the façade is of faced +stone carefully pointed, while the other walls are of exceptionally +pleasing ledge stone, the two kinds of masonry being quoined together at +the corners.</p> + +<p>The pointing of the stonework is a very informal variation of the modern +Germantown type,—flat-trowel pointed with little regard to definiteness +of line. The wide joints are more appropriate in scale and taste than +the ridge or weathered type, in that they harmonize better with the +generally broad effect of the house and the white-painted wood trim of +numerous windows and doors.<span class='page-number'><a name="Page_60" id="Page_60">60</a></span></p> + +<p>Keyed lintels and window sills of marble accentuate the fenestration, +and the façade is further enriched by a handsome cornice and marble belt +at the second-floor level. Four marble steps give approach to the high, +pedimental porch before a door of delightful grace and dignity. As was +often the case, there are white-painted shutters at the lower windows +and green-painted blinds at the upper.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 233px;"> +<a name="PL_26" id="PL_26"></a> +<a href="images/ill_027_pl_26a.png"> +<img src="images/ill_027_pl_26a_th.png" width="233" height="300" alt="Plate XXVI.—Doorway, 5200 Germantown Avenue; Doorway, +4927 Frankford Avenue." /> +</a></div> +</td><td +style="padding-left:10%;"> +<div class="illustration" style="width: 233px;"> +<a name="PL_26b" id="PL_26b"></a> +<a href="images/ill_027_pl_26b.png"> +<img src="images/ill_027_pl_26b_th.png" width="233" height="300" alt="Plate XXVI.—Doorway, 5200 Germantown Avenue; Doorway, +4927 Frankford Avenue." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXVI.—Doorway, 5200 Germantown Avenue; Doorway, +4927 Frankford Avenue.</span> +</td></tr> +</table> + +<p>The gable ends of the house are interesting in their fenestration, with +a fanlight of delightful pattern above and between two ordinary windows; +one notices with interest that the returns of the eaves are carried +entirely across the ends of the house from front to back, after the +manner of the characteristic penthouse roof.</p> + +<p>Within, a broad hall extends through the house, an archway at the foot +of the winding staircase being its most striking feature. Two rooms on +each side contain handsome mantels, paneled wainscots and other +beautiful wood finish.</p> + +<p>As indicated by the date stone in one of the gables, Upsala was begun in +1798 by John Johnson, Junior, who inherited the land from his +grandfather, also named John Johnson, and was some three years in the +building. It is located near the corner of Upsal Street on part of a +tract of land that originally extended from Germantown Avenue, then +Germantown Road, to the township line at Wissahickon Avenue. The house +stands on the spot<span class='page-number'><a name="Page_61" id="Page_61">61</a></span> where the Fortieth Regiment of the British Army +was encamped, and where later General Maxwell's cannon were planted to +assail the Chew house at the Battle of Germantown. It has been +successively occupied by Norton Johnson, Doctor William N. Johnson and +Miss Sallie W. Johnson, all descendants of the builder.</p> + + + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 248px;"> +<a name="PL_27" id="PL_27"></a> +<a href="images/ill_028_pl_27a.png"> +<img src="images/ill_028_pl_27a_th.png" width="248" height="300" alt="Plate XXVII.—Doorway, Powel House, 244 South Third +Street; Doorway, Wharton House, 336 Spruce Street." /> +</a></div> +</td><td> +<div class="illustration" style="width: 232px;"> +<a name="PL_27b" id="PL_27b"></a> +<a href="images/ill_028_pl_27b.png"> +<img src="images/ill_028_pl_27b_th.png" width="232" height="300" alt="Plate XXVII.—Doorway, Powel House, 244 South Third +Street; Doorway, Wharton House, 336 Spruce Street." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXVII.—Doorway, Powel House, 244 South Third +Street; Doorway, Wharton House, 336 Spruce Street.</span> +</td></tr> +</table> + +<p>Like Upsala, Grumblethorpe, at Number 526 Main Street, Germantown, +opposite Indian Queen Lane, displays ledge-stone walls except for its +façade, which is plastered, and it has the same returns of the eaves +like a penthouse roof across the gables. This large two and a half story +house stands directly on the sidewalk and has areaways at the sunken +basement windows like many modern houses. A sturdy chimney at either end +and two dormers with segmental topped windows are the features of the +roof. The high recessed doorway, with its broad marble lower step in the +brick sidewalk, is located so that there are three windows to the left +and only two to the right. An interesting feature of the fenestration is +the use of wide twelve-paned windows on the first story and of narrower +and higher eighteen-paned windows on the second. Again there are +shutters on the lower story and blinds above. This variation in the +windows of different stories is by no means an uncommon feature of +Philadelphia houses, and, as in this instance, often came about as the +result of alterations.<span class='page-number'><a name="Page_62" id="Page_62">62</a></span></p> + +<p>Grumblethorpe was built in 1744 by John Wister, who came to Philadelphia +from Germany in 1727 and developed a large business in cultivating +blackberries, making and importing wine in Market Street west of Third. +"Wister's Big House" was the first countryseat in Germantown. Originally +it differed materially from its present outward appearance. There were +no dormers, and the garret was lighted only at the ends. Across the +front and sides of the house the second-floor level was marked by a +penthouse roof, broken over the entrance by a balcony reached by a door +from the second story. To the right of the entrance there were two +windows, as at present; to the left there was a smaller door with a +window at each side of it. Both doors were divided into upper and lower +sections and had side-long seats outside. In the course of repairs and +alterations in 1808 the penthouse roof and balcony, also the front +seats, were removed, the upper and smaller lower doors were replaced by +windows, and the front of the house was pebble dashed.</p> + +<p>A long wing extends back from the main house, and beyond is a workshop +with many old tools and a numerous collection of interesting clocks in +various stages of completion. Still farther back is an observatory with +its telescope, also a box-bordered formal garden in which still stands a +quaint rain gauge. Indoors, the hall and principal rooms are spacious +but low studded, with simple white-painted + +<span class='page-number'><a name="Page_63" id="Page_63">63</a></span> woodwork, and in the kitchen +a primitive crane supporting ancient iron pots still remains in the +great fireplace. Much fine old furniture, many rare books and numerous +curios enhance the interest and beauty of the interiors.</p> + +<p>Many men illustrious in art, science and literature shared Wister's +hospitality. His frequent visitors included Gilbert Stuart, the artist; +Christopher Sower, one of the most versatile men in the colonies; Thomas +Say, the eminent entomologist and president of the Philadelphia Academy +of Natural Sciences; Parker Cleveland, author of the first book on +American mineralogy; James Nichol, the celebrated geologist and writer, +and many other famous personages. Quite as many unknown persons came to +Grumblethorpe, however, for bread was baked every Saturday for +distribution to the poor.</p> + +<p>During the Battle of Germantown, Grumblethorpe was the headquarters of +General Agnew of the British Army, and in the northwest parlor he died +of wounds, staining the floor with his blood, the marks of which are +still visible. In the same room Major Lenox, who occupied the house in +1779, was married. Major Lenox was at various times marshal of the +United States for the District of Pennsylvania, director and president +of the United States Bank, and the representative of the United States +at the Court of St. James.</p> + +<p>John Wister's eldest son, Daniel, a prosperous + +<span class='page-number'><a name="Page_64" id="Page_64">64</a></span> merchant, inherited the +property, and it was his daughter who wrote Sally Wister's well-known +and charming "Journal", the original manuscript of which is among the +many treasures of this charming old house.</p> + +<p>It was Daniel Wister's son, Charles J. Wister, who built the observatory +and developed the beautiful formal garden back of the house. Upon +retiring from business in 1819 he devoted himself to science, notably +botany and mineralogy, upon which subjects he lectured at the Germantown +Academy, of which he was secretary of the board of trustees for thirty +years.</p> + +<p>In 1865 the place came into the hands of Charles J. Wister, Junior, an +artist, writer and Friend of high repute, who, like his father, was for +many years identified with Germantown Academy. On his death in 1910 +Grumblethorpe was shared by his nephews, Owen Wister, the novelist, and +Alexander W. Wister, neither of whom resides there.</p> + +<div class="illustration" style="width: 222px;"> +<a name="PL_28" id="PL_28"></a> +<a href="images/ill_029_pl_28.png"> +<img src="images/ill_029_pl_28_th.png" width="222" height="300" alt="Plate XXVIII.—Doorway, 301 South Seventh Street." /></a> +<span class="caption">Plate XXVIII.—Doorway, 301 South Seventh Street.</span> +</div> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 239px;"> +<a name="PL_29" id="PL_29"></a> +<a href="images/ill_030_pl_29a.png"> +<img src="images/ill_030_pl_29a_th.png" width="239" height="300" alt="Plate XXIX.—Doorway, Grumblethorpe, 5621 Germantown +Avenue; Doorway, 6105 Germantown Avenue." /> +</a></div> +</td><td> +<div class="illustration" style="width: 239px;"> +<a name="PL_29b" id="PL_29b"></a> +<a href="images/ill_030_pl_29b.png"> +<img src="images/ill_030_pl_29b_th.png" width="239" height="300" alt="Plate XXIX.—Doorway, Grumblethorpe, 5621 Germantown +Avenue; Doorway, 6105 Germantown Avenue." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXIX.—Doorway, Grumblethorpe, 5621 Germantown +Avenue; Doorway, 6105 Germantown Avenue.</span> +</td></tr> +</table> + +<p>One of the noblest old ledge-stone mansions of the vicinity is The +Woodlands, located on high ground along the bank of the Schuylkill River +in Blockley Township, West Philadelphia. It was formerly the countryseat +of the Hamilton family, from which a district of West Philadelphia east +of Fortieth Street and south of Market Street took the name of Hamilton +Village. Many years ago the grounds of The Woodlands became a +cemetery, + + + +<span class='page-number'><a name="Page_65" id="Page_65">65</a></span> and the house is now occupied by the superintendent and +contains the cemetery offices. While the gay society of a century and a +quarter ago is lacking the place still retains much of its former beauty +and state.</p> + +<p>Of essentially Georgian character, the house is still more strongly +reminiscent of many plantation mansions of the South. It has an entrance +front to the north and a river or garden front to the south, while the +kitchen arrangements are well concealed. Between two semicircular bays +that project from the ends of the building on the entrance front, six +Ionic pilasters support a broad and elaborately ornamented pediment, its +chief features being the notching of the shingles, the circular window +and the frieze with groups of vertical flutings in alternation with +large round flower ornaments. A broad paved terrace three steps above +the drive extends across the front from one bay to the other and gives +approach to a round-arched central doorway with handsome leaded fanlight +beneath a segmental hood supported by round engaged Ionic columns. This +doorway leads into the hall.</p> + +<p>On the river front a lofty pedimental-roofed portico centrally located +and supported by six great smooth pillars is of distinctly southern +aspect. Another round-arched doorway flanked by two round-topped windows +opens directly into an<span class='page-number'><a name="Page_66" id="Page_66">66</a></span> +oval-shaped ballroom. The beautiful Palladian +windows on either side of this façade and recessed within an arch in the +masonry are among the chief distinctions of the house. An examination of +them indicates as convincingly as any modern work the delightful accord +that may exist between gray stone and white woodwork, and draws +attention to the masonry itself. The use of relatively small stones has +resulted in an unconventional though pleasing wall effect, due to the +prominence and rough character of the pointing which has been brought +well out to the edges of the stones.</p> + +<p>A word may well be said in passing in regard to the stable at The +Woodlands, which, while rightly unassuming, lives in complete accord +with the house, as every outbuilding should. A hip-roofed structure with +lean-to wings, it is essentially a Georgian conception. Its walls are of +ledge stone like the house, broken by a symmetrical arrangement of +recessed arches in which the various doors and windows are set, and +further embellished by a four-course belt of brick at the second-floor +level.</p> + +<p>The Woodlands was built in 1770 by William Hamilton on an estate +purchased in 1735 by his grandfather, Andrew Hamilton, the first of that +name in America. It is the second house on the site, the first having +made way for the present spacious structure which was designed to give +expression<span class='page-number'><a name="Page_67" id="Page_67">67</a></span> to the tastes and desires of its builder. William Hamilton +was one of the wealthiest men of his day and loved display and the rôle +of a lavish host. Maintaining a large retinue of servants and living in +a style surpassing that of most of his neighbors, his dinner parties and +other social gatherings were attended by the most eminent personages of +the time. A man of culture and refinement, he accumulated many valuable +paintings and rare books, and his gardens, greenhouse and grounds were +his particular pride and joy. To a large collection of native American +plants and shrubs he added many exotic trees and plants. To him is +credited the introduction of the Ginkgo tree and the Lombardy poplar to +America.</p> + +<p>William Hamilton was a nephew of Governor James Hamilton, by whose +permission, granted to William Hallam and his Old American Company of +strolling players, the drama was established in Philadelphia in 1754, +despite the strong opposition of the Friends. William Hamilton raised a +regiment in his neighborhood to assist in the Revolution, but being +opposed to a complete break with the mother country, resigned his +commission upon the signing of the Declaration of Independence. +Following the evacuation of Philadelphia by the British he was arrested, +charged with assisting the British forces and tried for high treason, +but was acquitted and allowed to retain possession of + +<span class='page-number'><a name="Page_68" id="Page_68">68</a></span> his estates, +which were duly inherited by his family on his death in 1811.</p> + +<p>These charming old ledge-stone mansions, and others of lesser +architectural merit and historical association, too numerous for +description here, constitute the chief distinction of Philadelphia +architecture. Whereas the city residences of brick differ little from +those of several other not far distant places, and the country houses of +that material recall many similar ones in Delaware, Maryland and even +Virginia, the ledge-stone house of greater Philadelphia is a thing unto +itself. It has no parallel in America. Of substantial character and +possessed of rare local color, it combines with picturesque appearance +those highly desirable qualities of permanence and non-inflammability. +It is the ideal construction for suburban Philadelphia where the +necessary building material abounds and new homes can live in accord +with the old.</p> + + +<div class="illustration" style="width: 231px;"> +<a name="PL_30" id="PL_30"></a> +<a href="images/ill_031_pl_30.png"> +<img src="images/ill_031_pl_30_th.png" width="231" height="300" alt="Plate XXX.—Doorway, Doctor Denton's House, Germantown." /></a> +<span class="caption">Plate XXX.—Doorway, Doctor Denton's House, Germantown.</span> +</div> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 240px;"> +<a name="PL_31" id="PL_31"></a> +<a href="images/ill_032_pl_31a.png"> +<img src="images/ill_032_pl_31a_th.png" width="240" height="300" alt="Plate XXXI.—West Entrance, Mount Pleasant, Fairmount +Park; East Entrance, Mount Pleasant." /> +</a></div> +</td><td> +<div class="illustration" style="width: 243px;"> +<a name="PL_31b" id="PL_31b"></a> +<a href="images/ill_032_pl_31b.png"> +<img src="images/ill_032_pl_31b_th.png" width="243" height="300" alt="Plate XXXI.—West Entrance, Mount Pleasant, Fairmount +Park; East Entrance, Mount Pleasant." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXXI.—West Entrance, Mount Pleasant, Fairmount +Park; East Entrance, Mount Pleasant.</span> +</td></tr> +</table> +<p><span class='page-number'><a name="Page_69" id="Page_69">69</a></span></p> + + + +<h3><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V</h3> + +<p class="head">PLASTERED STONE COUNTRY HOUSES</p> + +<p class="noindent"><span class="lg">I</span><span class="smcap2">t</span> +is quite possible to preserve random shapes and rock faces in +stonework that is structurally good, yet still fail in a measure to +please the eye and satisfy the artistic sense. A house built of stones +which, although irregular and of variable size, are generally cubical in +shape and set with obvious painstaking to simulate a casual yet +remarkably systematic arrangement, never fails to be clumsy and patchy. +A case in point is Waynesborough in Easttown Township, Chester County, +erected in 1724 by Captain Isaac Wayne. Greame Park, erected in Horsham +Township, Montgomery County, by Sir William Keith five years after he +was appointed governor of Penn's Colony in 1717, instances another +unsuccessful use of stonework and effectively explodes the pet notion of +the indiscriminate that everything which is old is therefore good. The +promiscuous use of rough, long, quarried stones, square blocks and +narrow strips on end results in an utterly irrational effect, a +confusing medley of short lines.<span class='page-number'><a name="Page_70" id="Page_70">70</a></span></p> + +<p>Going to the other extreme, the use of stones so small and irregular as +to suggest a "crazy-quilt" mosaic rather than structural stonework is +equally displeasing. This scheme unquestionably lends texture to the +wall, but it attracts too much attention to itself to the detriment of +such architectural features as doors, windows and other wood trim +intended to provide suitable embellishment as well as to fulfill the +practical requirements of daily use. Inasmuch as rubble used in this +manner becomes merely an aggregate in a concrete wall, the consistent +thing to do is to consider it as such and give the wall an outside +finish or veneer of rough plaster. This fact was recognized and often +acted upon by the early Philadelphia builders wherever the stone readily +available did not make an attractive wall. A few of the best examples +extant serve to indicate that houses of this sort have all the charm of +the modern stucco structure built over hollow tile.</p> + +<p>Perhaps the most picturesque of the old houses of this type is Wyck at +Germantown Avenue and Walnut Lane, Germantown, a long, rambling +structure of rubble masonry with an outside veneer of rough white +plaster standing end to the street. Although Colonial in detail and +partaking to a degree of the general character of its neighbors, the +ensemble presents a rare blending of European influences with American +construction. Vine-clad trellises on the entrance front, a long arbor on +the<span class='page-number'><a name="Page_71" id="Page_71">71</a></span> garden front, box-bordered flower beds and a profusion of shade +trees and shrubs all help to compose a picture of rare charm in which +leading American architects have often found inspiration for modern +work.</p> + +<p>Wyck is probably the oldest building in Germantown and certainly quaint +of appearance, considering its age, for it has been preserved as nearly +as possible in its early condition. The oldest part was built about 1690 +by Hans Millan. Later another house was built near by on the opposite +side of an old Indian trail, and subsequently the two were joined +together, a wide, brick-paved wagon way running beneath the connecting +structure. This passage has since been closed in to form a spacious +hallway with wide double doors and a long transom above, the outer doors +being wood paneled and the inner ones glazed.</p> + +<p>Of romantic interest is the use of this great hall of Wyck as a hospital +and operating room after the Battle of Germantown, and later, in 1825, +as the scene of a reception tendered to La Fayette, following his +breakfast at Cliveden, when the townspeople were presented to him by +Charles J. Wister. The doorway to the right, with its molded jambs, +plain, four-paned transom and paneled door divided in the middle like +many of the neighborhood, is of the most modest order, yet its simple +lines and good proportions, together with the green of the<span class='page-number'><a name="Page_72" id="Page_72">72</a></span> climbing +vines about it, in contrast with the white plaster walls, makes a strong +appeal to everybody of artistic appreciation. The position of the knob +indicates the size of the great rim lock within, while the graceful +design of the brass knocker is justly one of the most popular to-day.</p> + +<p>Wyck has never been sold, but has passed from one owner to another by +inheritance through the Jansen and Wistar families to the Haines family, +in which it has since remained. One of its owners, Caspar Wistar, in +1740 established the first glassworks in America at Salem, New Jersey.</p> + +<p>The most notable house of plastered stone masonry, and one of the +noblest countryseats in the vicinity of Philadelphia, is Clunie, later +and better known as Mount Pleasant, located in the Northern Liberties, +Fairmount Park, on the east bank of the Schuylkill River only a little +north of the Girard Avenue bridge. To see it is to appreciate more fully +the princely mode of country living in which some of the most +distinguished citizens of the early metropolis of the colonies indulged.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 232px;"> +<a name="PL_32" id="PL_32"></a> +<a href="images/ill_033_pl_32a.png"> +<img src="images/ill_033_pl_32a_th.png" width="232" height="300" alt="Plate XXXII.—Doorway, Solitude, Fairmount Park; Doorway +Perot-Morris House, 5442 Germantown Avenue." /> +</a></div> +</td><td> +<div class="illustration" style="width: 235px;"> +<a name="PL_32b" id="PL_32b"></a> +<a href="images/ill_033_pl_32b.png"> +<img src="images/ill_033_pl_32b_th.png" width="235" height="300" alt="Plate XXXII.—Doorway, Solitude, Fairmount Park; Doorway +Perot-Morris House, 5442 Germantown Avenue." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXXII.—Doorway, Solitude, Fairmount Park; Doorway +Perot-Morris House, 5442 Germantown Avenue.</span> +</td></tr> +</table> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 239px;"> +<a name="PL_33" id="PL_33"></a> +<a href="images/ill_033a_pl_33a.png"> + +<img src="images/ill_033a_pl_33a_th.png" width="239" height="300" alt="Plate XXXIII.—Entrance Porch and Doorway, Upsala, +Germantown; Elliptical Porch and Doorway, 39 Fisher's Lane, Wayne +Junction." /> +</a></div> +</td><td> +<div class="illustration" style="width: 221px;"> +<a name="PL_33a" id="PL_33b"></a> +<a href="images/ill_033a_pl_33b.png"> +<img src="images/ill_033a_pl_33b_th.png" width="221" height="300" alt="Plate XXXIII.—Entrance Porch and Doorway, Upsala, +Germantown; Elliptical Porch and Doorway, 39 Fisher's Lane, Wayne +Junction." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXXIII.—Entrance Porch and Doorway, Upsala, +Germantown; Elliptical Porch and Doorway,<br />39 Fisher's Lane, Wayne +Junction.</span> +</td></tr> +</table> +<p>Standing on high ground and commanding broad views both up and down the +stream, the house is of truly baronial mien and Georgian character. Two +flanking outbuildings, two and a half stories high, hip-roofed and +dormered, some forty feet from each end of the main house and +corresponding with it in character and construction, provide the<span class='page-number'><a name="Page_73" id="Page_73">73</a></span> +servants' quarters and various domestic offices. Beyond the circle +formed by the drive on the east or entrance front of the house and at +some distance to either side are two barns. Thus the house becomes the +central feature in a strikingly picturesque group of buildings having +all the manorial impressiveness of the old Virginia mansions along the +James River.</p> + +<p>The main house rises two and a half stories above a high foundation of +hewn stone with iron-barred basement windows set in stone frames. It is +of massive rubble-stone masonry, coated with yellowish-gray rough-cast +and having heavy quoined corners of red brick, also a horizontal belt of +the same material at the second-floor level, the keyed lintels of the +large ranging windows, however, being of faced stone.</p> + +<p>Above a heavy cornice with prominent modillions springs the hipped roof, +pierced on both sides by two handsome dormers and surmounted by a long, +beautifully balustraded belvedere. Two great brick chimney stacks, one +at each end of the building, with four arched openings near the top, +lend an aspect of added dignity and solidity. The principal feature of +the façade on both the east and west or river front is the slightly +projecting central portion with its quoined corners, surmounting +corniced pediment springing from the eaves, ornate Palladian windows in +the second story and superb pedimental doorway in harmony with the +pedimental motive<span class='page-number'><a name="Page_74" id="Page_74">74</a></span> above. Although the detail is heavy, and free use has +been made of the orders, the work is American Georgian at its best and +altogether admirable. The doorways of the two sides are similar but not +the same, and a comparison, as found in another chapter, is most +interesting.</p> + +<p>Within, a broad hall extends entirely through the house from one front +to the other, as likewise does a spacious drawing-room on the north side +with an elaborate chimney piece in the middle of the outside wall. The +dining room occupies the west front, and back of it, in an L extension +from the hall, a handsome staircase with gracefully turned balustrade +leads to the bedrooms on the second floor. Throughout the interior the +wood finish is worthy of the exterior trim. Beautifully tooled cornices, +graceful pilasters, nicely molded door and window casings, heavy +pedimental doorheads,—all are of excellent design and more carefully +wrought than in average Colonial work. Finest of all, perhaps, is a +chamber on the second floor overlooking the river that must, according +to the very nature of things, have been the boudoir of the mistress of +Mount Pleasant. The architectural treatment of the fireplace end of this +room, with exquisite carving above the overmantel panel and above the +closet doors at each side, is greatly admired by all who see it.</p> + +<p>The erection of Mount Pleasant was begun late in 1761 by John +Macpherson, a sea captain of<span class='page-number'><a name="Page_75" id="Page_75">75</a></span> Clunie, Scotland, who amassed a fortune +and lost an arm in the adventurous practice of privateering. Here he +lived in manorial splendor, entertaining the most eminent personages of +the day with munificent hospitality and employing himself with numerous +ingenious inventions, notably a practical device for moving brick and +stone houses intact. He wrote on moral philosophy, lectured on astronomy +and published the first city directory in 1785, a unique volume giving +the names in direct house-to-house sequence and having such notations +as, "I won't tell you", "What you please", and "Cross woman" against +street numbers where he found the occupants suspicious or unresponsive +to his queries.</p> + +<p>Meeting reverses in some of his financial affairs and longing for +further adventures at sea, Macpherson sought the chief command of the +American Navy at the outbreak of the Revolution. This being denied him +he leased Mount Pleasant to Don Juan de Merailles, the Spanish +ambassador. But to be near General Washington, Merailles had to remove +to Morristown and there he soon died.</p> + +<p>In the spring of 1779 Macpherson sold Mount Pleasant to General Benedict +Arnold, of unhappy memory, whose remarkable and traitorous career is +known to every American. Arnold had been placed in command of +Philadelphia by Washington, following its evacuation by the British, and +in acquiring the most palatial countryseat in the vicinity<span class='page-number'><a name="Page_76" id="Page_76">76</a></span> he gratified +his fondness for display and apparently saw in it a means of retaining +or increasing his influence and power. It was his marriage gift to his +bride, Peggy Shippen, the daughter of Edward Shippen, a moderate +Loyalist, who eventually became reconciled to the new order and was +chief justice of the State from 1799 to 1805. At Mount Pleasant Arnold +and his wife remained for more than a year, living extravagantly and +entertaining lavishly. Arnold's financial embarrassments and bitter +contentions with persistent enemies became ever more deeply involved. +Here in bitterness, and not without some provocation, he conceived the +dastardly plan of obtaining from Washington command of West Point, the +key to the Hudson River Valley, in order that he might betray it to the +British.</p> + +<p>Following the discovery of the plot and Arnold's flight to the British +lines, his property was confiscated, and Mount Pleasant was leased for a +short period to Baron von Steuben, after which it passed through several +hands to General Jonathan Williams, of Boston, in whose family the place +remained until the middle of the nineteenth century, when it was +acquired by the city as a part of Fairmount Park.</p> + +<p>At Number 5442 Germantown Avenue, standing directly on the sidewalk as +was often the case, and with a beautiful box-bordered garden of +old-fashioned flowers about one hundred by four hundred feet along the +south end, is one of the most interesting<span class='page-number'><a name="Page_77" id="Page_77">77</a></span> old plastered houses in +Philadelphia. Well known in history, it is no less notable +architecturally. In general arrangement it differs little from numerous +other gable-roof structures of the vicinity, two and a half stories high +with chimneys at each end and handsome pedimental dormers with +round-topped windows between. It is in the excellent detail and nice +proportion of the wood trim, both without and within, that this house +excels. Interest focuses upon the deeply recessed doorway with its +sturdy Tuscan columns and pediment, and the great, attractively paneled +door. The fenestration is admirable with twenty-four-paned windows set +in handsome frames with architrave casings and beautifully molded sills, +the lower windows having shutters and the upper ones blinds. A notable +feature is the heavy cornice with large modillions, and beneath a +relatively fine-scale, double denticulated molding or Grecian fret.</p> + +<p>Within, a wide hall extends through the middle of the house, widening at +the back where a handsome winding staircase with landings ascends to the +floor above. Opposite the staircase is a breakfast room overlooking the +garden. The parlor and dining room on opposite sides of the hall, the +bedrooms above and also the halls all have beautifully paneled +wainscots. There are handsome chimney pieces in each room with dark +Pennsylvania marble facings about the fireplaces and ornamental panels<span class='page-number'><a name="Page_78" id="Page_78">78</a></span> +so nicely made that no joints are visible. Throughout the house the +woodwork is of unusual beauty and unexcelled in workmanship.</p> + +<p>The house was built in 1772 by David Deschler, a wealthy West India +merchant, the son of an aide-de-camp to the reigning Prince of Baden, +and Margaret, a sister of John Wister and Caspar Wistar. After the +retreat of the American forces at the conclusion of the Battle of +Germantown, Sir William Howe, the British commander, moved his +headquarters from Stenton to the Deschler house. While there he is said +to have been visited by Prince William Henry, then a midshipman in the +Royal Navy, but afterward King William IV of England.</p> + +<p>Upon Deschler's death in 1792 the house was bought by Colonel Isaac +Franks, a New Yorker who had served his country well in the Continental +Army and filled several civil commissions after the conclusion of peace +with England. He it was who rented the house to Washington for a short +period in the early winter of 1793 and again for six weeks in the +following summer because of the yellow fever epidemic in Philadelphia. +Here met the President's cabinet—Jefferson, Hamilton, Knox and +Randolph—to discuss the President's message to Congress and the +difficulties with England, France and Spain. Aside from Mount Vernon, it +is the only dwelling now standing in which Washington lived for any +considerable time.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 224px;"> +<a name="PL_34" id="PL_34"></a> +<a href="images/ill_035_pl_34a.png"> +<img src="images/ill_035_pl_34a_th.png" width="224" height="300" alt="Plate XXXIV.—Doorway, 224 South Eighth Street; Doorway, +Stenton." /> +</a></div> +</td><td +style="padding-left:8%;"> +<div class="illustration" style="width: 228px;"> +<a name="PL_34b" id="PL_34b"></a> +<a href="images/ill_035_pl_34b.png"> +<img src="images/ill_035_pl_34b_th.png" width="228" height="300" alt="Plate XXXIV.—Doorway, 224 South Eighth Street; Doorway, +Stenton." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXXIV.—Doorway, 224 South Eighth Street; Doorway, +Stenton.</span> +</td></tr> +</table> + +<p> </p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_35" id="PL_35"></a> +<a href="images/ill_036_pl_35.png"> +<img src="images/ill_036_pl_35_th.png" +width="300" height="229" alt="Plate XXXV.—Doorway and Ironwork, Southeast Corner of +Eighth and Spruce Streets" /></a> +<span class="caption">Plate XXXV.—Doorway and Ironwork, Southeast Corner of +Eighth and Spruce Streets</span> +</div> + +<p><span class='page-number'><a name="Page_79" id="Page_79">79</a></span></p> + +<p>In 1804 the property was purchased by Elliston and John Perot, two +Frenchmen who conducted a prosperous mercantile business in +Philadelphia. On the death of the former in 1834, the place was +purchased by his son-in-law, Samuel B. Morris, of the shipping firm of +Waln and Morris, in whose family it has since remained. The interiors +remain as in Washington's time, and much of the furniture, silver and +china used by him are still preserved, together with his letter thanking +Captain Samuel Morris for the valuable services of the First City Troop +during the Revolution.</p> + +<p>Although not erected until a few years after the treaty of peace +following the Revolution, Vernon is so thoroughly Colonial in +architecture and of such merit as to warrant mention here. It stands in +extensive grounds on the west side of Germantown Avenue, Germantown, +above Chelton Avenue. The main house is a hip-roofed structure two and a +half stories in height of rubble masonry, the front being plastered and +lined off to simulate dressed stone and the other walls being pebble +dashed. A wing in the rear connects the main house with a semi-detached +gable-roof structure in which were located the kitchen and servants' +rooms. The principal features of the symmetrical façade with its ranging +twelve-paned windows, shuttered on the lower story, are the central +pediment with exquisite fanlight between flanking chimneys and +handsomely<span class='page-number'><a name="Page_80" id="Page_80">80</a></span> detailed dormers, and a splendid doorway alluded to later in +these pages. A fine-scale denticulated molding in the cornice, repeated +elsewhere in the exterior wood trim, lends an air of exceptional +richness and refinement.</p> + +<p>Vernon was built in 1803 by James Matthews, a whipmaker of the firm of +McAllister and Matthews. In 1812 it was purchased by John Wistar, son of +Daniel Wistar, and a member of the countinghouse of his uncle, William +Wistar. Upon his uncle's death he conducted the business with his +brother Charles and became well known in mercantile circles and +prominent in the Society of Friends. A bronze statue of him in Quaker +garb has been erected in front of the house. Some years after his death +in 1862 the place passed under the control of the city for a park and +was occupied for a time by the Free Library. Since the erection of a +building near by for this latter purpose, it has housed the museum of +the Site and Relic Society, and contains much of interest to the student +of early Germantown.</p> + +<p>Another house in the Colonial spirit erected shortly after the close of +the Revolution is Loudoun, at Germantown Avenue and Apsley Street, +Germantown, its grounds embracing the summit of Neglee's Hill. The house +is two and a half stories high with additions which have somewhat +altered its original appearance; it has a gambrel roof, hipped at one +end after the Mansard manner with excellent<span class='page-number'><a name="Page_81" id="Page_81">81</a></span> dormers on both the front +and end just mentioned. Its plastered rubble masonry walls are clothed +with clinging ivy. The architectural interest centers chiefly in the +fenestration and the pillared portico reminiscent of plantation mansions +farther south. This portico, with its simple pediment and wooden columns +surmounted by pleasingly unusual capitals of acanthus-leaf motive, was +added some thirty years after the house was erected. The great +twenty-four-paned ranging windows have heavy paneled shutters on the +first floor and blinds on the second. Tall, slender, engaged columns +supporting a nicely detailed entablature frame a typical Philadelphia +doorway, the paneled door itself being single with a handsome leaded +fanlight above.</p> + +<p>Loudoun was built in 1801 by Thomas Armat as a countryseat for his son, +Thomas Wright Armat. The elder Armat originally settled in Loudoun +County, Virginia, and hence the name of the estate. Coming to +Philadelphia about the time of the Revolution, his family moved to +Germantown during the yellow fever epidemic of 1793 and found it such a +pleasing place of residence that the building of Loudoun some years +later came as a natural consequence. It stands at the very outskirts of +Germantown, now the twenty-second ward of Philadelphia, where Germantown +Avenue starts its winding course toward Chestnut Hill. At the original +lottery distribution of the land of the Frankford<span class='page-number'><a name="Page_82" id="Page_82">82</a></span> Company in the cave +of Francis Daniel Pastorius, there being no permanent houses at that +time, the site fell to Thomas Kunders, in whose house at Number 5109 +Germantown Avenue the first meeting of Friends was held in Germantown. +After the Battle of Germantown the hill was used as a hospital, and many +dead were buried there. From 1820 to 1835 Loudoun was rented to Madam +Greland as a summer school for young women, and it was during this +period, probably about 1830, that the pillared portico was added.</p> + +<p>A successful Philadelphia merchant and well-known philanthropist, Thomas +Armat, gave the site for St. Luke's Church in Germantown and assisted in +its erection, also setting aside a chamber at Loudoun which was known as +the minister's room. He was among the first to suggest the use of coal +for heating, and one of the early patentees of a hay scales. Armat's +daughter married Gustavus Logan, great-great-grandson of James Logan and +grandson of John Dickinson, whose "Farmer's Letters", addressed to the +people of England, are said to have brought about the repeal of the +Stamp Act. Loudoun still remains in the Logan family.</p> + +<p>No stranger house can be found in all Philadelphia than Solitude on the +west bank of the Schuylkill in Blockley Township, Fairmount Park. It is +a boxlike structure of plastered rubble masonry twenty-six feet square +and two and a half stories high, with<span class='page-number'><a name="Page_83" id="Page_83">83</a></span> a hip roof having simple +pedimental dormers and two oppositely disposed chimneys. The wood trim +is severely simple throughout, from the heavy molded cornice under the +eaves to the pedimental recessed doorway with its Ionic columns and +entablature. Two slightly projecting courses of brick, one some ten +inches or so above the other, form an unusual belt at the second-floor +level, while a distinctive feature of the fenestration is seen in the +fact that most of the windows have nine-paned upper and six-paned lower +sashes.</p> + +<p>Within, the entrance doorway leads into a hall some nine feet wide and +extending entirely across the house from side to side. The remainder of +the first floor consists of a large parlor with windows opening on a +portico overlooking the river. A beautiful stucco cornice and ceiling +and a carved wood surbase are its best features. In one corner a +staircase with wrought-iron railing rises to the second floor, where +there is a library about fifteen feet square with built-in bookcases, +two connecting bedrooms, one with an alcove and secret door where the +owner might shut himself away from intrusive visitors, and a staircase +leading to more bedrooms on the third floor. The cellar is deep and +roomy, with provision for wine storage, and an underground passage +communicates with the kitchen located in a separate building about +twenty-five feet distant.</p> + +<p>Solitude was built in 1785 by John Penn, a grandson<span class='page-number'><a name="Page_84" id="Page_84">84</a></span> of William Penn, +the founder of Philadelphia, and a son of Thomas Penn, whose wife was a +daughter of the Earl of Pomfret. A much traveled, scholarly man, poet, +idealist and art patron, he came to Philadelphia in 1783 to look after +proprietary interests in Pennsylvania and intending to become an +American. But his claims were made under hereditary rights, and as the +State was not disposed to honor them he concluded to remain an +Englishman. Vexed with the perversity of human nature, he built Solitude +and named it for a lodge belonging to the Duke of Württemburg. There he +lived somewhat the life of a recluse with his books and trees for three +years. He was on friendly terms with his neighbors, however, who +included his cousin, Governor John Penn, and Judge Richard Peters. Gay +week-end parties also came in boats to enjoy his hospitality, and +Washington once spent a day with him during the sitting of the +Constitutional Convention in Philadelphia.</p> + +<p>In 1788 Penn suddenly returned to England, built a handsome residence at +Stoke and embarked on a notable career in public life, becoming sheriff +of Bucks in 1798, a member of Parliament in 1802, and royal governor of +the island of Portland in Dorset for many years after 1805. The +University of Cambridge made him an LL.D. in 1811, and he won promotion +to a lieutenant-colonelcy in the Royal Bucks Yeomanry. Later in his +declining<span class='page-number'><a name="Page_85" id="Page_85">85</a></span> years he formed the Outinian Society to encourage young men +and women to marry, although he inconsistently died a bachelor in 1834.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 233px;"> +<a name="PL_36" id="PL_36"></a> +<a href="images/ill_037_pl_36a.png"> +<img src="images/ill_037_pl_36a_th.png" width="233" height="300" alt="Plate XXXVI.—Doorway and Ironwork, Northeast Corner of +Third and Pine Streets; Stoop with Curved Stairs and Iron Handrail, 316 +South Third Street." /> +</a></div> +</td><td> +<div class="illustration" style="width: 239px;"> +<a name="PL_36b" id="PL_36b"></a> +<a href="images/ill_037_pl_36b.png"> +<img src="images/ill_037_pl_36b_th.png" width="239" height="300" alt="Plate XXXVI.—Doorway and Ironwork, Northeast Corner of +Third and Pine Streets; Stoop with Curved Stairs and Iron Handrail, 316 +South Third Street." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXXVI.—Doorway and Ironwork, Northeast Corner of +Third and Pine Streets; Stoop with<br />Curved Stairs and Iron Handrail, 316 +South Third Street.</span> +</td></tr> +</table> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 232px;"> +<a name="PL_37" id="PL_37"></a> +<a href="images/ill_038_pl_37a.png"> +<img src="images/ill_038_pl_37a_th.png" width="232" height="300" alt="Plate XXXVII.—Stoop and Balustrade, Wistar House; Stoop +and Balustrade, 130 Race Street." /> +</a></div> +</td><td> +<div class="illustration" style="width: 236px;"> +<a name="PL_37b" id="PL_37b"></a> +<a href="images/ill_038_pl_37b.png"> +<img src="images/ill_038_pl_37b_th.png" width="236" height="300" alt="Plate XXXVII.—Stoop and Balustrade, Wistar House; Stoop +and Balustrade, 130 Race Street." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXXVII.—Stoop and Balustrade, Wistar House; Stoop +and Balustrade, 130 Race Street.</span> +</td></tr> +</table> + + +<p>Solitude then passed by inheritance to Penn's youngest brother, +Granville, and on his death ten years later to a nephew, Granville John +Penn, great-grandson of William Penn, and the last Penn at Solitude. +Coming to Philadelphia in middle life about 1851 he was lionized by +society and in acknowledgment gave a grand "Fête Champêtre" and +collation. Following his death in 1867, Solitude and its grounds were +made part of Fairmount Park, and after several years without tenancy the +house in its original condition was made the administration building of +the Zoölogical Society.</p> + +<p>The fine old plastered stone houses of Philadelphia comprise one of the +distinctive and most admired types of its Colonial architecture. Those +with pebble-dashed walls which seek to simulate no other building +material or form of construction possess the added charm of frank +sincerity. Fire-proof in character, pleasing in appearance, and readily +adaptable to varied home requirements, they point the way wherever +rubble stone incapable of forming an attractive wall is cheaply +available. Many modern dwellings in the Colonial spirit are being built +in this manner.<span class='page-number'><a name="Page_86" id="Page_86">86</a></span></p> + + + +<h3><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI</h3> + +<p class="head">HEWN STONE COUNTRY HOUSES</p> + +<p class="noindent"><span class="lg">C</span><span class="smcap2">ost</span> +was not an object in building many of the larger old countryseats +about Philadelphia, for their owners were men of wealth and station, +prominent in the affairs of the province and sharing its prosperity. +Influenced by the builders of the Georgian period in England, and often +under their personal supervision, the buildings on numerous great +estates about the early metropolis of the American colonies were +constructed of quarried stone, whether sawed in the form of "brick" +stone or hammered to a relatively smooth surface.</p> + +<p>Surfaced stone, however, especially when cut into rectangular blocks, is +to be recommended only for public work or for very large and pretentious +residences of formal character and arrangement. In small buildings, and +unless handled with skill and discretion in larger work, its +psychological effect upon the mind is that of uncompromising and +somewhat repellent austerity; it suggests the prison-like palace rather +than the domestic atmosphere of a true home,—an atmosphere to be had in +stone only by preserving the greater spontaneity of <span class='page-number'><a name="Page_87" id="Page_87">87</a></span>irregular shapes +and rock faces characteristic of Germantown ledge stone.</p> + +<p>That the early builders of this vicinity were skilled stone masons and +employed this form of building construction with sympathy and +intelligence is indicated by the splendid old mansions that still remain +as monuments to their genius,—stately, elegant, enduring, yet withal +pleasing, comfortable and eminently livable. The use of "brick" stone +for several of them has given a lighter scale, and by repetition of many +closely related and prominent horizontals has simulated a greater +breadth of façade and a lesser total height, both beneficial to the +general appearance. As in ordinary brickwork, the vertical pointing is +as wide as the horizontal, but the joints break, whereas the course +lines are continuous, thus emphasizing the horizontals of light mortar.</p> + +<p>Unquestionably the most notable mansion of hewn stone in Greater +Philadelphia is Cliveden, the countryseat of the Chew family, located in +extensive grounds at Germantown Avenue and Johnson streets, Germantown. +One of the most substantial and elaborate residences of that day, it is +two and a half stories in height and built of heavy masonry, the front +illustrating well the pleasing use of surfaced Germantown stone, flush +pointed, the other walls being of rubble masonry, plastered and marked +off to simulate dressed stone.<span class='page-number'><a name="Page_88" id="Page_88">88</a></span> Two wings, one semi-detached and the +other entirely so, extend back from the main house and contain the +kitchen, servants' quarters and laundry. The classic front entrance +opens into a large hall with small rooms on each side which were +originally used as offices. Beyond and above are many spacious rooms +with excellent woodwork and handsome chimney pieces.</p> + +<p>No handsomer Colonial façade is to be found in America. Classic in +feeling and symmetrical in arrangement, it is excellently detailed in +every particular. Above a slightly projecting water table the repeated +horizontals of the limestone belt at the second-floor level, the heavy +cornice with prominent modillions and the roof line impart a feeling of +repose and stability quite apart from the character of the building +material itself. The ranging windows, shuttered on the lower floor, are +distinguished by their keyed limestone lintels and twelve-paned upper +and lower sashes, while the roof is elaborated by two great chimney +stacks, a like number of well-designed dormers with round-topped +windows, and five handsome stone urns mounted on brick piers at the +corners and over the entrance. The central portion of the façade +projects slightly under a pediment in harmony with the splendid Doric +doorway beneath, of which more elsewhere.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_38" id="PL_38"></a> +<a href="images/ill_039_pl_38a.png"> +<img src="images/ill_039_pl_38a_th.png" width="300" height="236" alt="Plate XXXVIII.—Detail of Iron Balustrade, 216 South +Ninth Street; Stoop with Wing Flights, 207 La Grange Alley." /> +</a></div> +</td><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_38b" id="PL_38b"></a> +<a href="images/ill_039_pl_38b.png"> +<img src="images/ill_039_pl_38b_th.png" width="300" height="227" alt="Plate XXXVIII.—Detail of Iron Balustrade, 216 South +Ninth Street; Stoop with Wing Flights, 207 La Grange Alley." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXXVIII.—Detail of Iron Balustrade, 216 South +Ninth Street; Stoop with Wing Flights, 207 La Grange Alley.</span> +</td></tr> +</table> + + + +<p>Cliveden was erected in 1761 by Benjamin Chew, a friend of Washington +and a descendant of one of<span class='page-number'> +<a name="Page_89" id="Page_89">89</a></span> the oldest and most distinguished Virginia +families, his great-grandfather, John Chew, having settled at James +Citie about 1621, and, like Benjamin Chew's grandfather and father, who +resided in Maryland, having been prominent in the courts and public +affairs generally. Benjamin Chew studied law with Andrew Hamilton, and +at the age of nineteen entered the Middle Temple, London, the same year +as Sir William Blackstone. Removing to Philadelphia in 1754, he was +provincial counselor in 1755, attorney general from 1755 to 1764, +recorder of the city from 1755 to 1774, a member of the +Pennsylvania-Maryland Boundary Commission in 1761, register general of +the province in 1765, and in 1774 succeeded William Allen as chief +justice of the Supreme Court of Pennsylvania. Following the Revolution +he served as a judge and president of the High Court of Errours and +Appeals until it was abolished in 1808.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td +style="padding-right:5%;"> +<div class="illustration" style="width: 221px;"> +<a name="PL_39" id="PL_39"></a> +<a href="images/ill_040_pl_39a.png"> +<img src="images/ill_040_pl_39a_th.png" width="221" height="300" alt="Plate XXXIX.—Iron Newel, Fourth and Liberty Streets; +Iron Newel, 1107 Walnut Street." /> +</a></div> +</td><td +style="padding-left:5%;"> +<div class="illustration" style="width: 221px;"> +<a name="PL_39b" id="PL_39b"></a> +<a href="images/ill_040_pl_39b.png"> +<img src="images/ill_040_pl_39b_th.png" width="227" height="300" alt="Plate XXXIX.—Iron Newel, Fourth and Liberty Streets; +Iron Newel, 1107 Walnut Street." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XXXIX.—Iron Newel, Fourth and Liberty Streets; +Iron Newel, 1107 Walnut Street.</span> +</td></tr> +</table> + +<p>Justice Chew was brought up a Quaker and his attitude coincided with +that of many others who manifested sympathy for the American cause, yet +hesitated at complete independence. In defining high treason to the +April Grand Jury of 1776, the last held under the Crown, he stated that +"an opposition by force of arms to the lawful authority of the King or +his Ministry is high treason, but in the moment when the King, or his +Ministers, shall exceed the authority vested in them by the<span class='page-number'> +<a name="Page_90" id="Page_90">90</a></span> +Constitution, submission to their mandate becomes treason." It is not +surprising, therefore, that in August, 1777, Judge Chew and John Penn, +the late proprietary, were arrested by the City Troop and on refusing +parole were imprisoned at the Union Iron Works until sometime in 1778.</p> + +<p>With fourteen attractive and accomplished children, two sons and twelve +daughters, things were always lively at Cliveden, and it was the scene +of lavish entertainment of Washington, Adams and other members of the +first Continental Congress. Around its classic doorway the Battle of +Germantown raged most fiercely. The house had been occupied by the +British under Colonel Musgrave, the Chew family being away at the time; +and so effective a fortress did it prove that the center of Washington's +advance was checked and the day lost to the American arms. Great damage +was done inside and out by cannon balls, some of it being still visible, +although several workmen spent the entire following winter putting the +house in order. During his triumphal farewell tour of the twenty-four +American States in 1825, a breakfast was tendered to La Fayette at +Cliveden on the day of his reception at Wyck.</p> + +<p>In 1779, Justice Chew sold Cliveden to Blair McClenahan, a director of +the Bank of Pennsylvania, for nine thousand dollars, but bought it back +again in 1787 for twenty-five thousand dollars.<span class='page-number'><a name="Page_91" id="Page_91">91</a></span> Since that time it has +remained in the family and is still occupied part of the year. Chew's +Woods, formerly part of the estate, have been presented to the city as a +public park, but the stable behind the house, and connected with it by +an underground passage, still remains much as ever; and therein reposes +the curious old family coach.</p> + +<p>Second only to Cliveden in architectural interest is The Highlands, +located on the Skippack Pike overlooking the Whitemarsh Valley from a +lofty site among giant old oaks, pines and sycamores. It is a splendid +example of American architecture after the late Georgian manner, and +although not built until after the Revolution, its character is such +that it deserves to be included among the Colonial houses of the +vicinity. The south or entrance front is built of squared and nicely +surfaced stones laid up with joints breaking much like brickwork, the +pointing being of the ridge or weathered type. The sides are of ordinary +rubble but plastered and lined off to simulate hewn stone. The central +section of the façade projects slightly, two Ionic pilasters of white +marble supporting a pediment within which a semicircular fanlight +ventilates and lights the attic. Marble belts at the first-and +second-floor levels, marble window sills and keystones in the lintels +relieve and brighten the effect, while an unusual diamond fret lends +distinction to the cornice. The windows have six-paned upper and lower +sashes<span class='page-number'><a name="Page_92" id="Page_92">92</a></span> with blinds on all stories, as in the case of most of the later +Colonial houses. Ornamental wrought-iron fire balconies at the +second-story windows are a picturesque feature. The entrance porch, one +of the few of consequence in Philadelphia, is characterized by its +chaste simplicity, the fine-scale reeded columns and wrought-iron +balustrade of the marble steps being its chief features. But for the +double doors characteristic of Philadelphia, the doorway itself, of +excellent proportions and having a handsome elliptical fanlight and side +lights with leaded glass, would suggest Salem design.</p> + +<p>Within, a great hall extends through the house to a wide cross hall at +the rear, where a broad and handsome staircase with wing flights above a +gallery landing is located. A beautiful Palladian window in the west end +of the house lights this landing and the entire cross hall. Much +excellent woodwork adorns the spacious rooms, but the splendid Adam +mantels with their delicate applied stucco designs were long ago +replaced by less pleasing creations of black marble.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 293px;"> +<a name="PL_40" id="PL_40"></a> +<a href="images/ill_041_pl_40a.png"> +<img src="images/ill_041_pl_40a_th.png" width="293" height="300" alt="Plate XL.—Footscraper, Wyck; Old Philadelphia +Footscraper; Footscraper, Third and Spruce Streets; Footscraper, +Dirck-Keyser House, Germantown." /> +</a></div> +</td><td> +<div class="illustration" style="width: 293px;"> +<a name="PL_40b" id="PL_40b"></a> +<a href="images/ill_041_pl_40b.png"> +<img src="images/ill_041_pl_40b_th.png" width="293" height="300" alt="Plate XL.—Footscraper, Wyck; Old Philadelphia +Footscraper; Footscraper, Third and Spruce Streets; Footscraper, +Dirck-Keyser House, Germantown." /> +</a></div> +</td></tr> + + +<tr><td> +<div class="illustration" style="width: 215px;"> +<a name="PL_40c" id="PL_40c"></a> +<a href="images/ill_041_pl_40c.png"> +<img src="images/ill_041_pl_40c_th.png" width="215" height="300" alt="Plate XL.—Footscraper, Wyck; Old Philadelphia +Footscraper; Footscraper, Third and Spruce Streets; Footscraper, +Dirck-Keyser House, Germantown." /> +</a></div> +</td><td> +<div class="illustration" style="width: 215px;"> +<a name="PL_40d" id="PL_40d"></a> +<a href="images/ill_041_pl_40d.png"> +<img src="images/ill_041_pl_40d_th.png" width="215" height="300" alt="Plate XL.—Footscraper, Wyck; Old Philadelphia +Footscraper; Footscraper, Third and Spruce Streets; Footscraper, +Dirck-Keyser House, Germantown." /> +</a></div></td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XL.—Footscraper, Wyck; Old +Philadelphia +Footscraper;<br />Footscraper, Third and Spruce Streets; Footscraper,<br /> +Dirck-Keyser House, Germantown.</span> +</td></tr> +</table> + + + +<p>The Highlands was completed in 1796 by Anthony Morris, son of Captain +Samuel Morris, and a friend of Jefferson, Monroe and Madison, and was +some two years in the building. Morris was admitted to the bar in 1787 +and soon went into politics, later engaging extensively in the East +India trade. Representing the city of Philadelphia in the State +Senate,<span class='page-number'><a name="Page_93" id="Page_93">93</a></span> he was in 1793, at the age of twenty-seven, elected speaker, +succeeding Samuel Powel. In this capacity he signed a bill providing for +troops to suppress the Whiskey Rebellion, for which act he was disowned +by the Friends' Meeting of which he was a member. Dolly Madison makes +friendly references to Morris in her memoirs and letters, and for nearly +two years during Madison's administration Morris represented the United +States at the Court of Spain. Through his efforts an adjustment was +effected in the boundary dispute over the Florida cession.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 220px;"> +<a name="PL_41" id="PL_41"></a> +<a href="images/ill_042_pl_41a.png"> +<img src="images/ill_042_pl_41a_th.png" width="220" height="300" alt="Plate XLI.—Footscraper, 320 South Third Street; +Footscraper, South Third Street; Footscraper, Vernon, Germantown; +Footscraper, 239 Pine Street." /> +</a></div> +</td><td> +<div class="illustration" style="width: 220px;"> +<a name="PL_41b" id="PL_41b"></a> +<a href="images/ill_042_pl_41b.png"> +<img src="images/ill_042_pl_41b_th.png" width="220" height="300" alt="Plate XLI.—Footscraper, 320 South Third Street; +Footscraper, South Third Street; Footscraper, Vernon, Germantown; +Footscraper, 239 Pine Street." /> +</a></div></td></tr> + +<tr><td> +<div class="illustration" style="width: 217px;"> +<a name="PL_41c" id="PL_41c"></a> +<a href="images/ill_042_pl_41c.png"> +<img src="images/ill_042_pl_41c_th.png" width="217" height="300" alt="Plate XLI.—Footscraper, 320 South Third Street; +Footscraper, South Third Street; Footscraper, Vernon, Germantown; +Footscraper, 239 Pine Street." /> +</a></div> +</td><td> +<div class="illustration" style="width: 213px;"> +<a name="PL_41d" id="PL_41d"></a> +<a href="images/ill_042_pl_41d.png"> +<img src="images/ill_042_pl_41d_th.png" width="213" height="300" alt="Plate XLI.—Footscraper, 320 South Third Street; +Footscraper, South Third Street; Footscraper, Vernon, Germantown; +Footscraper, 239 Pine Street." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XLI.—Footscraper, 320 South Third Street; +Footscraper,<br />South Third Street; Footscraper, Vernon, Germantown;<br /> +Footscraper, 239 Pine Street.</span> +</td></tr> +</table> + + +<p>In 1808 Morris sold The Highlands to one Hitner, who conveyed it in 1813 +to George Sheaff, in whose family it has since remained.</p> + +<p>Nothing quite like Bartram House is to be found anywhere in America. +Situated on the Schuylkill River at Kingsessing, West Philadelphia, just +to the south of what was once the lower or Gray's Ferry, this curious +structure was begun in 1730, and the main part of it was completed the +following year, as indicated by a stone in one of the gables bearing the +inscription in Greek, "May God save", followed in English by "John and +Ann Bartram, 1731." Successive additions and alterations have changed +the inside arrangement more than the exterior appearance, and it can +hardly be said that the house now has any particular floor plan. +Probably the latest important changes were made when<span class='page-number'><a name="Page_94" id="Page_94">94</a></span> a stone bearing +the following inscription was placed over the study window:</p> + +<p class="c"> +It is God above almyty Lord<br /> +The holy One by me ador'd.<br /> +John Bartram, 1770.<br /> +</p> + +<p>In outward appearance Bartram House is a simple gable-roof structure two +and a half stories in height, of large, roughly hewn stones with east +and west fronts and three dormers lighting the attic. The east or +entrance front has a characteristic trellis-shaded doorway with quaint +Dutch seats at each side, while the west front has an odd, recessed +porch between rude Ionic columns of native stone, the same as the walls +and built up like them. Crudely chiseled, elaborately ornamental window +casings, lintels and sills form a curious feature of this façade. +Clothed as it is with clinging ivy and climbing roses, the house +suggests an effect of both stateliness and rusticity.</p> + +<p>Bartram was a farmer, but his interest in plants, shrubs and trees was +such that he became one of the greatest botanists of his day. In autumn, +when his farm labors were finished for the year, he journeyed +extensively about the colonies, gathering specimens with which to +beautify his grounds. His greatest enjoyment in life was to make his +collection of rare species ever more complete, and his remarkable +accomplishments in this direction,<span class='page-number'><a name="Page_95" id="Page_95">95</a></span> despite many handicaps, entitle him +to be known as the father of American botanists. After Bartram's death +his son William, also an eminent botanist, carried on the work, and +later his son-in-law, Colonel Carr, did likewise until the place became +one of the most interesting botanical gardens in the country. In 1851 +the estate was purchased by Andrew Eastwick, a railway builder just +returned from an extended commission in Russia, who erected a large +residence in another part of the grounds. In 1893 the city bought +Bartram House and its immediate grounds and in 1897 acquired the balance +of the estate, the whole being converted into a public park and the old +house being furnished and put in excellent condition by the descendants +of the Bartram family.</p> + +<p>Undoubtedly the most notable instance of the use of "brick" stone with +the so-called Colonial or "barn" pointing is the Johnson house at Number +6306 Germantown Avenue, Germantown. Typical of the first homes that +lined the street of this historic old town for nearly two miles, it is +solidly built of dark native ledge stone, the front being of dressed +rectangular blocks considerably smaller, somewhat rougher and hence less +formal than the surfaced blocks of Cliveden, for example. It is a single +gable-roofed structure two and a half stories high with ranging windows +throughout, a large chimney at each end and two dormers in the front<span class='page-number'><a name="Page_96" id="Page_96">96</a></span> +between them. Like many others of the time it had a small penthouse roof +at the second-floor level which, with the overhanging eaves of the roof +above, afforded protection from rainy weather for the joints of the +stonework which was at first laid up in clay. Lime for making more +permanent mortar was far from plentiful for many years after America was +first settled, and numerous makeshifts had to be resorted to unless the +builder could afford to import lime from England at great expense. Over +the doorway, with its simple flanking seats, there is the familiar +pedimental and slightly projecting hood, while the door itself is of the +quaint divided type, permitting the upper half to be opened while the +lower half is closed. On the first floor the windows have nine-paned +sashes, both upper and lower, together with nicely paneled shutters, +while on the second floor the upper sashes are foreshortened to six +panes, and there are neither shutters nor blinds.</p> + +<p>This excellent example of the Pennsylvania farmhouse type was built by +Dirck Jansen, one of the original settlers of Germantown, for his son +John Johnson at the time of his marriage to Rachael Livezey. The work +was begun in 1765 and completed in 1768, as indicated by a date stone in +the peak of one of the gables. It was one of the largest and most +substantial residences in the town and for that reason gave much concern +to the Society of Friends of which the Johnsons were members.<span class='page-number'><a name="Page_97" id="Page_97">97</a></span> During +the Battle of Germantown it was in the thick of the fight, and following +the warning of an officer John Johnson and his entire family took refuge +in the cellar. Bullet holes through three doors are still visible, also +the damage done to the northwest wall by a cannon ball. The backyard +fence, riddled with bullets, was removed in 1906 to the Museum of the +Site and Relic Society at Vernon.</p> + +<p>Since the death of John Johnson in 1805, the house has passed through +many hands, all descendants of the builder, however. During the Civil +War it became a station of the "underground railway" for conducting +fugitive slaves to Canada, and Mrs. Josiah Reeve, a +great-great-granddaughter of the builder, used to tell how, when a +child, she often wondered why so many colored people lived in the attic, +staying only a day or so, when others would appear.</p> + +<p>Generally similar to the Johnson house is the old Green Tree Inn, Number +6019 Germantown Avenue, Germantown, erected in 1748. Its principal +distinctions lie in the three small, plain dormers with segmental topped +windows; the coved cornice; the elliptical carving in the pediment of +the hood over the door; the enriched ovolo molding of the penthouse +roof, consisting of a ball and disk in alternation, and the arched +openings of the basement windows.</p> + +<p>In this building on December 6, 1759, then the<span class='page-number'><a name="Page_98" id="Page_98">98</a></span> home of Daniel +Mackinett, the public school of Germantown, the Germantown Academy, was +organized, its building being erected the following year. In +Revolutionary times this old house was known as "Widow Mackinett's +Tavern", and it was a famous resort for driving parties from the city. +Many persons of note were entertained at the Green Tree Inn, and when La +Fayette visited Germantown in 1825 it was the intention to tender him a +dinner there. It was concluded, however, that the tavern could not +accommodate the party, and a breakfast at Cliveden was given instead, to +which reference has already been made.</p> + + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 182px;"> +<a name="PL_42" id="PL_42"></a> +<a href="images/ill_043_pl_42a.png"> +<img src="images/ill_043_pl_42a_th.png" width="182" height="300" alt="Plate XLII.—Iron Stair Rail and Footscraper, South +Seventh Street (section); Iron Stair Rail and Footscraper, South Fourth +Street (section); Iron Stair Rail and Footscraper, Seventh and Locust +Streets (section); Iron Stair Rail and Footscraper, Seventh and Locust +Streets (section)." /> +</a></div> +</td><td> +<div class="illustration" style="width: 182px;"> +<a name="PL_42b" id="PL_42b"></a> +<a href="images/ill_043_pl_42b.png"> +<img src="images/ill_043_pl_42b_th.png" width="182" height="300" alt="Plate XLII.—Iron Stair Rail and Footscraper, South +Seventh Street (section); Iron Stair Rail and Footscraper, South Fourth +Street (section); Iron Stair Rail and Footscraper, Seventh and Locust +Streets (section); Iron Stair Rail and Footscraper, Seventh and Locust +Streets (section)." /> +</a></div></td></tr> +<tr><td +style="padding-top:5%;"> +<div class="illustration" style="width: 182px;"> +<a name="PL_42c" id="PL_42c"></a> +<a href="images/ill_043_pl_42c.png"> +<img src="images/ill_043_pl_42c_th.png" width="182" height="300" alt="Plate XLII.—Iron Stair Rail and Footscraper, South +Seventh Street (section); Iron Stair Rail and Footscraper, South Fourth +Street (section); Iron Stair Rail and Footscraper, Seventh and Locust +Streets (section); Iron Stair Rail and Footscraper, Seventh and Locust +Streets (section)." /> +</a></div> +</td><td +style="padding-top:5%;"> +<div class="illustration" style="width: 179px;"> +<a name="PL_42d" id="PL_42d"></a> +<a href="images/ill_043_pl_42d.png"> +<img src="images/ill_043_pl_42d_th.png" width="179" height="300" alt="Plate XLII.—Iron Stair Rail and Footscraper, South +Seventh Street (section); Iron Stair Rail and Footscraper, South Fourth +Street (section); Iron Stair Rail and Footscraper, Seventh and Locust +Streets (section); Iron Stair Rail and Footscraper, Seventh and Locust +Streets (section)." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XLII.—Iron Stair Rail and Footscraper, South +Seventh<br />Street (section); Iron Stair Rail and Footscraper, South Fourth<br /> +Street (section); Iron Stair Rail and Footscraper, Seventh<br />and Locust +Streets (section); Iron Stair Rail and Footscraper, Seventh and Locust +Streets<br />(section).</span> +</td></tr> +</table> + + +<p>The old Billmeyer house, also on Germantown Avenue, Germantown, +interests the student of architecture primarily as a rare instance of +the early Germantown two-family house. Apart from its two front entrance +doorways and the absence of a hood in the penthouse roof, it is much +like the Johnson house in general arrangement. The "brick" stones are +larger and less pleasing, however, and the high elevation of the +structure is evidently due to a subsequent change in the grade of the +street. This, however, has given opportunity for a quaint double flight +of wing steps with simple wrought-iron balustrades in the characteristic +Philadelphia manner. The seats, back to back, one for each doorway, +recall those of the Johnson house. One notices with admiration the +beautifully detailed<span class='page-number'><a name="Page_99" id="Page_99">99</a></span> pedimental dormers with their round-topped +windows, and with interest the unusual use of shutters on both the first +and second stories. Both upper and lower sashes on the first floor are +twelve-paned, as are also the upper sashes on the second floor, the +foreshortening of these upper windows being accomplished by means of +eight-paned lower sashes.</p> + + + + +<div class="illustration" style="width: 222px;margin-top:8%;"> +<a name="PL_43" id="PL_43"></a> +<a href="images/ill_044_pl_43.png"> +<img src="images/ill_044_pl_43_th.png" width="222" height="300" alt="Plate XLIII.—Detail of Window and Shutters, Morris +House." /></a> +<span class="caption">Plate XLIII.—Detail of Window and Shutters, Morris +House.</span> +</div> + +<p>Erected in 1727 as a single dwelling, this house was occupied during the +battle by the widow Deshler and her family. At that time there was no +building of any sort between the Billmeyer and Chew houses. It was in +front of this house that Washington stopped in his march down Germantown +Avenue on October 4, 1777, having discovered that the Chew house was +occupied by the British. There he conferred with his officers, ordered +the attack and directed the battle. The tradition is that Washington +stood on a horse block, telescope in hand, trying in vain to penetrate +the smoke and fog and discover the force of the enemy intrenched within +the Chew mansion. The stone cap of the horse block is still preserved, +and the telescope is in the possession of Germantown Academy. The house +suffered greatly at the hands of the British soldiers who were quartered +there, and its woodwork still bears the marks of bullets and attempts to +set it on fire. In 1789 it became the home of Michael Billmeyer, a +celebrated German printer who carried on his trade there. + +<span class='page-number'><a name="Page_100" id="Page_100">100</a></span></p> + +<p>Homes such as the Johnson and Billmeyer houses and numerous similar +ones, two and a half stories high with gable roofs, dormer windows and a +penthouse roof at the second-floor level, are characteristic examples of +the best Pennsylvania farmhouse type which architects of the present day +are perpetuating to a considerable extent. Whether of dressed local or +ledge stone, they are distinct from anything else anywhere that comes +within the Colonial category. In their design and construction sincerity +of purpose is manifest; their sturdy simplicity and frank practicability +give them a rare charm which appeals strongly to all lovers of the +Colonial style in architecture.<span class='page-number'><a name="Page_101" id="Page_101">101</a></span></p> + + + +<h3><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII</h3> + +<p class="head">DOORWAYS AND PORCHES</p> + +<p class="noindent"><span class="lg">I</span><span class="smcap2">nvariably</span> +one associates a house with its front entrance, for the +doorway is the dominant feature of the façade, the keynote so to speak. +Truly utilitarian in purpose, and so lending itself more logically to +elaboration for the sake of decorative effect, the doorway became the +principal single feature of a Colonial exterior. When designed in +complete accord with the house it lends distinction and charm to the +building as a whole.</p> + +<p>Like men, doorways have character and individuality. Indeed, in their +individuality they reflect the character of those who built them. They +symbolize the house as a whole and usually the mien of its occupants; +they create the first impressions which the guest has of his host, and +foretell more or less accurately the sort of welcome to be expected.</p> + +<p>The houses of Philadelphia and vicinity, perhaps more than those of any +other American city, possess the charm of architectural merit combined +with historic interest. To appreciate more fully the important part +played by Philadelphians in early<span class='page-number'><a name="Page_102" id="Page_102">102</a></span> American affairs, we study their +houses and home life, and as the primary index to the domestic +architecture of the vicinity we direct our attention to the doorways and +porches.</p> + +<p>Like the houses, the doorways range in architectural pretension from the +unaffected simplicity of Wyck to the stately elaboration of Cliveden and +Mount Pleasant, and possess distinctive characteristics not seen +elsewhere. Wealth made Philadelphia the most fashionable American city +of the time, with all the attendant rivalries and jealousies of such a +condition. Desiring to put the best foot foremost, elaboration of the +doorway provided a ready means to display the self-esteem, affluence and +social position of the owner. Naturally the Quaker severity of former +years was reflected in many of these outward manifestations of home +life, and it is a study of absorbing interest to note the proportions +and resulting spirit, so unlike New England doorways, which the local +builders gave to their adaptations from the same Renaissance motives. +Summed up in a sentence, the high, narrow doorways of Philadelphia, for +the most part without the welcoming side lights of New England, speak +truly of Quaker severity and the exclusiveness of the old aristocratic +families.</p> + + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 250px;"> +<a name="PL_44" id="PL_44"></a> +<a href="images/ill_045_pl_44a.png"> +<img src="images/ill_045_pl_44a_th.png" width="250" height="300" alt="Plate XLIV.—Window and Shutters, Free Quakers' Meeting +House, Fifth and Arch Streets; Second Story Window, Free Quakers' +Meeting House." /> +</a></div> +</td><td> +<div class="illustration" style="width: 239px;"> +<a name="PL_44b" id="PL_44b"></a> +<a href="images/ill_045_pl_44b.png"> +<img src="images/ill_045_pl_44b_th.png" width="239" height="300" alt="Plate XLIV.—Window and Shutters, Free Quakers' Meeting +House, Fifth and Arch Streets; Second Story Window, Free Quakers' +Meeting House." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XLIV.—Window and Shutters, Free Quakers' Meeting +House, Fifth and Arch Streets; Second Story<br />Window, Free Quakers' +Meeting House.</span> +</td></tr> +</table> + + + +<p>As to the doors themselves, four distinct types were common throughout +the Colonial period. Single and double doors were equally popular, +high,<span class='page-number'><a name="Page_103" id="Page_103">103</a></span> narrow double doors being favored for the more pretentious +houses, although instances are not lacking of single doors in the +mansions of Colonial times. With very few exceptions molded and raised +panels with broad bevels were used in all, and it is according to the +arrangement of these panels that the different types of doors are best +classified.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 200px;"> +<a name="PL_45" id="PL_45"></a> +<a href="images/ill_046_pl_45a.png"> +<img src="images/ill_046_pl_45a_th.png" width="200" height="300" alt="Plate XLV.—Detail of Windows, Combes Alley; Window and +Shutters, Cliveden; Window, Bartram House." /> +</a></div> +</td><td> +<div class="illustration" style="width: 176px;"> +<a name="PL_45b" id="PL_45b"></a> +<a href="images/ill_046_pl_45b.png"> +<img src="images/ill_046_pl_45b_th.png" width="176" height="300" alt="Plate XLV.—Detail of Windows, Combes Alley; Window and +Shutters, Cliveden; Window, Bartram House." /> +</a></div> +</td><td> +<div class="illustration" style="width: 186px;"> +<a name="PL_45c" id="PL_45c"></a> +<a href="images/ill_046_pl_45c.png"> +<img src="images/ill_046_pl_45c_th.png" width="186" height="300" alt="Plate XLV.—Detail of Windows, Combes Alley; Window and +Shutters, Cliveden; Window, Bartram House." /> +</a></div> +</td></tr> +<tr><td colspan="3" align="center"> +<span class="caption">Plate XLV.—Detail of Windows, Combes Alley; Window and +Shutters, Cliveden; Window, Bartram House.</span> +</td></tr> +</table> + +<p>One of the earliest and simplest was the six-panel single door with +three stiles of about equal width, top and frieze rail about the same, +bottom rail somewhat wider and lock rail about double the width of the +frieze rail. The upper pair of panels were not quite high enough to be +square, while the middle and lower pairs were oblong in shape, the +middle one being higher than the lower. Rarely this relation was +reversed, and the lower pair was higher than the middle pair, the door +at Number 6504 Germantown Avenue being an example. As found in the +farmhouses of Germantown and thereabouts, notably Wyck, Glen Fern, the +Green Tree Inn and the Johnson and Billmeyer houses, these six-panel +doors were split horizontally through the lock rail, dividing them into +an upper and lower part. This arrangement made it possible to open the +upper part for ventilation while keeping the lower part closed to +prevent stray animals and fowls from entering the house. Numerous +examples of undivided six-panel doors are shown by accompanying +illustrations and referred to in detail in<span class='page-number'><a name="Page_104" id="Page_104">104</a></span> +succeeding paragraphs. Of +these the door of Grumblethorpe is unique in having a double stile in +the middle, giving almost the appearance of double doors.</p> + +<p>Three-panel double doors, such as those of Mount Pleasant, Solitude and +Port Royal House, were less common than any of the four principal types +mentioned, and were little used except for a few decades after the +middle of the eighteenth century. Like six-panel single doors, the upper +panel was often almost square, and the middle oblong panel higher than +the bottom one of the same shape. At Mount Pleasant the middle and lower +panels were of the same size.</p> + +<p>Eight-panel single doors were employed extensively throughout the +eighteenth century, and this is one of the most picturesque and +distinctive of Philadelphia types. For the most part the panels were +arranged as shown by the doors of the Perot-Morris, Powel and Wharton +houses with a pair of small and large panels in alternation. Other +notable instances are to be seen at Loudoun, Chalkley Hall and the +Blackwell house. The top or first and third pairs were about half as +high as their width, while the second and fourth pairs were oblong and +usually of the same size, their height about one and one-half times +their width. The door at Upsala is a rare instance of the fourth pair of +panels lower than the second, whereas that at Number 301<span class='page-number'><a name="Page_105" id="Page_105">105</a></span> South Seventh +Street shows this type with molded flat panels. As is well shown by the +door of the Perot-Morris house, the fourth rail was the broad lock rail, +and as in those days the latch was often separate, it was frequently +placed on the rail above, and hence often referred to as the latch rail.</p> + +<p>Another less common type of eight-panel single door is shown in +accompanying illustrations by doors at Number 4908 Germantown Avenue, +Number 39 Fisher's Lane, Wayne Junction and Number 224 South Eighth +Street. The panel arrangement consisted of three pairs of nearly square +panels above the lock rail and one pair twice as high below. Of the +doors mentioned, that at Wayne Junction is unique in its flat molded +panels.</p> + +<p>A corresponding panel arrangement of double doors is to be seen at The +Highlands. Usually, however, four-panel double doors took the alternate +small and large panel arrangement and were virtually halves of the more +common type of eight-panel single door. Such doors at Stenton, Cliveden +and the Morris house are illustrated in detail, and similar ones gave +entrance to Hope Lodge, Woodford and Vernon. The Woodford doors are +interesting for their glazed quatrefoil openings in the top pair of +panels, the Vernon doors for a handsome brass knocker on the second +panel of each one.</p> + +<p>For the most part Philadelphia doorways were deeply recessed in +connection with stone construction<span class='page-number'><a name="Page_106" id="Page_106">106</a></span> because of the great thickness of +the walls. Paneled jambs were let into the reveals of the opening, and +whatever the panel arrangement of the door, a corresponding arrangement +was followed in paneling the jambs and the soffit of the arch or flat +lintel above. Such a distinctive and pleasing feature did this become +that it was widely adapted to brick construction, the outward projection +of pilasters and engaged columns, often both, supporting pediments and +entablatures which had the effect of increasing the depth of brick +walls.</p> + +<p>The simplest type of Philadelphia doorway is that common to the ledge +and "brick" stone farmhouses of Germantown, of which the doorway of the +Johnson house is perhaps the best example. These houses usually had a +penthouse roof along the second-floor level, and as in this instance a +pediment springing from this roof usually formed a hood above the +doorway. Although this doorway with its molded casings, four-paned +horizontal transom and single door with six molded and raised panels is +of the most modest character, its simple lines and good proportions +present an effect of picturesque charm. The door is divided horizontally +into two parts, after the Dutch manner, like many farmhouse doors of the +neighborhood. The position of the drop handle replacing the usual knob +indicates the size of the great rim lock within, and the graceful design +of the brass knocker is justly one of the<span class='page-number'><a name="Page_107" id="Page_107">107</a></span> most popular to-day. The +seats flanking the entrance are unique and unlike any others in +Philadelphia, although those between the two doors of the Billmeyer +house near by are similar.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr> +<td><div class="illustration" style="width: 210px;"> +<a name="PL_46" id="PL_46"></a> +<a href="images/ill_047_pl_46a.png"> +<img src="images/ill_047_pl_46a_th.png" width="210" height="300" alt="Plate XLVI.—Window, Stenton; Window and Shutters, 128 +Race Street." /> +</a></div></td> +<td> </td> +<td> +<div class="illustration" style="width: 213px;"> +<a name="PL_46b" id="PL_46b"></a> +<a href="images/ill_047_pl_46b.png"> +<img src="images/ill_047_pl_46b_th.png" width="213" height="300" alt="Plate XLVI.—Window, Stenton; Window and Shutters, 128 +Race Street." /> +</a></div> +</td></tr> +<tr><td colspan="3" align="center"> +<span class="caption">Plate XLVI.—Window, Stenton; Window and Shutters, 128 +Race Street.</span> +</td></tr> +</table> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 296px;"> +<a name="PL_47" id="PL_47"></a> +<a href="images/ill_048_pl_47a.png"> +<img src="images/ill_048_pl_47a_th.png" width="296" height="300" alt="Plate XLVII.—Dormer, Witherill House, 130 North Front +Street; Dormer, 6105 Germantown Avenue, Germantown; Foreshortened +Window, Morris House; Dormer, Stenton; Window and Shutters, Witherill +House; Window and Blinds, 6105 Germantown Avenue." /> +</a></div> +</td><td> +<div class="illustration" style="width: 296px;"> +<a name="PL_47b" id="PL_47b"></a> +<a href="images/ill_048_pl_47b.png"> +<img src="images/ill_048_pl_47b_th.png" width="296" height="300" alt="Plate XLVII.—Dormer, Witherill House, 130 North Front +Street; Dormer, 6105 Germantown Avenue, Germantown; Foreshortened +Window, Morris House; Dormer, Stenton; Window and Shutters, Witherill +House; Window and Blinds, 6105 Germantown Avenue." /> +</a></div></td></tr> +<tr><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_47c" id="PL_47c"></a> +<a href="images/ill_048_pl_47c.png"> +<img src="images/ill_048_pl_47c_th.png" width="300" height="295" alt="Plate XLVII.—Dormer, Witherill House, 130 North Front +Street; Dormer, 6105 Germantown Avenue, Germantown; Foreshortened +Window, Morris House; Dormer, Stenton; Window and Shutters, Witherill +House; Window and Blinds, 6105 Germantown Avenue." /> +</a></div></td><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_47d" id="PL_47d"></a> +<a href="images/ill_048_pl_47d.png"> +<img src="images/ill_048_pl_47d_th.png" width="300" height="298" alt="Plate XLVII.—Dormer, Witherill House, 130 North Front +Street; Dormer, 6105 Germantown Avenue, Germantown; Foreshortened +Window, Morris House; Dormer, Stenton; Window and Shutters, Witherill +House; Window and Blinds, 6105 Germantown Avenue." /> +</a></div></td></tr> +<tr><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_47e" id="PL_47e"></a> +<a href="images/ill_048_pl_47e.png"> +<img src="images/ill_048_pl_47e_th.png" width="300" height="298" alt="Plate XLVII.—Dormer, Witherill House, 130 North Front +Street; Dormer, 6105 Germantown Avenue, Germantown; Foreshortened +Window, Morris House; Dormer, Stenton; Window and Shutters, Witherill +House; Window and Blinds, 6105 Germantown Avenue." /> +</a></div></td><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_47f" id="PL_47f"></a> +<a href="images/ill_048_pl_47f.png"> +<img src="images/ill_048_pl_47f_th.png" width="300" height="298" alt="Plate XLVII.—Dormer, Witherill House, 130 North Front +Street; Dormer, 6105 Germantown Avenue, Germantown; Foreshortened +Window, Morris House; Dormer, Stenton; Window and Shutters, Witherill +House; Window and Blinds, 6105 Germantown Avenue." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XLVII.—Dormer, Witherill House, 130 North Front +Street;<br />Dormer, 6105 Germantown Avenue, Germantown; Foreshortened<br /> +Window, Morris House; Dormer, Stenton; Window<br />and Shutters, Witherill +House; Window and Blinds,<br />6105 Germantown Avenue.</span> +</td></tr> +</table> + + +<p>Substantially the same sort of doorway without the seats is to be seen +at the old Green Tree Inn, Number 6019 Germantown Avenue, Germantown, +erected in 1748. Here, however, the effect is slightly enriched by a +nicely hand-tooled ovolo molding in the cornice of the penthouse roof +that is repeated with an elliptical fan design in the pediment of the +hood.</p> + +<p>Another type of Philadelphia doorway only a little more elaborate than +the foregoing is well illustrated at Number 114 League Street and Number +5933 Germantown Avenue. Above the architrave casing across the lintel of +these deeply recessed doorways a frieze and pediment form an effective +doorhead. The pedimental League Street doorhead is supported by +hand-carved consoles at opposite ends, that of the Germantown Avenue +doorhead by fluted pilasters. An oval shell pattern adorns the frieze of +the former, while a denticulated molding enriches the latter. As +contrasted with the plain cased frame of the former, the latter has +paneled jambs and soffit, the spacing corresponding with that of the +door. Both doors are of the popular six-panel type with nicely molded +and raised panels, and both doorheads are elaborated by short, broader +sections of the vertical casings near the top. In<span class='page-number'><a name="Page_108" id="Page_108">108</a></span> refinement of detail +and proportion, and in precision of workmanship the Germantown Avenue +doorway surpasses that on League Street.</p> + +<p>But the characteristic type of pedimental door trim in Philadelphia +takes a different form. About the middle of the eighteenth century the +plain horizontal transom above outside doors was generally replaced by +the more graceful semicircular fanlight, the glass area of which was +divided by sash bars or leaded lines into numerous radiating patterns of +more or less grace and beauty. By omitting the entablature of the common +horizontal doorhead and breaking the base of the pediment, the round +arch of the fanlight was made to fit very nicely within the sloping +sides of the pediment, the keystone of the arched casing occupying the +upper angle beneath the peak of the gable. Pilasters or engaged columns +support the pediment, their upper molded portion above the necking being +carried across the horizontal lintel of the door frame. From the +capitals up to the short cornice returns, replacing the usual base of +the pediment, the spirit of the entablature is retained by pilaster +projections molded after the manner of cornice, frieze and architrave.</p> + +<p>Excellent doorways such as this with fluted pilaster casings, single +doors with six molded and raised panels of familiar arrangement and +paneled jambs and soffit to correspond are to be seen at Number 5011 +Germantown Avenue, Germantown,<span class='page-number'><a name="Page_109" id="Page_109">109</a></span> and Number 247 Pine Street. The former +is of considerable breadth, as Philadelphia doorways go, and the +fanlight is of rather too intricate pattern and heavy scale. The latter +is exceptionally narrow, with pilasters in accord and a fanlight of +chaste simplicity. Like many others the door itself is dark painted and +in striking contrast to the other white wood trim. One notices at once +the strange placing of the knob at the top rather than in the middle of +the lock rail, and the footscraper in a separate block of marble in the +sidewalk at one side of the marble steps, the inference being that one +should scrupulously wipe his feet before approaching the door.</p> + +<p>Similar to these, but showing better proportion and greater refinement +of detail, is the entrance to the Morris house, one of the best known +doorways in Philadelphia and notable as one of the relatively few +pedimental doorways of this type having the high four-panel double +doors. The pediment framing the simple but very graceful fanlight is +enriched by cornice moldings, hand-tooled to fine scale, the soffit of +the corona being fluted, the bed-molding reeded and the dentil course +being a familiar Grecian fret. Flutings also adorn the short architraves +each side of the fanlight, and the abacus of the pilaster columns which +is carried across a supplementary lintel in front of the lintel proper, +the latter being several inches to the rear because of<span class='page-number'><a name="Page_110" id="Page_110">110</a></span> the deeply +recessed arrangement of the door. The detail combines Doric and Ionic +inspiration. An attractive knocker, simple brass knob and exceptionally +large key plate indicating the great rim lock within, lend a quaint +charm to a doorway distinctly pleasing in its entirety.</p> + +<p>Two excellent doorways of this general type having paneled instead of +fluted pilaster casings may be seen at Number 6504 Germantown Avenue, +Germantown, and Number 701 South Seventh Street. The former is broad and +has a six-panel door much like that at Number 5011 Germantown Avenue, +but the fanlight is of simpler pattern and withal more pleasing. A +fine-scale dentil course lends interest to the pedimental cornice, while +the frieze portions of the entablature section of the pilasters are +elaborated by flutings and drillings, the latter suggestive of a +festoon. A knocker of slender grace is the best feature of the hardware. +The South Seventh Street entrance, higher and narrower, presents another +example of the dark-painted door rendered the more interesting by reason +of its eight-panel arrangement, the spacing being that usually employed +for double doors. The wood trim, molded but nowhere carved, commends +itself for effective simplicity. Two marble steps, the upper one very +deep, with an attractive iron rail on the buttresses at each side, +complete a doorway picture that is typically Philadelphian.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_48" id="PL_48"></a> +<a href="images/ill_049_pl_48a.png"> +<img src="images/ill_049_pl_48a_th.png" width="300" height="175" alt="Plate XLVIII.—Shutter Fastener, Cliveden; Shutter +Fastener, Wyck; Shutter Fastener, Perot-Morris House; Shutter Fastener, +6043 Germantown Avenue." /> +</a></div> +</td><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_48b" id="PL_48b"></a> +<a href="images/ill_049_pl_48b.png"> +<img src="images/ill_049_pl_48b_th.png" width="300" height="175" alt="Plate XLVIII.—Shutter Fastener, Cliveden; Shutter +Fastener, Wyck; Shutter Fastener, Perot-Morris House; Shutter Fastener, +6043 Germantown Avenue." /> +</a></div></td></tr> +<tr><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_48c" id="PL_48c"></a> +<a href="images/ill_049_pl_48c.png"> +<img src="images/ill_049_pl_48c_th.png" width="300" height="198" alt="Plate XLVIII.—Shutter Fastener, Cliveden; Shutter +Fastener, Wyck; Shutter Fastener, Perot-Morris House; Shutter Fastener, +6043 Germantown Avenue." /> +</a></div></td><td> +<div class="illustration" style="width: 300px;"> +<a name="PL_48d" id="PL_48d"></a> +<a href="images/ill_049_pl_48d.png"> +<img src="images/ill_049_pl_48d_th.png" width="300" height="198" alt="Plate XLVIII.—Shutter Fastener, Cliveden; Shutter +Fastener, Wyck; Shutter Fastener, Perot-Morris House; Shutter Fastener, +6043 Germantown Avenue." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XLVIII.—Shutter Fastener, Cliveden; Shutter +Fastener, Wyck; Shutter Fastener, Perot-Morris<br />House; Shutter Fastener, +6043 Germantown Avenue.</span> +</td></tr> +</table> + + +<p><span class='page-number'><a name="Page_111" id="Page_111">111</a></span></p> + +<p>Surpassing both of the foregoing, however, is the doorway at Number 709 +Spruce Street. Indeed, it is among the best of its type in the city. It +has the simple excellence in detail of the South Seventh Street doorway, +with better proportion, less height of pediment and greater apparent +breadth, owing to the six-panel arrangement of the door and the fact +that it is white like the wood trim about it. The only carved molding is +the Grecian fret of the dentil course in the pedimental cornice. Here +again another favorite knocker pattern greets the eye.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 232px;"> +<a name="PL_49" id="PL_49"></a> +<a href="images/ill_050_pl_49a.png"> +<img src="images/ill_050_pl_49a_th.png" width="232" height="300" alt="Plate XLIX.—Detail of Round Headed Window, Congress +Hall; Detail of Round Headed Window, Christ Church." /> +</a></div></td><td> +<div class="illustration" style="width: 229px;"> +<a name="PL_49b" id="PL_49b"></a> +<a href="images/ill_050_pl_49b.png"> +<img src="images/ill_050_pl_49b_th.png" width="229" height="300" alt="Plate XLIX.—Detail of Round Headed Window, Congress +Hall; Detail of Round Headed Window, Christ Church." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XLIX.—Detail of Round Headed Window, Congress +Hall; Detail of Round Headed Window,<br />Christ Church.</span> +</td></tr> +</table> + + +<p>Engaged round columns, usually smooth and standing in front of wide +pilasters, were often pleasing features of these pedimental doorways. In +such instances the projection was so great that the entablature sections +above the columns were square, and the soffit of the corona in the +pediment was paneled. Two notable instances may be cited at Number 5200 +Germantown Avenue, Germantown, and Number 4927 Frankford Avenue. Both +have the familiar six-panel doors with corresponding paneled jambs and +arch soffit, attractively simple fanlights and much fine-scale hand +carving in the pedimental cornice and architrave casing of the keyed +arch. The former displays better taste. Effective use is made of a +reeded ovolo, and the fascia of the architrave bears a pleasing +hand-tooled band of vertical flutes with a festooned flat fillet<span class='page-number'><a name="Page_112" id="Page_112">112</a></span> +running through it. The most distinctive feature, however, is the double +denticulated molding of the pedimental cornice with prominent drilled +holes in each dentil alternately at top and bottom.</p> + +<p>Although representing a high degree of the wood-carvers' art, the other +doorway is rather over-ornate in its detail. The reeded ovolo is again +prominent, and the fascia of the architrave of the arch bears a familiar +decorative motive consisting of groups of five flutes in alternation +with a conventionalized flower. The dentil course of the pedimental +cornice takes the form of a peculiar reeded H pattern which is repeated +in much finer scale on the edge of the corona, the abacus of the +capitals and its continuation across the lintel of the door. Least +pleasing of all is the fluting of the frieze portion of the entablature +sections with three sets of drillings suggestive of festoons.</p> + +<p>Another admirable type of doorway, of which there are many examples in +Philadelphia, frames the high, round-headed arch of the doorway with +tall, slender engaged columns supporting a massive entablature above the +semicircular fanlight over the door. Almost without exception the +entablature is some variation of the Ionic order with denticulated +bed-mold in the cornice, plain flat frieze and molded architrave, the +latter sometimes enriched by incised decorative bands. The columns are +Doric and smooth. They stand in front of more widely<span class='page-number'><a name="Page_113" id="Page_113">113</a></span> spaced pilasters, +which are virtually a broadening of the casings of the door frame, and +which support a second entablature back of the first and somewhat wider. +The two combined form a doorhead with projection almost equal to a hood, +but the effect is far more stately.</p> + +<p>Such a doorway in its simplest form, with columns tapering considerably +toward the top, in accordance with a prevalent local custom of the time, +is to be seen on the Powel house, Number 244 South Third Street. The +sash divisions of the fanlight are unique, suggesting both Gothic +tracery and the lotus flower. The single, high eight-panel door recalls +many having a similar arrangement of molded and raised panels, but +differs from most of them in that the lock rail is about double the +width of the two rails above.</p> + +<p>Narrower, with more slender columns, and thus seemingly higher, is the +doorway of the Wharton house, Number 336 Spruce Street. While the +entablature is generally similar, the moldings adhere less closely to +the classic order, and the same is true of the exceptionally slender +columns. An enriched ovolo suggesting a quarter section of a cylinder +and two disks in alternation lends added refinement to the paneled jambs +and the architrave casing of the arch with its hand-carved keystone. The +fanlight is of simple but pleasing pattern, and the eight-panel door is +of characteristic design.<span class='page-number'><a name="Page_114" id="Page_114">114</a></span></p> + +<p>At Number 301 South Seventh Street the doorway itself strongly resembles +that of the Powel house, except that it is higher, narrower and rather +lighter in scale. However, the wing flights of stone steps on the +sidewalk leading to a broad landing before the door and the handsome +wrought-iron rail lend individuality and rare charm to this notable +example of a familiar type.</p> + +<p>The doorway of Grumblethorpe, Number 5621 Germantown Avenue, Germantown, +differs little in general appearance, if considerably in detail, from +that of the Powel house. One notices first how deeply recessed it is +because of the thickness of the stone walls. With the projecting +entablature it affords almost as much shelter as a porch. The single +door next attracts attention. Of six-panel and familiar arrangement, it +differs from most of this sort in having a double stile in the middle, +the effect simulating double doors. A simple, hand-tooled ovolo +ornaments the jambs and architrave casings of the keyed arch. It is also +repeated above the double denticulated member of the cornice, the latter +enriched by a hole drilled in each dentil alternately above and below. +Daintiness and simplicity characterize the fanlight pattern set in lead +lines.</p> + +<p>The doorway at Number 6105 Germantown Avenue, Germantown, may be +regarded as one of the best of the more ornate examples of this type.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_50" id="PL_50"></a> +<a href="images/ill_051_pl_50.png"> +<img src="images/ill_051_pl_50_th.png" width="300" height="230" alt="Plate L.—Fenestration, Chancel End, St. Peter's +Church." /></a> +<span class="caption">Plate L.—Fenestration, Chancel End, St. Peter's +Church.</span> +</div> + + +<p><span class='page-number'><a name="Page_115" id="Page_115">115</a></span></p> + + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 240px;"> +<a name="PL_51" id="PL_51"></a> +<a href="images/ill_052_pl_51a.png"> +<img src="images/ill_052_pl_51a_th.png" width="240" height="300" alt="Plate LI.—Details of Round Headed Windows, Christ +Church." /> +</a></div> +</td><td> </td><td> +<div class="illustration" style="width: 240px;"> +<a name="PL_51b" id="PL_51b"></a> +<a href="images/ill_052_pl_51b.png"> +<img src="images/ill_052_pl_51b_th.png" width="240" height="300" alt="Plate LI.—Details of Round Headed Windows, Christ +Church." /> +</a></div> +</td></tr> +<tr><td colspan="3" align="center"> +<span class="caption">Plate LI.—Details of Round Headed Windows, Christ +Church.</span> +</td></tr> +</table> + +<p>It has fluted columns, an intricately hand-tooled dentil course in the +cornice, richly incised architraves and carved ovolo moldings. The +denticulated molding has fluted dentils with horizontal connecting +members forming a sort of continuous H pattern. An incised band of +dainty grace adorns the architrave of the entablature. It consists of +groups of five vertical flutes in alternation with drillings forming +upward and downward arcs or double festoons. The architrave of the arch +and lintel has a slightly different incised pattern. There are the same +fluted groups with oval ornaments composed of drillings between. The +door itself is of the regulation six-panel arrangement.</p> + +<p>Few doorways in the Corinthian order are to be found in what may +properly be termed the Colonial architecture of Philadelphia, for this +order was little used by American builders until early in the nineteenth +century. The doorway of Doctor Denton's house in Germantown instances +its employment in a somewhat original manner. The entablature follows +the classic order closely, except for the tiny consoles of the dentil +course and the incised decoration of the upper fascia of the architrave, +consisting of a band of elongated hexagons which is repeated across the +lintel of the door and the imposts of the arch. A Latin quotation, +"Procuc este profans", meaning "Be far from here that which is unholy", +is carved in the architrave casing<span class='page-number'><a name="Page_116" id="Page_116">116</a></span> over the fanlight. The columns are +fluted, but have the Doric rather than the usual Corinthian capitals. +Double blind doors such as are a feature of this entrance were the +predecessor of the modern screen door. Arbor vitæ trees in square wooden +tubs on the broad top step each side of the doorway complete a formal +treatment of dignity and attractiveness.</p> + +<p>Rarely occurred a doorway having a complete entablature above a fanlight +surmounted by a pediment. The east and west entrances of Mount Pleasant +offer two splendid examples, massive and dignified. While much alike in +several respects, they differ sufficiently in detail to afford an +interesting comparison. In size and general arrangement in their double +three-panel doors and smooth columns, they greatly resemble each other. +Although not pure, the doorway of the west or river front is essentially +Tuscan and of the utmost simplicity. Its chief distinction lies in the +rustication of the casings, jambs and soffit, simulating stonework, and +the heavy fanlight sash with its openings combining the keystone and +arch in outline. The doorway of the east front, which is the entrance +from the drive, is Doric and has the customary triglyphs, mutules and +guttæ. There is the same rustication of casings and jambs up to the +height of the doors, but molded spandrils occupy the spaces each side of +the round arch with its wide ornate keystone. Exceptionally broad +tapering and fluted mullions<span class='page-number'><a name="Page_117" id="Page_117">117</a></span> lend distinction to the heavy fanlight +sash with its round-ended openings. Neither of these doorways has the +double projection of those previously described. The background +pilasters are omitted, and the engaged columns stand directly against +the stone masonry. A beautiful Palladian window in the second-story wall +above each doorway forms a closely related feature, the two being +virtually parts of the same effect.</p> + +<p>Oftener, where an entablature supported by engaged columns was +surmounted by a pediment, the fanlight over the door was omitted. Of the +several instances in Philadelphia, the best known is undoubtedly the +classic doorway of Cliveden, about which the Battle of Germantown raged +most fiercely. The damage done by cannon balls to the stone steps may +still be plainly seen. This doorway is one of the finest specimens of +pure mutulary Doric in America, very stately and somewhat severe. Every +detail is well-nigh perfect, and the proportions could hardly be better. +A similar arrangement of the high, narrow, four-panel double doors is +found elsewhere in Philadelphia, while the blinds used instead of screen +doors recall those of Doctor Denton's house, although divided by two +rails respectively toward the top and bottom into three sections, the +middle section being the largest. Two small drop handles with pendant +rings comprise the entire visible complement of hardware on the doors.<span class='page-number'><a name="Page_118" id="Page_118">118</a></span></p> + +<p>As compared with the east entrance of Mount Pleasant, the Cliveden +detail is richer in the paneled soffits of the corona and the paneled +metopes in alternation with the triglyphs of the frieze. One notices +also that it is not deeply recessed according to the prevailing custom +in the case of stone houses.</p> + +<p>Another doorway of this general character and having double doors is the +entrance to Solitude. Conventionally Ionic in detail, with smooth +columns and voluted capitals, it pleases the eye but lacks the +impressiveness of the doorway at Cliveden. The three-panel double doors +are narrower, and this fact is emphasized by the deep recess with +paneled jambs. There is but one broad step, which also serves as the +threshold.</p> + +<p>The doorway of the Perot-Morris house, deeply recessed because of the +thick stone walls, presents at its best another variation of this +sturdiest of Philadelphia types with a single, eight-panel, dark-painted +door and a very broad top stone step before it. Virtually a pure Tuscan +adaptation, it differs in a few particulars from others of similar +character, notably in the pronounced tapering of the columns toward the +top and the recessing of the entablature above the door to form pilaster +projections above the columns. In other words, the recessed entablature +of this doorhead replaces the fanlight of another type already referred +to and of which the doorways at Number 5200 Germantown<span class='page-number'><a name="Page_119" id="Page_119">119</a></span> Avenue and +Number 4927 Frankford Avenue are examples. The brass knob, the heavy +iron latch and fastenings inside are the ones Washington, Jefferson, +Hamilton, Knox and Randolph handled in passing in and out during +Washington's occupancy.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 232;"> + +<a name="PL_52" id="PL_52"></a> +<a href="images/ill_053_pl_52a.png"> +<img src="images/ill_053_pl_52a_th.png" width="232" height="300" alt="Plate LII.—Chancel Window, Christ Church; Palladian +Window and Doorway, Independence Hall." /> +</a></div> +</td><td> +<div class="illustration" style="width: 237px;"> +<a name="PL_52b" id="PL_52b"></a> +<a href="images/ill_053_pl_52b.png"> +<img src="images/ill_053_pl_52b_th.png" width="237" height="300" alt="Plate LII.—Chancel Window, Christ Church; Palladian +Window and Doorway, Independence Hall." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LII.—Chancel Window, Christ Church; Palladian +Window and Doorway, Independence Hall.</span> +</td></tr> +</table> + +<p> </p> +<div class="illustration" style="width: 237px;"> +<a name="PL_53" id="PL_53"></a> +<a href="images/ill_054_pl_53.png"> +<img src="images/ill_054_pl_53_th.png" width="237" height="300" alt="Plate LIII.—Palladian Window, The Woodlands." /></a> +<span class="caption">Plate LIII.—Palladian Window, The Woodlands.</span> +</div> + +<p>Above the pediment is to be plainly seen the picturesque, cast-iron, +hand-in-hand fire mark about a foot high, consisting of four clasped +hands crossed in the unbreakable grasp of "My Lady Goes to London" of +childhood days. This ancient design, to be seen on the Morris, Betsy +Ross and numerous other houses, was that of the oldest fire insurance +company in the United States, organized in 1752 under Franklin's +leadership. This and other designs, such as the green tree, eagle, hand +fire engine and hose and hydrant still remain on many old Philadelphia +buildings, indicating in earlier years which company held the policy. +For a long time it was the custom to place these emblems on all insured +houses, the principal reason for doing so being that certain volunteer +fire companies were financed or assisted by certain insurance companies +and consequently made special efforts to save burning houses insured by +the company concerned.</p> + +<p>Porches were the exception rather than the rule in the early +architecture of Philadelphia. Only a few old Colonial houses now +remaining have them, and for the most part they are entrances to<span class='page-number'><a name="Page_120" id="Page_120">120</a></span> +countryseats in the present suburbs rather than to residences in the +city proper. The Highlands and Hope Lodge have such porches to which +reference has already been made in connection with the houses +themselves. Of scant architectural merit, the porch at Hope Lodge may +possibly be of more recent origin than the house. Except for the narrow +double doors the entrance to The Highlands is strongly reminiscent of +New England doorways and porches. Both have hipped roofs so low as to be +almost flat.</p> + +<p>A splendid example of the gable roof or pedimental porch more typical of +Philadelphia architecture is that at Upsala. Although displaying free +use of the orders, it is regarded as one of the best in America. On a +square stone platform reached by three broad stone steps, slender, +fluted Doric columns, with engaged columns each side of the doorway, +support a roof in the form of a pediment of generally Ionic character, +the architrave and cornice being notable for fine-scale hand tooling. It +will be noticed that the motive of the cornice with its jig-sawed +modillions, rope molding and enriched dentil course suggests Ionic +influence; that of the architrave, with its groups of five vertical +flutings in alternation with an incised conventionalized flower, Doric. +The same entablature is carried about the inside of the roof, projecting +over the doorway to form a much favored Philadelphia doorhead<span class='page-number'><a name="Page_121" id="Page_121">121</a></span> +supported by flanking engaged columns. The doorway itself is distinctly of +Philadelphia type, high, relatively narrow, and deeply recessed, with +the soffit of the arch and the cheeks of the jambs beautifully paneled +and a handsome semicircular fanlight above the single eight-panel door +but with no side lights. The effect of the keystone and imposts, also +the enrichment of the semicircular architrave casings are +characteristic. The paneling of the door consists of pairs of small and +large panels in alternation, the upper pair of large panels being +noticeably higher than the lower pair.</p> + +<p>Of far more modest character is the porch of the old Henry house, Number +4908 Germantown Avenue, long occupied by Doctor W. S. Ambler. It is much +smaller, extremely simple in its detail and of generally less pleasing +proportions. Two slender, smooth columns and corresponding pilasters on +the wall of the house support a pediment rather too flat for good +appearance. Except for the Ionic capitals, the detail is rather +nondescript as to its order. The round-arched, deeply recessed doorway +has the usual paneled jambs and soffit, but the reeded casings and +square impost blocks are of the sort that came into vogue about the +beginning of the nineteenth century. The single door with its eight +molded and raised panels is of that type, having three pairs of small +panels of uniform size above a single pair of high panels, the lock rail +being more<span class='page-number'><a name="Page_122" id="Page_122">122</a></span> than double the width of the rails above and wider than the +bottom rail. Unlike the usual fanlight, this one is patterned after a +much used Palladian window with sash bar divisions suggested by Gothic +tracery.</p> + +<p>At Number 39 Fisher's Lane, Wayne Junction, in connection with a doorway +much like the above, is an elliptical porch much like those of Salem, +Massachusetts, although devoid of their excellent proportion and nicety +of detail. Both the porch platform and steps are of wood, but the +slender, smooth columns supporting the roof, which takes the form of an +entablature, stand on high stone bases. Only simple moldings have been +employed, and the detail can hardly be said to belong to any particular +order of architecture. The door itself is unusual in having molded flat +rather than raised panels, while the fanlight is of more conventional +pattern than that of the Henry house.</p> + +<p>Side lights and elliptical fanlights, so characteristic of New England +doorways, are as rare as porches in the Colonial architecture of +Philadelphia. The entrance of The Highlands is thus unique in combining +the three. The doorway at Number 224 South Eighth Street has the New +England spirit in its breadth and general proportion; in the beauty of +its leaded side lights and fanlight, but the broad stone steps on the +sidewalk and the iron rails are typically Philadelphian. So, too, is the +paneling<span class='page-number'><a name="Page_123" id="Page_123">123</a></span> of the wide single door. The ornate woodwork of the frame +and casings, however, especially the frieze across the lintel, with its +oval and elliptical fluted designs elaborately hand-tooled, suggests the +Dutch influence of New York and New Jersey. The iron rails of the steps +present an interesting instance of the adaptation of Gothic tracery, +arches and quatrefoils.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_54" id="PL_54"></a> +<a href="images/ill_055_pl_54.png"> +<img src="images/ill_055_pl_54_th.png" width="300" height="233" alt="Plate LIV.—Great Hall and Staircase, Stenton." /></a> +<span class="caption">Plate LIV.—Great Hall and Staircase, Stenton.</span> +</div> + + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 231px;"> +<a name="PL_55" id="PL_55"></a> +<a href="images/ill_056_pl_55a.png"> +<img src="images/ill_056_pl_55a_th.png" width="231" height="300" alt="Plate LV.—Hall and Staircase, Whitby Hall; Detail of +Staircase, Whitby Hall." /> +</a></div> +</td><td> </td><td> +<div class="illustration" style="width: 230px;"> +<a name="PL_55b" id="PL_55b"></a> +<a href="images/ill_056_pl_55b.png"> +<img src="images/ill_056_pl_55b_th.png" width="230" height="300" alt="Plate LV.—Hall and Staircase, Whitby Hall; Detail of +Staircase, Whitby Hall." /></a></div> +</td></tr> +<tr><td colspan="3" align="center"> +<span class="caption">Plate LV.—Hall and Staircase, Whitby Hall; Detail of +Staircase, Whitby Hall.</span> +</td></tr> +</table> + +<p>The front doorway at Stenton may be regarded as the earliest instance of +side lights in Philadelphia, and one of the earliest in America. The +width of the brick piers or munions is such, however, that there are +virtually two high narrow windows rather than side lights in the +commonly accepted sense of the term. Indeed, they are treated as such, +being divided into upper and lower sashes like those of the other +windows, only narrower. Neither door nor windows have casings, the +molded frames being let into the reveals of the brickwork and the +openings, as in most early Colonial structures, having relieving arches +with brick cores. A six-paned, horizontal toplight above the doors +corresponds in scale with the windows. This simple entrance, with its +high, narrow, four-panel doors having neither knob or latch, is reached +from a brick-paved walk about the house by three semicircular stone +steps, such as were common in England at the time, the various nicely +hewn pieces being fastened securely together with iron bands. Severity +is written in every line, yet<span class='page-number'><a name="Page_124" id="Page_124">124</a></span> there is a picturesque charm about this +quaint doorway that attracts all who see it. In this the warmth and +texture of the brickwork play a large part, but much is also due to the +flanking slender trellises supporting vines which have spread over the +brickwork above in the most fascinating manner.</p> + +<p>Toward the beginning of the nineteenth century and for a few decades +thereafter, under the influence of the Greek revival, a new type of +round-arched doorway was developed in Philadelphia,—broader, simpler, +heavier in treatment than most of the foregoing. There were no +ornamental casings, the only woodwork being the heavy frame let into the +reveals of the brick wall. Above a horizontal lintel treated after the +manner of an architrave the semicircular fanlight was set in highly +ornamental lead lines forming a decorative geometrical pattern. Double +doors were the rule, most of them four-panel with a small and large +panel in alternation like many earlier doors, but the panels were molded +and sunken rather than raised. In a few instances there was a single +vertical panel to each door, sometimes round-topped as on the doors of +the Randolph house, Number 321 South Fourth Street.</p> + +<p>The most distinctive of these doorways is that at the southeast corner +of Eighth and Spruce streets, where elliptical winding flights lead to a +landing before the door. The ironwork is undoubtedly among the most +graceful and best preserved in the<span class='page-number'><a name="Page_125" id="Page_125">125</a></span> city. This low, broad entrance +resembles Southern doorways rather than the Philadelphia type, although +there are a few others of similar character near by. The wide, flat +casings and single-panel doors seem severe indeed by comparison with +most of the earlier doorways with their greater flexibility of line.</p> + +<p>Generally similar, the doorway of the old Shippen mansion, Number 1109 +Walnut Street, with its straight flight of stone steps unadorned in any +way, is less attractive except in the paneling of the doors. It lacks +the grace of the winding stairs and the charm of the iron balustrade so +much admired in the former. The fanlight pattern, good as it is, fails +to make as strong an appeal as that of the other doorway.</p> + +<p>At the northeast corner of Third and Pine streets is to be found a very +narrow doorway of this character, its double doors paneled like those of +the Shippen mansion and its graceful fanlight pattern more like that of +the doorway at Eighth and Spruce streets, though differing considerably +in detail. Like many others in Philadelphia this doorway is reached by +four stone steps leading to a square stone platform, the entire +construction being on the brick-paved sidewalk. The simple, slender rail +of wrought iron, its chief decoration a repeated spiral, is the best +feature.</p> + +<p>Philadelphia, perhaps more than any other American city, is famous for +the profusion and beauty of<span class='page-number'><a name="Page_126" id="Page_126">126</a></span> its ironwork, wrought and cast. For the +most part it took the form of stair rails or balustrades, fences and +foot scrapers, and many are the doorways of little or no architectural +merit which are rendered beautiful by the accompanying ironwork. On the +other hand, accompanying illustrations already discussed show the rare +beauty of architecturally notable doorways enriched by the addition of +good ironwork.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 227px;"> +<a name="PL_56" id="PL_56"></a> +<a href="images/ill_057_pl_56a.png"> +<img src="images/ill_057_pl_56a_th.png" width="227" height="300" alt="Plate LVI.—Hall and Staircase, Mount Pleasant; Second +Floor Hall Archway and Palladian Window, Mount Pleasant." /> +</a></div></td><td> +<div class="illustration" style="width: 245px;"> +<a name="PL_56b" id="PL_56b"></a> +<a href="images/ill_057_pl_56b.png"> +<img src="images/ill_057_pl_56b_th.png" width="245" height="300" alt="Plate LVI.—Hall and Staircase, Mount Pleasant; Second +Floor Hall Archway and Palladian Window, Mount Pleasant." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LVI.—Hall and Staircase, Mount Pleasant; Second +Floor Hall Archway and Palladian Window,<br />Mount Pleasant.</span> +</td></tr> +</table> + + +<p>Fences were the exception rather than the rule in Colonial times, +although rarely employed along the front of a house to prevent passers +from accidentally stepping into areaways in the sidewalk in front of +basement windows. The danger of such a catastrophe was remote, however, +for Philadelphia sidewalks were very broad in order to make room for the +customary stoop before the doorway and the frequent rolling way or +basement entrance. These sidewalk obstructions being the rule, people +formed the habit of walking near the curb, and accidents were thus +avoided. It was not until late in the nineteenth century, when basement +entrances with an open stairway along the front of the house began to be +provided, that fences came into vogue, except in the suburbs, where a +small front yard was sometimes surrounded by an iron fence.</p> + + +<p>Stoops divide themselves into four principal classes, of which the +first, consisting only of a single broad stone step before the doorway, +perhaps hardly<span class='page-number'><a name="Page_127" id="Page_127">127</a></span> warrants the term. As at Grumblethorpe and the Morris +house, these broad stone steps often had no ironwork other than a foot +scraper set in one end or in the sidewalk near by. Again, as at the +entrance to the Wistar house, there were iron handrails or balustrades +at both sides. Less common, though by no means infrequent, were the +stoops of this sort with a single handrail at one side.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_57" id="PL_57"></a> +<a href="images/ill_058_pl_57a.png"> +<img src="images/ill_058_pl_57a_th.png" width="300" height="234" alt="Plate LVII.—Hall and Staircase, Cliveden; Staircase +Detail, Cliveden." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_57b" id="PL_57b"></a> +<a href="images/ill_058_pl_57b.png"> +<img src="images/ill_058_pl_57b_th.png" width="300" height="228" alt="Plate LVII.—Hall and Staircase, Cliveden; Staircase +Detail, Cliveden." /></a> +<span class="caption">Plate LVII.—Hall and Staircase, Cliveden; Staircase +Detail, Cliveden.</span> +</div> + + +<p>These handrails or balustrades, replacing the stone parapets so common +in other American cities, are patterned after the cathedral grilles and +screens of the Middle Ages and consist of both Gothic and Classic detail +utilized with ingenuity and good taste. Most of the earlier designs are +hand wrought. Later, cast iron came into use, and much of the most +interesting ironwork combines the two. The balustrade at the Wistar +house just referred to is a typical example of excellent cast-iron work, +the design consisting of a diaper pattern of Gothic tracery with +harmonious decorative bands above and below.</p> + +<p>The Germantown farmhouse presents another variant of this first and +simplest type of stoop with a hooded penthouse roof above and quaint +side seats flanking the doorway. As at the Johnson house, the broad +stone step was sometimes flush with the sidewalk pavement.</p> + +<p>The second type of stoop consists of a broad stone step or platform +before the door with a straight flight of stone steps leading up to it. +Cliveden,<span class='page-number'><a name="Page_128" id="Page_128">128</a></span> Mount Pleasant and Doctor Denton's house are notable +instances of such stoops without handrails of any sort. The Powel house +stoop of this type has one of the simplest wrought-iron rails in the +city, while that of the house at Number 224 South Eighth Street, with +its effective Gothic detail, combines wrought and cast iron. Two very +effective wrought-iron handrails for stoops of this type, depending +almost entirely upon scroll work at the top and bottom for their +elaboration, are to be seen at Number 130 Race Street and Number 216 +South Ninth Street, the handsome scroll pattern of the latter being the +same as at the southeast corner of Seventh and Spruce streets, already +referred to, and the former being given a distinctive touch by two large +balls used as newels. Sometimes, as at Number 701 South Seventh Street, +there was only one step between the platform of the stoop and the +sidewalk, when its appearance was essentially the same as a stoop of the +first type such as that of the Wistar house.</p> + +<p>The third type of stoop has the same broad platform before the door, but +the flight of steps is along the front of the house at one side rather +than directly in front. While these were oftener straight, as in the +case of the doorway at the northeast corner of Third and Pine streets, +already referred to, they were frequently curved, as at Number 316 South +Third Street. Both have a wrought-iron rail with<span class='page-number'><a name="Page_129" id="Page_129">129</a></span> the same scroll +pattern of effective simplicity, a pattern much favored in modern +adaptation. Another stoop of this type at Number 272 South American +Street is high enough to permit a basement entrance beneath the +platform. The ironwork is beautifully hand-wrought in the Florentine +manner, its elaborate scroll pattern beneath an evolute spiral band +combining round ball spindles with flat bent fillets, and the curved +newel treatment at each side adding materially to the grace of the +whole.</p> + +<p>The fourth type of stoop has double or wing flights each side of the +platform before the door. The doorway at Number 301 South Seventh +Street, already referred to, is the most notable instance of straight +flights in Philadelphia, while that at the southeast corner of Eighth +and Spruce streets occupies the same position in respect to curved +flights. The wrought ironwork of the latter is superb. Rich in effect, +yet essentially simple in design, it has grace in every line, is not too +ornate and displays splendid workmanship. Again a spiral design is +conspicuous in the stair balustrades, and the curved newel treatment +recalls that of the foregoing stoop. The balustrade of the platform +consists of a simple diaper pattern of intersecting arcs with the +familiar evolute band above and below. The wing flight was a convenient +arrangement for double houses, as instanced by the old Billmeyer house +in Germantown, with its exceedingly<span class='page-number'><a name="Page_130" id="Page_130">130</a></span> plain iron handrail and straight +spindles. Of more interest is the balustrade at Number 207 La Grange +Alley with its evolute spiral band and slender ball spindles beneath.</p> + +<p>During the nineteenth century more attention was given to newels in +ironwork, and elaborate square posts combining cast and wrought pieces +were constructed, such as that at Fourth and Liberty streets. In the +accompanying balustrade are to be seen motives much employed in the +other examples here illustrated. Scroll work is conspicuous, as are +rosettes, but a touch of individuality is given by a Grecian band +instead of the more common evolute spiral above the diaper pattern. The +pineapple, emblem of hospitality, was attractive in cast iron and as +utilized at Number 1107 Walnut Street provided a distinctive newel.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 225px;"> +<a name="PL_58" id="PL_58"></a> +<a href="images/ill_059_pl_58a.png"> +<img src="images/ill_059_pl_58a_th.png" width="225" height="300" alt="Plate LVIII.—Detail of Staircase Balustrade and Newel, +Upsala; Staircase Balustrade, Roxborough." /> +</a></div> +</td><td> +<div class="illustration" style="width: 222px;"> +<a name="PL_58b" id="PL_58b"></a> +<a href="images/ill_059_pl_58b.png"> +<img src="images/ill_059_pl_58b_th.png" width="222" height="300" alt="Plate LVIII.—Detail of Staircase Balustrade and Newel, +Upsala; Staircase Balustrade, Roxborough." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LVIII.—Detail of Staircase Balustrade and Newel, +Upsala; Staircase Balustrade, Roxborough.</span> +</td></tr> +</table> + + + + +<p>The roads on the outskirts of all Colonial cities were very bad, and +many of the less important streets of Philadelphia had neither pavements +nor sidewalks. After rains shoes were bemired in walking, and as rubbers +were then unknown it was necessary to remove the mud from the shoes +before entering a house. Foot scrapers on the doorstep or at the foot of +the front steps were a necessity and became ornamental adjuncts of the +doorways of early Colonial homes. For the most part of wrought iron, +some of the later ones were cast in molds, that at Wyck being a +particularly interesting <span class='page-number'><a name="Page_131" id="Page_131">131</a></span>example. It consists of two grotesque +griffins back to back, their wings joined tip to tip forming the scraper +edge, and the whole being mounted in a large tray with turned-up edges. +This scraper can thus be moved about as desired, and the tray catches +the scrapings, which can be emptied occasionally without sweeping the +entire doorstep.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_59" id="PL_59"></a> +<a href="images/ill_060_pl_59a.png"> +<img src="images/ill_060_pl_59a_th.png" width="300" height="229" alt="Plate LIX.—Staircase Detail, Upsala; Staircase +Balustrade, Gowen House, Mount Airy." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_59b" id="PL_59b"></a> +<a href="images/ill_060_pl_59b.png"> +<img src="images/ill_060_pl_59b_th.png" width="300" height="227" alt="Plate LIX.—Staircase Detail, Upsala; Staircase +Balustrade, Gowen House, Mount Airy." /></a> +<span class="caption">Plate LIX.—Staircase Detail, Upsala; Staircase +Balustrade, Gowen House, Mount Airy.</span> +</div> + +<p>Some of the earlier and simpler scrapers, such as that at Third and +Spruce streets, consisted merely of two upright standards with a +sharp-edged horizontal bar between them to provide the scraper proper. +This horizontal part was made quite broad to take care of anticipated +wear, which in this particular instance has been great during the +intervening years.</p> + +<p>Similar to this, except for the well-wrought tops of the standards and +the curved supplementary supports, is the scraper of the Dirck Keyser +doorway, Number 6205 Germantown Avenue, Germantown. Regarded as a whole +this design suggests nothing so much as the back and arms of an early +English armchair.</p> + +<p>On the same page with these is shown another strange Philadelphia +scraper. Apart from its outline it has no decoration, and what the +origin of the design may be it is difficult to determine. To a degree, +however, it resembles two crude, ancient battle-axes, the handles +forming the scraper bar.</p> + +<p>A favorite design consisted of a sort of inverted<span class='page-number'><a name="Page_132" id="Page_132">132</a></span> oxbow with the curved +part at the top and the scraper bar taking some ornamental pattern +across the bottom from side to side. At the top, both outside and inside +the bow, and sometimes down the sides, spiral ornaments were applied in +the Florentine manner. Accompanying illustrations show two scrapers of +this type at Number 320 South Third Street and another one elsewhere on +the same street. The use of a little urn-shaped ornament at the top of +the latter scraper is most effective.</p> + +<p>At Number 239 Pine Street is seen a scraper employing two large spirals +themselves as supports for the scraper bar. The turn of the spiral is +here outward as contrasted with the inward turn of the scrapers at +Upsala.</p> + +<p>A scraper of quaint simplicity standing on one central standard at +Vernon, Germantown, suggests the heart as its motive, although having +outward as well as inward curling spirals at the top.</p> + +<p>Another clever device of Philadelphia ironworkers was to make the foot +scraper a part of the iron stair rail. Usually in such a scheme it was +also made part of the newel treatment on the lower step of the stoop, +but at Seventh and Locust streets, for example, it stands on the second +step beside and above the ornate round newel with its surmounting +pineapple. Here, as in the case of the simpler handrail in South Seventh +Street, one of the iron spindles of the rail is split about a foot from +the bottom, and<span class='page-number'><a name="Page_133" id="Page_133">133</a></span> the two halves bent respectively to the right and left +until they meet the next spindle on each side, the scraper bar of +ornamental outline being fastened across from one to the other of these +spindles below. The principal charm of the South Seventh Street rail +lies in its extreme simplicity, the twisted section of the spindles near +the bottom being a clever expedient. The pleasing effect of the design +at Seventh and Locust streets is largely due to appropriate use of the +evolute spiral band. Only a little more ornate than the South Seventh +Street stair rail is that in South Fourth Street. A special spiral +design above the foot scraper, however, virtually becomes a newel in +this instance. The same is true of another much more elaborate stair +rail at Seventh and Locust streets with its attractive diaper pattern +between an upper and lower Grecian band, the whole grille being +supported by a graceful three-point bracket.<span class='page-number'><a name="Page_134" id="Page_134">134</a></span></p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_60" id="PL_60"></a> +<a href="images/ill_061_pl_60a.png"> +<img src="images/ill_061_pl_60a_th.png" width="300" height="184" alt="Plate LX.—Detail of Stair Ends, Carpenter House, Third +and Spruce Streets; Detail of Stair Ends, Independence Hall (horizontal +section)." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_60b" id="PL_60b"></a> +<a href="images/ill_061_pl_60b.png"> +<img src="images/ill_061_pl_60b_th.png" width="300" height="191" alt="Plate LX.—Detail of Stair Ends, Carpenter House, Third +and Spruce Streets; Detail of Stair Ends, Independence Hall (horizontal +section)." /></a> +<span class="caption">Plate LX.—Detail of Stair Ends, Carpenter House, Third +and Spruce Streets; Detail of Stair Ends, Independence Hall (horizontal +section).</span> +</div> + + + +<h3><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII</h3> + +<p class="head">WINDOWS AND SHUTTERS</p> + +<p class="noindent"><span class="lg">P</span><span class="smcap2">hiladelphia</span> +windows and window frames during the Colonial period were +not so much a development as a perpetuation of the initial types, +although of course some minor changes and improvements were made with +passing years. From the very beginning sliding Georgian sashes were the +rule. Penn's house has them and so have all the other historic homes and +buildings of this vicinity now remaining. There are none of the diamond +paned casement sashes, such as were employed in the first New England +homes half a century earlier, for builders in both the mother country +and the colonies had ceased to work in the Elizabethan and Jacobean +manner and were completely under the influence of the Renaissance. In +the earlier houses the upper sash was let into the frame permanently, +only the lower sash being movable and sliding upward, but in later years +double-hung sashes with weights began to be adopted. Stiles, rails and +sash bars were all put together with mortise and tenon joints and even +the sash bars were pegged together with wood. The glass was<span class='page-number'><a name="Page_135" id="Page_135">135</a></span> set in +rabbeted edges and held in place by putty according to the method still +in use.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_61" id="PL_61"></a> +<a href="images/ill_062_pl_61a.png"> +<img src="images/ill_062_pl_61a_th.png" width="300" height="243" alt="Plate LXI.—Chimney Piece in the Hall, Stenton; Chimney +Piece and Paneled Wall, Great Chamber, Mount Pleasant." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_61b" id="PL_61b"></a> +<a href="images/ill_062_pl_61b.png"> +<img src="images/ill_062_pl_61b_th.png" width="300" height="217" alt="Plate LXI.—Chimney Piece in the Hall, Stenton; Chimney +Piece and Paneled Wall, Great Chamber, Mount Pleasant." /></a> +<span class="caption">Plate LXI.—Chimney Piece in the Hall, Stenton; Chimney +Piece and Paneled Wall, Great Chamber, Mount Pleasant.</span> +</div> + +<p>At first the panes were very small, and many were required in large +windows, but as glass making advanced, the prevailing size was +successively enlarged from about five by seven inches to six by eight, +seven by nine, eight by ten, and nine by twelve. As the size of +individual panes of glass was increased, their number in each sash was +in some instances correspondingly decreased, although oftener larger +sashes with the same number of panes resulted. Philadelphia architects +always manifested a keen appreciation of the value of scale imparted by +the sash bar divisions of their windows, and for that reason small-paned +sashes never ceased to be popular.</p> + +<p>Although numerous variations exist, the custom of having an equal number +of panes in both upper and lower sashes predominated. Six, nine and +twelve-paned sashes forming twelve, eighteen and twenty-four paned +windows were all common throughout the Colonial period. Twelve-paned +sashes were used chiefly in public buildings and the larger private +mansions, six-paned sashes in houses of moderate size. While there are +several notable instances of nine-paned upper and lower sashes, +particularly Hope Lodge, Cedar Grove in Harrowgate, Northern Liberties, +and the Wharton house at Number 336 Spruce Street, this arrangement<span class='page-number'><a name="Page_136" id="Page_136">136</a></span> +frequently, although not always, resulted in a window rather too high +and narrow to be pleasing in proportion. A comparison of the +accompanying photographs of the window of a Combes Alley house with that +of a house at Number 128 Race Street well illustrates the point. +Sometimes, where used on the lower story, six-paned upper and lower +sashes are found in the windows of the second story.</p> + +<p>Waynesborough, in Easttown Township, Chester County, not far from +Philadelphia, is a well-known case in point. Grumblethorpe presents the +anomalous reverse arrangement of six-paned sashes on the first story and +nine-paned sashes on the second story. Still oftener six-and nine-paned +sashes were combined in the same window, the larger sash being sometimes +the upper and again the lower. Bartram House and the Johnson house are +instances of nine-paned upper and lower sashes on the first story and +nine-paned lower and six-paned upper sashes on the second story. Greame +Park in Horsham, Montgomery County, not far from Philadelphia, has +nine-paned upper and lower sashes on the lower story and twelve-paned +lower and nine-paned upper on the second floor. Penn's house in +Fairmount Park and Glen Fern are instances of nine-paned lower and +six-paned upper sashes on the first story and six-paned upper and lower +sashes on the second story. Solitude and the Blackwell house, Number 224 +Pine Street, exemplify the reverse<span class='page-number'><a name="Page_137" id="Page_137">137</a></span> arrangement of nine-paned upper and +six-paned lower sashes on both stories.</p> + +<p>Six-paned upper and lower sashes on both the first and second floors +were, perhaps, more common on houses of moderate size and some large +mansions throughout the Colonial period than any other window +arrangement. Notable instances are The Highlands; Upsala; Vernon; +Wynnestay in Wynnefield, West Philadelphia; Carlton in Germantown; the +Powell house, Number 244 South Third Street; the Evans house, Number 322 +De Lancy Street; and the Wistar house, Fourth and Locust streets.</p> + +<p>Among the more pretentious countryseats and city residences having +twelve-paned upper and lower sashes on both the first and second stories +may be mentioned Cliveden, Stenton, Loudoun, Woodford, Whitby Hall, the +Morris house, the Perot-Morris house, Chalkley Hall and Port Royal House +in Frankford.</p> + +<p>Twelve-paned sashes were also used in various ways in combination with +six, eight and nine paned sashes. For example, the Waln house, Number +254 South Second Street, has twelve-paned upper and lower sashes on the +first story with six-paned upper and lower sashes on the second story, +whereas Mount Pleasant has the reverse arrangement. Laurel Hill, in the +Northern Liberties, Fairmount Park, has twelve-paned upper and lower +sashes on the first story and eight-paned upper and lower<span class='page-number'><a name="Page_138" id="Page_138">138</a></span> sashes on the +second story, whereas the Billmeyer house has all twelve-paned sashes +except the lower ones on the second story, which are eight-paned. Wyck, +consisting as it does of two buildings joined together, probably has the +most heterogeneous fenestration of any house in Philadelphia. On the +first floor are windows having nine-paned lower and six-paned upper +sashes, while on the second story are windows having twelve-paned lower +and eight-paned upper sashes and others having six-paned upper and lower +sashes. The Free Quakers' Meeting House at Fifth and Arch streets has +twelve-paned upper and lower sashes on the first story and eight-paned +upper and twelve-paned lower sashes on the second floor.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_62" id="PL_62"></a> +<a href="images/ill_063_pl_62.png"> +<img src="images/ill_063_pl_62_th.png" width="300" height="211" alt="Plate LXII.—Chimney Piece and Paneled Wall, Parlor, +Whitby Hall." /></a> +<span class="caption">Plate LXII.—Chimney Piece and Paneled Wall, Parlor, +Whitby Hall.</span> +</div> + + + +<p>To reduce their apparent height, three-story houses were foreshortened +with square windows. Two-piece sashes were used, and the number of panes +differed considerably. While a like number in both upper and lower +sashes was the rule, the Blackwell house, Number 224 Pine Street, and +the Powel house, Number 244 South Third Street, are notable instances of +foreshortened windows having three-paned upper and six-paned lower +sashes. The Wharton house, Number 336 Spruce Street, and the Evans +house, Number 322 De Lancy Street, have foreshortened windows with +six-paned upper and lower sashes. The Waln house, Number 254 South +Second Street, the Stocker house, Number<span class='page-number'><a name="Page_139" id="Page_139">139</a></span> 404 South Front Street, and +Pen Rhyn in Bensalem Township, Bucks County, have foreshortened windows +with three-paned upper and lower sashes. Such foreshortened windows as +all the above were usually employed with six-and nine-paned sashes on +the stories below. Where eight-and twelve-paned sashes were used for the +principal windows of the house, the foreshortened windows of the third +story usually had eight-paned upper and lower sashes, as on the Morris +house, the Wistar house at Fourth and Locust streets, Whitby Hall and +Chalkley Hall in Frankford.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 229px;"> +<a name="PL_63" id="PL_63"></a> +<a href="images/ill_064_pl_63a.png"> +<img src="images/ill_064_pl_63a_th.png" width="229" height="300" alt="Plate LXIII.—Chimney Piece, Parlor, Mount Pleasant; +Chimney Piece, Parlor, Cliveden." /> +</a></div> +</td><td> +<div class="illustration" style="width: 246px;"> +<a name="PL_63b" id="PL_63b"></a> +<a href="images/ill_064_pl_63b.png"> +<img src="images/ill_064_pl_63b_th.png" width="246" height="300" alt="Plate LXIII.—Chimney Piece, Parlor, Mount Pleasant; +Chimney Piece, Parlor, Cliveden." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LXIII.—Chimney Piece, Parlor, Mount Pleasant; +Chimney Piece, Parlor, Cliveden.</span> +</td></tr> +</table> + +<p>Most Philadelphia houses, whether gable or hip-roofed, have dormers to +light the attic. Two or three on a side were the rule, although a few +small houses have only one. For the most part they were pedimental or +gable-roofed. Segmental topped dormers were rare, although a row of them +is to be seen in Camac Street, "the street of little clubs", and +occasional individual instances are to be found elsewhere. Lean-to or +shed-roof dormers never found favor, the only notable instances about +Philadelphia being at Glen Fern, Cedar Grove in Harrowgate, Northern +Liberties, and Greame Park in Horsham, Montgomery County.</p> + +<p>An accompanying illustration of a dormer on the Witherill house, Number +130 North Front Street, shows the simplest type of gable-roof dormer +with square-headed window and six-paned upper and<span class='page-number'><a name="Page_140" id="Page_140">140</a></span> lower sashes. Similar +dormers, differing chiefly in the detail of the moldings employed, are +features of the Morris house; Wistar house, Fourth and Locust streets; +Wynnestay, Wynnefield, West Philadelphia; Wyck; the Johnson house; +Carlton, Germantown; and Chalkley Hall, Frankford. Grumblethorpe and +Bartram House have dormers of this sort with a segmental topped upper +window sash. Solitude has this sort of dormer with three-paned upper and +six-paned lower sashes, while Stenton and the Evans house, Number 322 De +Lancy Street, have eight-paned upper and lower sashes.</p> + +<p>Houses usually of somewhat later date and notable for greater refinement +of detail had gable-roof dormers with round-headed Palladian windows +extending up into the pediment. As in the accompanying illustration +showing a dormer on the house at Number 6105 Germantown Avenue, +Germantown, the casings usually take the form of fluted pilasters, +supporting the pediment with its nicely molded cornice, often, as in +this instance, with a prominent denticulated molding. Narrower +supplementary pilasters supported a molded and keyed arch, forming the +frame within which the window is set. The lower sash is six-paned, while +the upper one has six rectangular panes above which six ornamental +shaped panes form a semicircle.</p> + +<p>Similar dormers, differing chiefly in ornamental detail, are features of +Loudoun, Vernon, Upsala,<span class='page-number'><a name="Page_141" id="Page_141">141</a></span> Hope Lodge, Port Royal House, the Perot-Morris +house, the Billmeyer house, the Wharton house, Number 336 Spruce Street; +the Powel house, Number 244 South Third Street; and the Stocker house, +Number 404 South Front Street. The dormers of Cliveden and Mount +Pleasant are of this type but further elaborated by projecting +ornamental scrolls at the sides.</p> + +<p>As the architecture of Philadelphia is almost exclusively in brick and +stone, there were none of the architrave casings and ornamental heads +consisting of a cornice above the architrave and often of a complete +entablature which characterized much contemporary New England work in +wood. Brick and stone construction require solid rather than cased wood +frames let into the reveals of the brick wall and have no projections +other than a molded sill, as on the Morris house, while a stone lintel +or brick arch must replace the ornamental head, often such a pleasing +feature of wood construction. The frames were of heavy construction held +together at the corners by large dowel pins and were ornamented by +suitable moldings broken around the reveals of the masonry and by molded +sash guides in the frame. In the earlier brick houses the square-headed +window openings had either gauged arches, as at Hope Lodge, or relieving +arches of alternate headers and stretchers with a brick core, as at +Stenton. Later, as in the case of hewn stonework,<span class='page-number'><a name="Page_142" id="Page_142">142</a></span> prominent stone +lintels and window sills were adopted. Marble was much favored for this +purpose because it harmonizes with the white-painted woodwork, brightens +the façade and emphasizes the fenestration. Most of the lintels take the +shape of a flat, gauged arch with flutings simulating mortar joints that +radiate from an imaginary center below and mark off voussoirs and a +keystone. Usually there is no surface ornamentation, the shape of the +parts being depended upon to form a decorative pattern, the shallow +vertical and horizontal scorings on the lintels of the Morris house +being exceptional. These, the lintels of Cliveden and of the Free +Quakers' Meeting House, exemplify the three most common types.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_64" id="PL_64"></a> +<a href="images/ill_065_pl_64a.png"> +<img src="images/ill_065_pl_64a_th.png" width="300" height="231" alt="Plate LXIV.—Chimney Piece and Paneled Wall on the Second +Floor of an old Spruce Street House; Detail of Mantel, 312 Cypress +Street." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_64b" id="PL_64b"></a> +<a href="images/ill_065_pl_64b.png"> +<img src="images/ill_065_pl_64b_th.png" width="300" height="228" alt="Plate LXIV.—Chimney Piece and Paneled Wall on the Second +Floor of an old Spruce Street House; Detail of Mantel, 312 Cypress +Street." /></a> +<span class="caption">Plate LXIV.—Chimney Piece and Paneled Wall on the Second +Floor of an old Spruce Street House; Detail of Mantel, 312 Cypress +Street.</span></div> + + + +<p>Unquestionably the most distinctive feature of the window treatment of +this neighborhood was the outside shutters. Colonial times were +troublous, and glass was expensive. In the city, protection was wanted +against lawlessness at night, and in the country there was for many +years the ever-present possibility of an Indian attack, despite the +generally friendly relations of the Quakers with the tribes of the +vicinity. There were also some British soldiers not above making +improper use of unshuttered windows at night. Except for a relatively +few country houses which had neither outside shutters nor +blinds—notably Stenton, Solitude, Mount Pleasant, Bartram House and The<span class='page-number'><a name="Page_143" id="Page_143">143</a></span> +Woodlands—the use of shutters on the first story was the rule. Above +that the custom varied greatly. Where outside shutters were totally +absent, inside hinged, folding and sometimes boxed shutters were almost +invariably present. Only a few important instances of old Colonial +houses having blinds on the lower story now remain. Port Royal House, +for example, two and a half stories high, has blinds on the first story +and none above. The Highlands has blinds on both the first and second +stories, while Chalkley Hall in Frankford has blinds on all three of its +stories.</p> + + +<div class="illustration" style="width: 300px;"> +<a name="PL_65" id="PL_65"></a> +<a href="images/ill_066_pl_65a.png"> +<img src="images/ill_066_pl_65a_th.png" width="300" height="216" alt="Plate LXV.—Parlor Mantel, Upsala; Detail of Parlor +Mantel, Upsala." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_65b" id="PL_65b"></a> +<a href="images/ill_066_pl_65b.png"> +<img src="images/ill_066_pl_65b_th.png" width="300" height="219" alt="Plate LXV.—Parlor Mantel, Upsala; Detail of Parlor +Mantel, Upsala." /></a> +<span class="caption">Plate LXV.—Parlor Mantel, Upsala; Detail of Parlor +Mantel, Upsala.</span> +</div> + +<p>Often there are shutters on the lower story and none above. Three-story +instances of this are the Waln house, Number 254 South Second Street; +the Blackwell house, Number 224 Pine Street; and the Wistar house, +Fourth and Locust streets. Two and a half story instances are Cliveden, +Hope Lodge, Vernon, Woodford, the Johnson house and Laurel Hill in the +Northern Liberties, Fairmount Park.</p> + +<p>Less common are three-story houses having shutters on the first and +second stories and none on the third. Whitby Hall, the Morris house and +the Wharton house, Number 336 Spruce Street, are examples. Rare are two +and a half story houses having shutters on both the principal stories. +Wyck, Cedar Grove in Harrowgate, Northern Liberties, and Wynnestay in +Wynnefield, West Philadelphia, are good examples. Most two and a half +story houses have + +<span class='page-number'><a name="Page_144" id="Page_144">144</a></span> shutters on the first story and blinds on the second, +as instanced by Upsala, Grumblethorpe, Loudoun, Glen Fern and the +Perot-Morris house. The Powel house, Number 244 South Third Street, is a +rare instance of shutters on all three stories, while the Evans house, +Number 322 De Lancy Street, and Pen Rhyn in Bensalem Township, Bucks +County, are rare instances of shutters on the first story and blinds on +the second and third stories.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_66" id="PL_66"></a> +<a href="images/ill_067_pl_66a.png"> +<img src="images/ill_067_pl_66a_th.png" width="300" height="227" alt="Plate LXVI.—Mantel at Upsala; Mantel at Third and De +Lancey Streets." /> +</a></div> +<div class="illustration" style="width: 300px;"> +<a name="PL_66b" id="PL_66b"></a> +<a href="images/ill_067_pl_66b.png"> +<img src="images/ill_067_pl_66b_th.png" width="300" height="227" alt="Plate LXVI.—Mantel at Upsala; Mantel at Third and De +Lancey Streets." /></a> +<span class="caption">Plate LXVI.—Mantel at Upsala; Mantel at Third and De +Lancey Streets.</span> +</div> + + + +<p>These outside shutters are of heavy construction like doors, the stiles +and rails having mortise and tenon joints held together by dowel pins +and the panels being molded and raised. Usually frieze and lock rails +divide the shutter into three panels, the two lower ones being the same +height and the upper one square. Accompanying illustrations show +eighteen-paned windows having shutters arranged in this manner at Number +128 Race Street and in Combes Alley. At Cliveden the upper panel is not +quite high enough to be square, and the same is true of the Morris house +shutters, which are also notable for the fact that the lower panel is +not quite so high as the middle one. Sometimes an opening of ornamental +shape was cut through the top panel to admit a little light, as for +instance the crescent in the shutters at Wynnestay, Wynnefield, West +Philadelphia. On a relatively few houses the shutters had four panels, +the most common arrangement being a small and a large panel in +alternation from<span class='page-number'><a name="Page_145" id="Page_145">145</a></span> the top downward. Such shutters were features of +Loudoun, the Wistar house, Fourth and Locust streets; the Blackwell +house, Number 224 Pine Street; the Powel house, Number 244 South Third +Street; the Evans house, Number 322 Spruce Street; and the Wharton +house, Number 336 Spruce Street. An accompanying illustration shows an +unusual four-panel arrangement on the Witherill house, Number 130 North +Front Street, the three upper almost square panels being of the same +size and the lowest one being about twice as high as one of the small +ones. Top, frieze and lock rails are usually the same width as the +stiles, and the bottom rail is about double width. The meeting stiles +and sometimes those on the opposite side have rabbeted joints, the +latter fitting the jambs of the window frame.</p> + + +<div class="illustration" style="width: 300px;"> +<a name="PL_67" id="PL_67"></a> +<a href="images/ill_068_pl_67a.png"> +<img src="images/ill_068_pl_67a_th.png" width="300" height="227" alt="Plate LXVII.—Mantel, Rex House, Mount Airy; Mantel at +729 Walnut Street." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_67b" id="PL_67b"></a> +<a href="images/ill_068_pl_67b.png"> +<img src="images/ill_068_pl_67b_th.png" width="300" height="214" alt="Plate LXVII.—Mantel, Rex House, Mount Airy; Mantel at +729 Walnut Street." /></a> +<span class="caption">Plate LXVII.—Mantel, Rex House, Mount Airy; Mantel at +729 Walnut Street.</span> +</div> + +<p>As indicated by an accompanying illustration showing the typical +treatment of a second-floor twelve-paned window at Number 6105 +Germantown Avenue, Germantown, most blinds were strengthened by a lock +rail about midway of the height, or slightly below, dividing the blind +into an upper and lower section. Blinds of this sort are to be seen at +Loudoun, Grumblethorpe, Upsala, The Highlands and Port Royal House. At +Waynesborough in Easttown Township, Chester County, this division is +considerably below the middle, making the upper section much the larger. +Less<span class='page-number'><a name="Page_146" id="Page_146">146</a></span> common are blinds divided into three sections by two lock rails, +such as those of the Perot-Morris house. The Evans house, Number 322 De +Lancy Street, has two-section blinds on the third story and +three-section blinds on the second story. Unusual indeed are blinds +having only top and bottom rails. They are found now and then on small +upper windows, as at Glen Fern. Chalkley Hall in Frankford is a rare +instance of such blinds on all three stories of a large countryseat.</p> + +<p>All of these blinds are of heavy construction, having top and lock rails +about the same width as the stiles, and bottom rails about double width. +Except for heavy louvers instead of panels, they are much like shutters. +The frame is of the same thickness, with mortise and tenon joints +doweled together.</p> + +<p>A picturesque feature of Philadelphia window treatment is the quaint +wrought-iron fixtures with which shutters and blinds are hung and +fastened. As clearly shown by the accompanying detail photograph of a +window of the Morris house, outside shutters are generally hung by means +of hinges to the frame of the window. As these frames are set back in +the reveal of the masonry, these hinges are necessarily of special +shape, being of large projection to enable the shutters to fold back +against the face of the wall. They were strap hinges tapering slightly +in width, corresponding in length to the<span class='page-number'><a name="Page_147" id="Page_147">147</a></span> width of the shutter and +fastened to it by means of two or three bolts. Small pendant rings on +the inside of the meeting stiles were provided for pulling the shutters +together and closing them. They were fastened together by a long +wrought-iron strap, usually bolted to the left-hand shutter, that +projects to overlap the opposite shutter five or six inches when the +shutters are closed. Near the projecting end of the strap a pin at right +angles to it sticks through a hole in an escutcheon plate in the lock +rail of the opposite shutter, and an iron pin, suspended by a short +length of chain to prevent loss, is inserted through a vertical drilling +in the pin. Later, sliding bolts were used, as seen on the shutters at +Number 128 Race Street and the blinds at Number 6105 Germantown Avenue, +Germantown.</p> + +<p>Shutters and blinds were held back against the face of the wall in an +open position by quaint wrought-iron turn buckles or gravitating catches +and other simple fasteners. That on the shutters of the Perot-Morris +house is the most prevalent pattern. The scroll at the bottom is longer +and heavier than the round, flattened, upper portion, so that the +fixture is kept in position by gravity. In this instance it is placed in +the masonry wall near the meeting stile of the shutter. A similar +fastener on the Chew house is placed in the window sill near the outer +stile of the shutter. Another type of turning fastener that was quite +popular is<span class='page-number'><a name="Page_148" id="Page_148">148</a></span> seen at Number 6043 Germantown Avenue, Germantown. It is +held in place by a long iron strap screwed to the window sill, and the +weight of the gravitating catch consists of a casting representing a +bunch of grapes. More primitive and less satisfactory in use and +appearance is the spring fastener bearing against the edge of the +shutter seen at Wyck. Crude as these fixtures were, they have hardly +been improved upon in principle, and similar designs of more finished +workmanship are still used in modern work.</p> + +<p>Twelve appears to be the largest number of panes employed in a sliding +sash in Philadelphia architecture, even in public buildings, except a +few churches. There are such sashes in Independence Hall, Congress Hall, +Carpenters' Hall, the Free Quakers' Meeting House at Fifth and Arch +streets and the main building of the Pennsylvania Hospital. In Congress +Hall and Carpenters' Hall there are also round-topped windows with +twelve-paned lower sashes and upper sashes having ten small ornamental +panes to make up the semicircle above twelve rectangular panes. A few +similar windows with seven ornamental panes in the round top are to be +seen in Christ Church.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_68" id="PL_68"></a> +<a href="images/ill_069_pl_68a.png"> +<img src="images/ill_069_pl_68a_th.png" width="300" height="218" alt="Plate LXVIII.—- Parlor, Stenton; Reception Room, +Stenton." /> +</a></div> +<div class="illustration" style="width: 300px;"> +<a name="PL_68b" id="PL_68b"></a> +<a href="images/ill_069_pl_68b.png"> +<img src="images/ill_069_pl_68b_th.png" width="300" height="246" alt="Plate LXVIII.—- Parlor, Stenton; Reception Room, +Stenton." /></a> +<span class="caption">Plate LXVIII.—- Parlor, Stenton; Reception Room, +Stenton.</span> +</div> + + + +<p>The Old Swedes' Church has a few rectangular windows with fifteen-and +sixteen-paned upper and lower sashes, while over the front entrance +there is a window having a twelve-paned upper and a<span class='page-number'><a name="Page_149" id="Page_149">149</a></span> sixteen-paned +lower sash. In Christ Church are to be seen two windows having ten-paned +upper and fifteen-paned lower sashes set in a recessed round brick arch. +For the most part, however, the church windows of this period were +round-topped, the upper sash being higher than the lower. Most of the +windows of St. Peter's Protestant Episcopal Church have fifteen-paned +lower sashes, the upper sashes consisting of twenty rectangular panes +above which twelve keystone-shaped panes and one semicircular pane form +the round top.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_69" id="PL_69"></a> +<a href="images/ill_070_pl_69a.png"> +<img src="images/ill_070_pl_69a_th.png" width="300" height="231" alt="Plate LXIX.—Dining Room, Stenton; Library, Stenton." /> +</a></div> +<div class="illustration" style="width: 300px;"> +<a name="PL_69b" id="PL_69b"></a> +<a href="images/ill_070_pl_69b.png"> +<img src="images/ill_070_pl_69b_th.png" width="300" height="225" alt="Plate LXIX.—Dining Room, Stenton; Library, Stenton." /></a> +<span class="caption">Plate LXIX.—Dining Room, Stenton; Library, Stenton.</span> +</div> + + +<p>The windows of Christ Church are larger still and particularly +interesting because of the heavy central muntin to strengthen the sash. +On the first story the lower sashes have twenty-four panes and the upper +ones eighteen rectangular panes with sixteen keystone-shaped and two +quarter-round panes to form the semicircular top. On the second floor +the windows are the same except for the eighteen-paned lower sashes. +Each side of the steeple on the lower story is a window of this size, +notable for the ornamental spacing of twenty-one sash bar divisions, the +sweeping curves of which form spaces for glass reminiscent of the Gothic +arch.</p> + +<p>These windows slide in molded frames set in the reveals of the brickwork +under plain arches with marble or other stone imposts, keystone and +sill. The imposts and keystone were often molded and<span class='page-number'><a name="Page_150" id="Page_150">150</a></span> otherwise +hand-tooled, as on Christ's Church, and the sills were sometimes +supported by a console at each end, as on St. Peter's Protestant +Episcopal Church. Some of the windows of both of these churches +illustrate the frequent employment of slightly projecting brick arches +and pilaster casings at the sides.</p> + +<p>The great Palladian chancel windows of Renaissance churches were often +much larger. Usually they were stationary, especially the central +section, although sometimes, as in Christ's Church, the two side windows +had sliding sashes. The central section of this window has ninety-six +rectangular panes with twenty-four keystone-shaped and two quarter-round +panes forming the round top. The narrow side windows have fifteen-paned +upper and twelve-paned lower sashes. The treatment of this chancel end +with heavy brick piers and pilasters, stone entablature, projecting +brick spandrels and the bust of George II, King of England, between +them, above the arch of the Palladian window, is most interesting.</p> + +<p>The chancel window of St. Peter's Protestant Episcopal Church has one +hundred and eight rectangular panes in its central section with +twenty-eight keystone-shaped panes and a semicircular pane forming the +round top. Each side of this end of the church, with four smaller +round-headed windows ranged about the chancel window and a<span class='page-number'><a name="Page_151" id="Page_151">151</a></span> circular +window in the pediment above, is a superb example of symmetrical +arrangement.</p> + +<p>Although large and more ornate, the Palladian window above the entrance +to Independence Hall on the Independence Square side is more like that +found in domestic architecture. All three of its lower sashes are +sliding. The central window consists of a twenty-four-paned lower sash +and an upper sash with twenty-one ornamental-shaped panes forming the +round top above twenty-four rectangular panes. The narrow side windows +have six-paned upper and twelve-paned lower sashes. Owing to its good +proportion, the chaste simplicity of the detail and the pleasing +combination of brick pilasters with wood trim, this has been referred to +by architects as the best Palladian window in America. The use of such a +window in the Ionic order above a Doric doorway adds another to the many +notable instances of free use of the orders by Colonial builders.</p> + +<p>In domestic architecture Palladian windows were employed chiefly to +light the stairway landing, as at Whitby Hall; to light the upper hall, +as at Mount Pleasant; and rarely to light the principal rooms each side +of the front entrance, as at The Woodlands. They not only charm the eye +as interior features, but when viewed outdoors relieve the severity of +many ranging square-headed windows and provide a center of interest in +the fenestration,<span class='page-number'><a name="Page_152" id="Page_152">152</a></span> lending grace and distinction to the entire façade. +No Palladian windows in Philadelphia so thoroughly please the eye or so +convincingly indicate the delightful accord that may exist between gray +ledge-stone masonry and white woodwork as those set within recessed +arches at The Woodlands. The proportion and simple, clean-cut detail +throughout are exquisite. The engaged colonnettes of the mullions +contrast pleasingly with the pilasters of the frame, each of the two +supporting an entablature notable for its fine-scale dentil course, and +these two in turn supporting a keyed, molded arch. The central window +has twelve-paned upper and lower sliding sashes with an attractively +spaced fanlight above. The narrow ten-paned side windows are stationary. +Unusual as is the use of these Palladian windows, their charm is +undeniable, and they are among the chief distinctions of the house.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 226px;"> +<a name="PL_70" id="PL_70"></a> +<a href="images/ill_071_pl_70a.png"> +<img src="images/ill_071_pl_70a_th.png" width="226" height="300" alt="Plate LXX.—Pedimental Doorway, First Floor, Mount +Pleasant; Pedimental Doorway, Second Floor, Mount Pleasant." /> +</a></div> +</td><td> +<div class="illustration" style="width: 226px;"> +<a name="PL_70b" id="PL_70b"></a> +<a href="images/ill_071_pl_70b.png"> +<img src="images/ill_071_pl_70b_th.png" width="226" height="300" alt="Plate LXX.—Pedimental Doorway, First Floor, Mount +Pleasant; Pedimental Doorway, Second Floor, Mount Pleasant." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LXX.—Pedimental Doorway, First Floor, Mount +Pleasant; Pedimental Doorway, Second<br />Floor, Mount Pleasant.</span> +</td></tr> +</table> + + + + +<p><span class='page-number'><a name="Page_153" id="Page_153">153</a></span></p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0" +class="top5"> +<tr><td> +<div class="illustration" style="width: 227px;"> +<a name="PL_71" id="PL_71"></a> +<a href="images/ill_072_pl_71a.png"> +<img src="images/ill_072_pl_71a_th.png" width="227" height="300" alt="Plate LXXI.—Doorways, Second Floor Hall, Mount Pleasant; +Doorway Detail, Whitby Hall." /> +</a></div> +</td><td> +<div class="illustration" style="width: 227px;"> +<a name="PL_71b" id="PL_71b"></a> +<a href="images/ill_072_pl_71b.png"> +<img src="images/ill_072_pl_71b_th.png" width="227" height="300" alt="Plate LXXI.—Doorways, Second Floor Hall, Mount Pleasant; +Doorway Detail, Whitby Hall." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LXXI.—Doorways, Second Floor Hall, Mount Pleasant; +Doorway Detail, Whitby Hall.</span> +</td></tr> +</table> + +<h3><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX</h3> + +<p class="head">HALLS AND STAIRCASES</p> + +<p class="noindent"><span class="lg">T</span><span class="smcap2">he</span> +hall is of particular moment in the design of a house. There guests +are welcomed to the fireside, and there their first impressions of the +home are formed. The architectural treatment of the hall sets the +keynote of the entire home interior, so to speak. Its doorways and open +arches frame vistas of the principal adjoining rooms, and its staircase, +usually winding, affords a more or less complete survey of the whole +house from various altitudes and angles. It is the place where the +master puts his best foot foremost, as the expression goes, and happily +the recognized utilitarian features of the typical Colonial hall permit +a notable degree of elaboration at once consistent and beautiful.</p> + +<p>Throughout the feudal period of the Middle Ages the hall was the main +and often the only living, reception and banquet room of castles, +palaces and manor houses. It was the common center of home activities. +There the lord and family retainers, servants and visitors were +accommodated, and all the common life of the household was carried on.<span class='page-number'><a name="Page_154" id="Page_154">154</a></span> +In early times there were, besides the hall, only a few sleeping rooms, +even in the greatest establishments. Later, more retired rooms were +added, and gradually the hall became more and more an entranceway or +passageway in the house, communicating with its different parts.</p> + +<p>When houses began to be built more than a single story in height, the +staircase became an important feature of the hall, and balconies were +also introduced overlooking this great room, which was often the full +height of the building. In fact, balconies were for a time more +conspicuous than staircases, which were frequently located in any +convenient secluded place. However, as builders came to appreciate more +fully the attractiveness of this utilitarian structure, when embellished +with suitable ornament, the staircase was accorded a more prominent +position. Eventually it became the most important architectural feature +of the hall, for the most part supplanting the balcony, which was in a +measure replaced by the broad landings of broken, winding and wing +flights.</p> + +<p>Throughout the Georgian period of English architecture, the hall of the +better houses retained something of the size and aspect of the great +halls of feudal days, while at the same time accommodating the staircase +and serving as a passageway leading to the principal rooms on the +various floors. In the more pretentious houses of the period they were<span class='page-number'><a name="Page_155" id="Page_155">155</a></span> +the scene of dancing and banqueting on special occasions, and for that +reason were of spacious size, often running entirely through the +building from front to back with the staircase located in a smaller side +hall adjoining. Where space or expense were considerations, or where +spacious parlors and drawing-rooms rendered the use of the hall for +social purposes unnecessary, the staircase ascended in various ways at +the rear of the main hall, usually beyond a flat or elliptical arch, +where it added very materially to the effectiveness of the apartment +without detracting at all from the use of the front portion as a +reception room.</p> + +<p>Such halls as the latter are as typical of the better Provincial +mansions of Philadelphia, especially its countryseats, as of the +plantation houses of Virginia and the early settled communities farther +south. In the city residences of Philadelphia, built in blocks as +elsewhere, the halls were of necessity narrower, mere passageways +notable chiefly for their well-designed staircases, which consisted for +the most part of a long straight run along one side with a single turn +near the top to the second-floor passageway directly above that to the +rear of the house on the floor below. In a few of the earlier country +houses there are, however, halls reminiscent of medieval times, for the +influences of the mother country were very strong in Philadelphia, and +its Colonial architecture displays marked<span class='page-number'><a name="Page_156" id="Page_156">156</a></span> Georgian tendencies, some of +it the very earliest Georgian characteristics still somewhat influenced +by the life and manners of the Elizabethan and Jacobean periods.</p> + +<p>At Stenton, the countryseat of James Logan, to which detailed reference +has been made in a previous chapter, there is a hall and staircase +arrangement such as can be found only in some of the earliest +eighteenth-century country houses. This great brick-paved room +wainscoted to the ceiling, with a fireplace across the right-hand +corner, reflects the hall of the English manor house, which was a +gathering place for the family and for the reception of guests, as +instanced by the reception tendered to LaFayette in the great hall at +Wyck on July 20, 1825.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 221px;"> +<a name="PL_72" id="PL_72"></a> +<a href="images/ill_073_pl_72a.png"> +<img src="images/ill_073_pl_72a_th.png" width="221" height="300" alt="Plate LXXII.—Inside of Front Door, Whitby Hall; +Palladian Window on Stair Landing, Whitby Hall." /> +</a></div> +</td><td> +<div class="illustration" style="width: 231px;"> +<a name="PL_72b" id="PL_72b"></a> +<a href="images/ill_073_pl_72b.png"> +<img src="images/ill_073_pl_72b_th.png" width="231" height="300" alt="Plate LXXII.—Inside of Front Door, Whitby Hall; +Palladian Window on Stair Landing, Whitby Hall." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LXXII.—Inside of Front Door, Whitby Hall; +Palladian Window on Stair Landing,<br />Whitby Hall.</span> +</td></tr> +</table> + + +<p>Admirable bolection molded wood paneling of the dado and wall space +above, a heavy molded cornice and high, fluted and slightly tapering +pilasters standing on pedestals flanking the entrances on all four sides +indicate more eloquently than words the charm of white-painted interior +woodwork. As in many houses of equally early date, the absence of a +mantel over the fireplace is characteristic, yet it seems a distinct +omission in beauty and usefulness. Through the high arched opening in +the rear, with its narrow double doors, is seen the winding staircase in +a smaller stair hall beyond. In this hallway stands an iron chest to +hold the family silver, the<span class='page-number'><a name="Page_157" id="Page_157">157</a></span> cumbrous old lock having fourteen +tumblers. Above there are wooden pegs in the wall on which to hang hats. +The broad staircase with its plain rectangular box stair ends is one of +unusually simple stateliness, yet typical of the sturdy lines of +Philadelphia construction, the window with its built-in seat on the +landing being an ever pleasing arrangement. Severely plain square newels +support an exceptionally broad and heavy handrail capped with dark wood, +while attractive turned balusters of distinctive pattern complete a +balustrade of more than ordinarily substantial character. A nicely +paneled dado with dark-capped surbase along the opposite wall greatly +enriches the effect.</p> + + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 202px;"> +<a name="PL_73" id="PL_73"></a> +<a href="images/ill_074_pl_73a.png"> +<img src="images/ill_074_pl_73a_th.png" width="202" height="300" alt="Plate LXXIII.—Window Detail, Parlor, Whitby Hall; Window +Detail, Dining Room, Whitby Hall." /> +</a></div> +</td><td> +<div class="illustration" style="width: 200px;"> +<a name="PL_73b" id="PL_73b"></a> +<a href="images/ill_074_pl_73b.png"> +<img src="images/ill_074_pl_73b_th.png" width="200" height="300" alt="Plate LXXIII.—Window Detail, Parlor, Whitby Hall; Window +Detail, Dining Room, Whitby Hall." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LXXIII.—Window Detail, Parlor, Whitby Hall; Window +Detail, Dining Room,<br />Whitby Hall.</span> +</td></tr> +</table> + +<p>About the middle of the eighteenth century wide halls leading entirely +through the center of the house from front to back were common in large +American houses. Where country houses had entrance and garden fronts of +almost equal importance, with a large doorway at each end of the hall, +the staircase was usually located in a small stair hall to one side of +the main hall and at the front or back, as happened to be most +convenient with respect to the desired floor plan. Where a small door at +the rear opened into a secluded garden, the staircase was located at the +rear of the main hall with the door under the staircase. In either case +the staircase took the form of a broken flight, with a straight run +along one wall rising about two-thirds of the<span class='page-number'><a name="Page_158" id="Page_158">158</a></span> total height to a broad +landing across the hall where the direction of the flight reversed. The +landing was usually lighted by a large round-topped Palladian window +which provided one of the most charming features of the interior as well +as the exterior of the house. Inside it was often graced by the "clock +on the stairs", a handsome mahogany chair or a tip-table with +candlesticks for lighting guests to their rooms.</p> + +<p>Whitby Hall at Fifty-eighth Street and Florence Avenue, Kingsessing, +West Philadelphia, offers a notable instance of this latter type of hall +and staircase. The wide hall extends entirely through the western wing, +the main entrance being on the flag-paved piazza of the south front. On +the north front there is a tower-like projection in which the staircase +ascends with a broad landing across the rear wall and a low outside door +beneath. This unusual arrangement permits side windows on the landing in +addition to the great Palladian window in the middle, so that both the +upper and lower halls are flooded with light.</p> + +<p>A great beam architecturally embellished with a complete entablature +with pulvinated frieze, the soffit of the architrave consisting of small +square molded panels, spans the hall over the foot of the stairs along +the line of the rear wall of the western wing. It is supported on +opposite sides by well-proportioned fluted pilasters with nicely tooled +Ionic<span class='page-number'><a name="Page_159" id="Page_159">159</a></span> capitals and heavy molded bases. Thus the staircase vista from +the front end of the hall is framed by an architectural setting of rare +beauty. The heavy cornice of the beam, with its molded and jig-sawed +modillions, continues all around the hall ceiling, the turned and molded +drops of the newels on the floor above tying into it very pleasingly +over the stairs. A molded surbase and skirting, with a broad expanse of +plastered wall between, provides an effective dado all around the hall. +Where it follows up the stairs, it corresponds to the handrail of the +balustrade opposite. The molding is the same; there is the same upward +sweep of the ramped rail, and it is also capped with dark wood. On the +landing dainty little fluted pilasters support the surbase, their fine +scale lending much grace and refinement. One notices there also the +beautiful beveled paneling of the window embrasures, the paneled soffit +of the Palladian window and its built-in seat. The balustrade is of +sturdy conventional type characteristic of the period. Two attractively +turned balusters grace each stair, their bases alike and otherwise +differing only in the length of their tapering shafts. The newel +treatment is especially appropriate, inasmuch as it reflects the Ionic +order, the balustrade winding scroll-fashion about a slender fluted +colonnette, and the first stair tread taking the outline of the rail +above. Graceful scroll brackets adorn the stair ends beneath the molded<span class='page-number'><a name="Page_160" id="Page_160">160</a></span> +projections of the treads. Altogether this is one of the most notable +halls of this type in Philadelphia.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_74" id="PL_74"></a> +<a href="images/ill_075_pl_74a.png"> +<img src="images/ill_075_pl_74a_th.png" width="300" height="264" alt="Plate LXXIV.—Ceiling Detail, Solitude; Cornice and +Frieze Detail, Solitude." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_74b" id="PL_74b"></a> +<a href="images/ill_075_pl_74b.png"> +<img src="images/ill_075_pl_74b_th.png" width="300" height="188" alt="Plate LXXIV.—Ceiling Detail, Solitude; Cornice and +Frieze Detail, Solitude." /></a> +<span class="caption">Plate LXXIV.—Ceiling Detail, Solitude; Cornice and +Frieze Detail, Solitude.</span> +</div> + +<p>The oldest part of Whitby Hall as it now stands was erected in 1754 by +James Coultas, wealthy merchant, shipowner, soldier and enthusiastic +promoter of many public and philanthropic enterprises. In 1741 he +established himself in a house then existing on the plantation that +corresponds to the present east wing, which was reconstructed with rare +fidelity in 1842 to match the western wing erected by Colonel Coultas. +The walls of the entire present house all around are of nicely squared +and dressed native gray stone, and to afford extra protection against +prevailing winds a penthouse with coved cornice runs along the northern +and western ends at the second-floor level. The gables of the west wing +face north and south with quaint oval windows to light the attic. A +flag-paved piazza extends across the south front, forming part of the +main entrance, while in a tower projection on the north front is located +the staircase already described. Both the hall doorway and windows in +this tower have brick trim, an unusual feature, while the bull's-eye +light in the tower pediment, also set in brick trim, was a porthole +glass from one of Colonel Coultas' ships.</p> + + + +<p>As a merchant and in numerous other private enterprises, Colonel Coultas +amassed a substantial fortune. From 1744 to 1755 he was the lessee of +the<span class='page-number'><a name="Page_161" id="Page_161">161</a></span> Middle Ferry, where Market Street bridge now stands, and it was +chiefly due to his initiative that steps were first taken to make the +Schuylkill River navigable. He was one of the commissioners who surveyed +the stream and the first to demonstrate that large boats could be taken +above the falls. In 1748 he was a captain of the Associates, a battery +for the defense of Philadelphia against French insolence, and in 1756 +during the Indian uprisings he became lieutenant-colonel of the county +regiment. He was repeatedly justice of the peace, high sheriff of the +county from 1755 to 1758, and in 1765 was appointed judge of the +Orphans' Court, Quarter Sessions, and Common Pleas. He carried on a farm +in Blockley, operated a sawmill on Cobb's Creek north of the Blue Bell +Inn, was a devout vestryman and enthusiastic huntsman. He it was who +laid the corner stone of the Church of St. James in 1762, and as a +member of the Colony in Schuylkill and the Gloucester Fox Hunting Club +he was also prominently identified with the more convivial activities of +the community.</p> + + + +<div class="illustration" style="width: 300px;"> +<a name="PL_75" id="PL_75"></a> +<a href="images/ill_076_pl_75.png"> +<img src="images/ill_076_pl_75_th.png" width="300" height="206" alt="Plate LXXV.—Independence Hall, Independence Square Side. +Begun in 1731." /></a> +<span class="caption">Plate LXXV.—Independence Hall, Independence Square Side. +Begun in 1731.</span> +</div> + +<p>On Colonel Coultas' death in 1768, Whitby Hall was inherited by his +niece, Martha Ibbetson Gray, and later passed by inheritance to her +great-great-grandchildren in the Thomas family, in whose hands it still +remains.</p> + +<p>Eloquently typical of the broad hall running entirely through the house +from front to back, with the<span class='page-number'><a name="Page_162" id="Page_162">162</a></span> staircase located in a smaller side hall, +is the arrangement at Mount Pleasant to which reference has already been +made in a previous chapter. It is one which affords delightful vistas +through the outside doorways at each end and an ample open space for +dancing on occasion. Handsome doorways along the sides open into the +principal rooms and are notable for their beautifully molded architrave +casings and nicely worked pedimental doorheads. In fact, the woodwork +here, as well as that throughout the house, is heavier and richer in +elaboration of detail than usual in Georgian houses of the North, the +classic details of the fluted pilasters and heavy, intricately carved +complete entablature being pure mutulary Doric and more ornate than the +Ionic detail of Whitby Hall. However, this was quite in keeping with the +larger and more pretentious character of the former. The entablature is +a positive triumph in cornice, frieze and architrave. The moldings are +of good design and carefully worked; the guttæ of the mutules, the +triglyphs with paneled metopes between, and the guttæ of the architrave +all closely follow the classic order and exemplify the finest hand +tooling of the period.</p> + +<p>So similar as a whole yet so different in detail are the staircase hall +of Mount Pleasant and the staircase end of the main hall at Whitby Hall +that they invite comparison. In general arrangement they are much the +same, except that the staircases are<span class='page-number'><a name="Page_163" id="Page_163">163</a></span> reversed, left for right. As at +Whitby Hall a flat arch frames the staircase vista, a great beam bearing +the entablature surrounds the hall at the ceiling, spanning the entrance +to the staircase hall and being supported by square, fluted columns. In +this smaller hall a simple, though only a molded cornice in harmony with +that of the main hall suffices. Unlike the plain dado of the main hall, +however, elaborated only by a molded surbase and skirting, a handsome +paneled wainscot runs around the staircase hall and up the stairs. The +spacing and workmanship displayed in this heavily beveled and molded +paneling could hardly be better. At the foot of the flight, on the +landing and at the head of the stairs, the ramped surbase with its dark +wood cap, corresponding to the handrail opposite, is supported by +slender fluted pilasters which materially enrich the effect. The space +under the lower run of the staircase is entirely paneled up with a small +diagonal topped door opening into the little closet thus afforded. The +scroll-pattern stair ends, balustrade and spiral newel treatment are +much the same as at Whitby Hall. Although similar in pattern the +balusters are more slender and placed three instead of two on each +stair.</p> + +<p>On the second floor, as below, the hall extends entirely through the +house, and following a frequent custom of the time was finished in a +different order of architecture, the pulvinated Ionic being<span class='page-number'><a name="Page_164" id="Page_164">164</a></span> chosen, no +doubt, for its lighter grace and greater propriety adjoining +bedchambers. In furtherance of this thought, only the cornice with its +jig-sawed modillions was employed at the ceiling and the flat dado was +paneled off by the application of moldings to give it a lighter scale. +The complete entablature was used only over the archway at the head of +the stairs, where it was supported by square, fluted columns with +beautifully carved capitals. Another mannerism of the time is the +variation in the treatment of the doorways, the pedimental doorheads on +one side being broken, whereas the others are not.</p> + +<div class="illustration" style="width: 233px;"> +<a name="PL_76" id="PL_76"></a> +<a href="images/ill_077_pl_76.png"> +<img src="images/ill_077_pl_76_th.png" width="233" height="300" alt="Plate LXXVI.—Independence Hall, Chestnut Street Side." /></a> +<span class="caption">Plate LXXVI.—Independence Hall, Chestnut Street Side.</span> +</div> + +<p>But the handsomest features of this upper hall are the Palladian +windows, admitting a flood of light at each end, with their rectangular +sashes each side of a higher, round-arched central window and a +delightful arrangement of curved sash bars at the top. The many small +panes lend a pleasing sense of scale, while the architectural treatment +of the frames adds to the charm of the interior woodwork quite as +materially as to the exterior façade. In working out the scheme, the +entire Ionic order is utilized on a small scale. Both the casings and +the mullions take the form of fluted square columns with typical carved +capitals. These support two complete entablatures forming the lintels of +the rectangular windows and being carried around into the embrasure of +the central window, the keyed<span class='page-number'><a name="Page_165" id="Page_165">165</a></span> arch of which springs from the +entablatures. It is a design which has never been improved upon.</p> + + + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 242px;"> +<a name="PL_77" id="PL_77"></a> +<a href="images/ill_078_pl_77a.png"> +<img src="images/ill_078_pl_77a_th.png" width="242" height="300" alt="Plate LXXVII.—Independence Hall, Stairway; Liberty Bell, +Independence Hall." /> +</a></div> +</td><td> </td><td> +<div class="illustration" style="width: 227px;"> +<a name="PL_77b" id="PL_77b"></a> +<a href="images/ill_078_pl_77b.png"> +<img src="images/ill_078_pl_77b_th.png" width="227" height="300" alt="Plate LXXVII.—Independence Hall, Stairway; Liberty Bell, +Independence Hall." /> +</a></div> +</td></tr> +<tr><td colspan="3" align="center"> +<span class="caption">Plate LXXVII.—Independence Hall, Stairway; Liberty Bell, +Independence Hall.</span></td></tr> +</table> + +<p>The hall and staircase at Cliveden combine distinctive characteristics +of the halls at Stenton and Mount Pleasant. As at Stenton, the hall +itself consists of a large reception room centrally located, and about +which the other principal rooms of the house are grouped. Through an +archway at the rear is a slightly narrower though spacious staircase +hall extending through to the back of the house, where the broken +staircase rises to a broad landing and the direction of the run +reverses. The architecture is as pure Doric as at Mount Pleasant, but of +the denticulated rather than the mutulary order, and altogether more +satisfactory for interior trim in wood. The cornice only is carried +around the room at the ceiling, and in the staircase hall only the +cymatium and corona of the cornice; but over the archway, supported by a +colonnade of four fluted round columns, a complete entablature with +nicely worked classic detail is employed and given added emphasis by +several inches' projection into the reception hall. The columns are +spaced so as to form a wide central archway flanked by two narrow ones, +the effect being a staircase vista unexcelled in the domestic +architecture of Philadelphia. The picture is enriched by a heavily +paneled wainscot and handsome, deeply embrasured doorways with +architrave casings, paneled jambs and soffits.<span class='page-number'><a name="Page_166" id="Page_166">166</a></span></p> + +<p>Except for the single, simple turned newel, the staircase is much like +that at Mount Pleasant. There is the similar ramped balustrade and +paneled wainscot with ramped surbase and dark wood cap rail along the +wall opposite. Little pilasters likewise support this rail, but they are +paneled rather than fluted. There are similar scroll-pattern stair ends +and paneling under the stairs. In this instance the under side of the +upper run is paneled in wood rather than plastered. The turned balusters +are slightly more elaborate than at Mount Pleasant, but are used in the +same manner, three to the stair.</p> + +<p>Not built until nearly the dawn of the nineteenth century, Upsala +belongs to a later period than most of the notable houses in +Philadelphia. The lighter grace of Adam design had begun to dominate +American building and is to be seen in the staircase as well as in the +mantels and other interior woodwork at Upsala. The staircase combines +features of the broken flight with a midway landing, such as the +foregoing examples, and of the later development in long halls where the +direction of the flight was reversed by a curved portion of the run +instead of a landing. The breadth and length of the hall made landings +possible and desirable, but instead of one wide midway landing between +the upper and lower runs of the flight, there were two square landings +separated by three steps, the stair stringers, balustrade and wainscot +swinging upward in broad-sweeping<span class='page-number'><a name="Page_167" id="Page_167">167</a></span> curves. The wainscot consists of a +charmingly varied paneling, while the balustrade is lighter in treatment +than was usually the case. A simple dark wood handrail, slender, square +molded balusters and stairs having a low rise and broad treads lend +grace of appearance rarely equaled. Jig-sawed outline brackets of +unusually harmonious scroll pattern placed under the molded overhang of +the treads provide additional ornamentation of a refined character. The +spiral newel is but a simpler form of those already alluded to. +Altogether it is a staircase that charms the eye through its unaffected +simplicity, a quality that never loses its power of appeal whether found +inside the house or out.</p> + +<p>Two other stairways with balustrades of slender grace are worthy of +note, especially as instances of a single, small turned newel on the +lower step, the handrail terminating in a round cap on the top. The +simpler of these is at Roxborough and has balusters of unique contour +standing not on the stair treads but on the cased-up stair stringer. The +staircase in the Gowen house, Mount Airy, has a balustrade with three +slender, but more or less conventional, balusters on each step, the +treads, like the handrail and newel, being painted dark. A graceful +jig-sawed bracket of scroll pattern adorns each stair end under the +overhang of the tread, and the space under the stairs is closed in by +well-spaced molded and raised paneling.<span class='page-number'><a name="Page_168" id="Page_168">168</a></span></p> + +<p>Another distinctive scroll outline bracket for stair ends forms the +principal feature of a graceful staircase in the Carpenter house, Third +and Spruce streets. The pattern manifests great refinement and has +excellent proportion. In contrast with these lighter designs for +domestic architecture, it is interesting to examine the stair-end +treatment in Independence Hall, which is equally pleasing as an example +of heavier, richer detail for public work. The brackets are solid, of +evolute spiral outline and beautifully hand carved.<span class='page-number'><a name="Page_169" id="Page_169">169</a></span></p> + + + +<h3><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X</h3> + +<p class="head">MANTELS AND CHIMNEY PIECES</p> + +<p class="noindent"><span class="lg">I</span><span class="smcap2">n</span> +Colonial times fireplaces were a necessity. They supplied the only +means of heating the house, and much of the cooking was done by them +also. Indeed, the hanging of the crane was regarded as a signal event in +establishing a new home, and often a cast-iron fireback bore the date of +erection of the house and the name or initials of its owner. Each of the +principal rooms had its fireplace and often a large parlor, drawing-room +or library had two fireplaces, usually at opposite ends or sides, though +rarely on the same side, as in the library at Stenton. The hearthstone +was the center of family life, and architects, therefore, very properly +made the mantels and chimney pieces with which they embellished the +fireplace the architectural center of each room,—the gem in a setting +of nicely wrought interior woodwork.</p> + +<p>Then came the Franklin stove, throwing more heat out into the room and +less up the chimney. Fireplaces were accordingly bricked up to +accommodate it, a pipe was run into it, and presently the<span class='page-number'><a name="Page_170" id="Page_170">170</a></span> air-tight +stove supplanted Franklin's open grate. Later central heating plants for +hot air, steam and hot water were developed in the basement and +connected by pipes with registers and radiators in the various rooms +above. They gave greater and more even heat, consumed less fuel and were +more easily taken care of than several fires in various parts of the +house. For a time houses were built for the most part without +fireplaces, but gradually a sense of loss began to be generally felt. +These registers and radiators warmed the flesh, but they left the spirit +cold; there was no poetry or sentiment whatever about them.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_78" id="PL_78"></a> +<a href="images/ill_079_pl_78a.png"> +<img src="images/ill_079_pl_78a_th.png" width="300" height="241" alt="Plate LXXVIII.—Stairway Landing, Independence Hall; +Palladian Window at Stairway Landing." /> +</a></div> +<div class="illustration" style="width: 300px;"> +<a name="PL_78b" id="PL_78b"></a> +<a href="images/ill_079_pl_78b.png"> +<img src="images/ill_079_pl_78b_th.png" width="300" height="237" alt="Plate LXXVIII.—Stairway Landing, Independence Hall; +Palladian Window at Stairway Landing." /></a> +<span class="caption">Plate LXXVIII.—Stairway Landing, Independence Hall; +Palladian Window at Stairway Landing.</span> +</div> + +<p>The outcome was obvious. The central heating plant has of course +remained, but recent years have witnessed the general reopening of +bricked-up fireplaces in old houses large and small, and to-day few new +houses are built without a fireplace in the living room at least. To a +degree it is a luxury, perhaps, though not a very expensive one, yet it +is something for which all able to do so are very glad to pay. Besides, +on chilly spring and autumn days and rainy summer evenings it provides a +cheap and convenient auxiliary heating plant. But an open fire warms +more than the hands and feet; it reaches the heart. Its appeal goes back +to the tribal camp-fire and stirs some primitive instinct in man. +"Hearth and home" are synonymous; there is a whole ritual of domestic +worship which centers<span class='page-number'><a name="Page_171" id="Page_171">171</a></span> around an open fire. A blaze on a hearth is +more than a luxury, more than a comfort; it is an altar fire.</p> + + + +<div class="illustration" style="width: 300px;"> +<a name="PL_79" id="PL_79"></a> +<a href="images/ill_080_pl_79.png"> +<img src="images/ill_080_pl_79_th.png" width="300" height="222" alt="Plate LXXIX.—Declaration Chamber, Independence Hall." /></a> +<span class="caption">Plate LXXIX.—Declaration Chamber, Independence Hall.</span> +</div> + +<p>And so in building the modern Colonial home we find ourselves ever going +back to study the creations of the master builders of provincial times +in America, when fireplaces meant even more than they do to-day, and +finding in their achievements ideas and inspiration of great beauty and +practical value. The neighborhood of Philadelphia is as rich in its +collection of fine old mantels and chimney pieces as in its splendid +interior woodwork generally. Like the latter they are for the most part +of the early Georgian period, mostly chimney pieces, many without +shelves, and usually somewhat heavy in scale and detail.</p> + +<p>As in other important architectural features the development of mantels +and chimney pieces in America followed to a degree the prevailing mode +in the mother country. For many years after the Italian classic orders +were brought to England by Inigo Jones, early in the seventeenth +century, chimney pieces usually consisted merely of a mantel shelf and +classic architraves or bolection moldings about the fireplace opening, +the chimney breast above being paneled like the rest of the room. Toward +the end of that century, and for several decades following, the shelf +was omitted and the paneling on the chimney breast took the form of two<span class='page-number'><a name="Page_172" id="Page_172">172</a></span> +horizontally disposed oblongs, the upper broader than the lower.</p> + +<p>Such an arrangement in its simplest form is to be seen in the great hall +at Stenton, where a fireplace is located across one corner. The +elliptical arch of the white pilastered brickwork and the height of the +horizontal architrave above this arch impart a touch of quaint +distinction. One notices with admiration the beautiful brass andirons +and fire set, and with interest the floreated cast-iron fireback.</p> + +<p>Going to the other extreme we find in the parlor at Whitby Hall a +magnificently ornate example of the chimney piece without a mantel shelf +which, as in many Colonial houses, has been made the central feature of +one side of the room, symmetrically arranged and architecturally treated +with wood paneling throughout. A heavy cornice with prominent double +denticulated string course or crenelated molding runs entirely around +the room, tying the fireplace end of the room into the general scheme. +The chimney piece projects slightly, lending greater emphasis, and at +each side the wall space is given over to high round-topped double doors +of closets divided into upper and lower parts, beautifully flush-paneled +and hung with quaint iron H hinges. Like those of the other doors and +windows, the casings are of architrave pattern and in the center of the +round arch is a keystone-shaped ornament hand-tooled in wood. The +fireplace opening is faced<span class='page-number'><a name="Page_173" id="Page_173">173</a></span> beautifully with cut black marble brought +from Scotland and outlined with a nicely chiseled ovolo molding in wood +similar to the familiar egg and dart pattern, but incorporating the +richer Lesbian leaf instead of the dart, a closely related reed-like +motive replacing the conventional bead and reel. Two handsomely carved +consoles resting on the fillet of this ovolo molding support the superb +molded panel of the overmantel some three by five feet, in which to this +day not a joint is to be seen. A band of exquisite floreated carving in +high relief fills the long, narrow, horizontal panel between the +consoles. The precision of the tooling in this intricate tracery is +indeed remarkable. Nicely worked but simple parallel moldings with the +favorite Grecian fret sharply delineated between them and Lesbian leaf +ornaments in the square projections at the corners compose a frame of +exceptional grace of detail and proportion. Rarely is an ensemble so +elaborate accompanied by such a marked degree of good taste and +restraint.</p> + +<p>In the great chamber on the second floor, which is believed to have been +the boudoir of the mistress of Mount Vernon, there is a very similar, +though even more elaborate, architectural treatment of the fireplace and +of the room. Closets with round-topped doors again occupy the spaces +each side of the fireplace; the cornice surrounding the entire room with +its conspicuous Grecian fret motive +<span class='page-number'><a name="Page_174" id="Page_174">174</a></span> again ties the paneled end of the +room into the general scheme, and in this instance the relation is made +closer by the paneled wainscot which is carried about all four walls. In +this wainscot two panel sections under each closet are hung as double +doors opening into small supplementary closets. Owing to the loftiness +of the room, the closet doors have been elaborated by ornate broken +pedimental heads repeating the cornice on a smaller scale, and which are +supported by paneled pilasters and large consoles superbly carved with +an acanthus leaf decoration.</p> + +<p>Beautiful as these doorways are in themselves, they are so much heavier +in treatment than the overmantel as to detract from it; they do not +occupy an unobtrusive subordinate position, as do the closet doors of +the parlor at Whitby Hall. Moreover, the trim of each door occupies such +a breadth of wall space that the fireplace and overmantel are narrowed, +the latter taking the form of a vertical rather than a horizontal +oblong. In fact, the dominant lines throughout are here vertical as +contrasted with the dominant horizontal lines at Whitby Hall. The +loftiness and stateliness of the room are thereby emphasized, but the +effect is less restful.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_80" id="PL_80"></a> +<a href="images/ill_081_pl_80a.png"> +<img src="images/ill_081_pl_80a_th.png" width="300" height="227" alt="Plate LXXX.—Judge's Bench, Supreme Court Room, +Independence Hall; Arcade at Opposite End of Court Room." /></a> +</div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_80b" id="PL_80b"></a> +<a href="images/ill_081_pl_80b.png"> +<img src="images/ill_081_pl_80b_th.png" width="300" height="230" alt="Plate LXXX.—Judge's Bench, Supreme Court Room, +Independence Hall; Arcade at Opposite End of Court Room." /> +</a> +<span class="caption">Plate LXXX.—Judge's Bench, Supreme Court Room, +Independence Hall; Arcade at Opposite End of Court Room.</span></div> + + + +<p>In architectural detail the fireplace and overmantel recall that of the +Whitby Hall chimney piece. There are similar black marble facings about +the fireplace opening outlined by a hand-tooled molding, and similar +elaborately carved consoles<span class='page-number'><a name="Page_175" id="Page_175">175</a></span> supporting a handsomely molded panel with +projecting ornamental corners, but in this instance the panel is +surmounted by a highly ornamental top, consisting of a swag or broken +pediment with an exquisitely hand-carved floreated design in high relief +between the volutes which imparts a charming lightness and grace to the +ensemble. Pilaster projections bearing nicely delineated leaf ornaments +above the corners of the overmantel panel tie into corresponding +projections in the cornice and unify the whole construction. Otherwise +the chimney piece differs from that of Whitby Hall chiefly in its +moldings, in which the Lesbian leaf is prominent. The ovolo about the +marble facings of the fireplace bears the conventional bead and reel and +egg and dart motives, the latter having a leaf design in alternation +with the egg. The ogee molding outlining the overmantel panel is +enriched with a larger and a smaller leaf motive in alternation, while +the torus of the inner molding of this panel bears a little +conventionalized flower in alternation with crossed flat fillets.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_81" id="PL_81"></a> +<a href="images/ill_082_pl_81a.png"> +<img src="images/ill_082_pl_81a_th.png" width="300" height="235" alt="Plate LXXXI.—Banquet Hall, Second Floor, Independence +Hall; Entrance to Banquet Hall." /></a> +</div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_81b" id="PL_81b"></a> +<a href="images/ill_082_pl_81b.png"> +<img src="images/ill_082_pl_81b_th.png" width="300" height="235" alt="Plate LXXXI.—Banquet Hall, Second Floor, Independence +Hall; Entrance to Banquet Hall." /></a> +<span class="caption">Plate LXXXI.—Banquet Hall, Second Floor, Independence +Hall; Entrance to Banquet Hall.</span> +</div> + +<p>Altogether more pleasing is the chimney piece in the parlor at Mount +Pleasant. In fact, it is regarded as one of the handsomest chimney +pieces without a mantel shelf in America. Its excellence is due not to +superiority of detail, but to better proportion, the breadth of the +chimney breast being sufficient to make the overmantel panel practically +square. This<span class='page-number'><a name="Page_176" id="Page_176">176</a></span> great fireplace construction for burning four-foot logs +projects into the room some eighteen inches, with wood-paneled sides, +the adjoining walls being plastered. Around it are carried the chaste +Ionic cornice with its prominent dentil course; and the paneled wainscot +below corresponds to the pedestal of the order. In the general +arrangement of the design, this chimney piece follows closely that of +the one above, except that top, sides and bottom of the overmantel panel +frame are alike. As at Whitby Hall the familiar Grecian fret very +acceptably occupies the space between the inner and outer moldings of +this frame and obviates the need of any elaborate carved decoration +above the panel. Contrasting pleasingly with this fret and on opposite +sides of it are a plain molded ovolo outlining the panel and a small +floreated torus supplemented by a molded cymatium within. The pilaster +projections tying the panel treatment to the cornice bear three nicely +tooled vertical flower designs in a row, an unusual conception. An ovolo +of conventional egg and dart motive with the customary bead and reel +astragal outlines the black marble facings of the fireplace opening. The +console ornamentation is strongly reminiscent of that at Whitby Hall.</p> + +<p>The mantel shelf proper was far too practical and attractive a feature +of the fireplace to be long abandoned, however. It furnished a +convenient place for clocks, candlesticks, china and other ornaments,<span class='page-number'><a name="Page_177" id="Page_177">177</a></span> +and it appealed to the eye because of the homelike, livable appearance +these articles of decoration gave to the room. About the middle of the +eighteenth century the shelf of former times was reinstated and the +overmantel was developed into a single large and elaborately framed +panel over the chimney breast in which often hung a family portrait, a +gilt-framed mirror or girandole.</p> + +<p>Such a chimney piece is to be seen in the parlor at Cliveden, its +fireplace opening partly closed up to convert it for use with the coal +grate shown by the accompanying illustration. In this instance the +carved consoles support the shelf rather than the panel of the +overmantel, which engages neither the shelf nor the cornice with its +prominent double denticulated molding. Otherwise, the chimney piece is +essentially the same in arrangement as that in the parlor at Mount +Pleasant. It has the same pleasing breadth and generally good +proportions, but is severely simple in detail, the conventional ovolo of +egg and dart motive without the astragal which outlines the black marble +fireplace facings being the only enriched molding. As was customary, the +shelf takes the form of a cymatium, and the projections above the +consoles and central panel are characteristic details.</p> + +<p>Much like this, though simpler in the absence of any enriched moldings +and having less projection, is the chimney piece on the second floor of +an old<span class='page-number'><a name="Page_178" id="Page_178">178</a></span> Spruce Street house shown by an accompanying illustration. It +has substantially the same overmantel frame and mantel treatment. +Incidentally it furnishes an excellent example of the complete paneling +of one end of a room with the familiar six-panel ordinary inside doors +each side of the fireplace. The architrave casings of the doors with +their horizontal projections over the lintel are in pleasing accord with +the corresponding projections of the overmantel frame and of the facing +of the fireplace opening.</p> + +<p>Toward the end of the eighteenth century and for some years thereafter, +mantels with a shelf, but without any overmantel treatment of the +chimney breast, became the rule. The whole construction was usually +projected from twelve to eighteen inches into the room, however, and as +the surbase and skirting or a paneled wainscot and the cornice above was +carried around it, the effect was much like that of a chimney piece, +especially when a large, ornamental framed mantel mirror occupied the +space over the chimney breast.</p> + +<p>The mantel itself took the form of a complete entablature above the +fireplace opening, supported by pilasters at each side, the pilasters +usually being carried up through the entablature by projections in +architrave, frieze and cornice respectively, and the cymatium of the +cornice forming the mantel shelf. The classic orders supplied much of +the<span class='page-number'><a name="Page_179" id="Page_179">179</a></span> ornamental detail with which these mantels were embellished, and +the work gave full scope to the genius of English and American +wood-carvers, of whom there were many of marked ability in America.</p> + +<p>The thriving condition of the ship-building industry in the colonies was +instrumental in attracting and developing skilled wood-carvers. Many of +them became apt students of architecture and proficient in executing +hand-tooled enriched moldings and other ornament for mantels and chimney +pieces. Not content with the conventional detail of the classic orders, +they varied it considerably to suit their purposes, using familiar +motives in new ways, securing classic effects with detail of their own +conception, and at times departing far from all precedent. For the most +part their achievements displayed that good taste and restraint combined +with a novelty and an ingenuity which have given our best Colonial +architecture its principal charm and distinction.</p> + +<p>Numerous examples of this sort of hand-carved mantels are to be found in +Philadelphia, but none elicits greater admiration than those in two +rooms at Upsala which are shown by accompanying illustrations. Enriched +with a wealth of intricate, fine-scale hand-tooling of daintiness and +precision, they indicate the influence of Adam design and detail, +although quite unlike the typical Adam mantel. They form an especially +interesting study<span class='page-number'><a name="Page_180" id="Page_180">180</a></span> for comparison because of the marked similarity of +the general scheme in all three and the difference in effect resulting +from variations in detail.</p> + +<p>The simplest of the three is a mantel for an iron hob grate with dark +marble facings outlined by simple moldings. Familiar fluted pilasters +support a mantel board entablature of rare beauty. Beneath a +conventional cymatium and corona, with projections above the pilasters +and central panel of the frieze, is a nicely worked dentil course,—a +band of vertical flutes with a drilled tooth in the upper half of each +alternate flute. The pilaster projections of the frieze are fluted in +dots and dashes arranged in vertical lines, while a similar treatment of +the central panel is so arranged that a pattern suggesting four festoons +and five straight hanging garlands is produced. The upper fascia is +enriched with groups of five vertical flutes in alternation with an +incised conventionalized flower.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 243px;"> +<a name="PL_82" id="PL_82"></a> +<a href="images/ill_083_pl_82a.png"> +<img src="images/ill_083_pl_82a_th.png" width="243" height="300" alt="Plate LXXXII.—Congress Hall, Sixth and Chestnut Streets. +Completed in 1790; Congress Hall from Independence Square." /> +</a></div> +</td><td> +<div class="illustration" style="width: 235px;"> +<a name="PL_82b" id="PL_82b"></a> +<a href="images/ill_083_pl_82b.png"> +<img src="images/ill_083_pl_82b_th.png" width="235" height="300" alt="Plate LXXXII.—Congress Hall, Sixth and Chestnut Streets. +Completed in 1790; Congress Hall from Independence Square." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LXXXII.—Congress Hall, Sixth and Chestnut Streets. +Completed in 1790; Congress Hall from<br />Independence Square.</span> +</td></tr> +</table> + + +<p>Resembling the foregoing, but more elaborate, is the mantel in the +parlor with its richer moldings and intricate carving. An astragal with +the customary bead and reel separates the cymatium and the corona, while +a drilled rope supplies the bed molding above the dentil course. The +latter consists of a continuous pattern of vertical and shorter +horizontal flutes, the alternate vertical half spaces above and below +the cross line of the H being cut out flat and deeper. The pilaster +projections of<span class='page-number'><a name="Page_181" id="Page_181">181</a></span> the frieze, the central panel and the pilasters at +each side of the fireplace opening supporting the entablature are +vertical fluted in short sections which break joints like running bond +in brickwork. In both the pilaster projections and the central panel the +carving has been done in such a manner as to leave four-sided decorative +figures with segmental sides in slender outline flush with the surface. +The upper fascia of the architrave is adorned by shallow drillings +suggesting tiny festoons and straight hanging garlands with a +conventionalized flower above each festoon. A cavetto molding, enriched +with a bead and reel astragal and another drilled rope torus, outlines +the dark marble facings about the fireplace opening. Handsome brass +andirons, fender and fire set, together with the large gilt-framed +mirror above, combine with the mantel to make this one of the most +beautiful fireplaces in Philadelphia.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 242px;"> +<a name="PL_83" id="PL_83"></a> +<a href="images/ill_084_pl_83a.png"> +<img src="images/ill_084_pl_83a_th.png" width="242" height="300" alt="Plate LXXXIII.—Stair Hall Details, Congress Hall." /> +</a></div> +</td><td> +<div class="illustration" style="width: 246px;"> +<a name="PL_83b" id="PL_83b"></a> +<a href="images/ill_084_pl_83b.png"> +<img src="images/ill_084_pl_83b_th.png" width="246" height="300" alt="Plate LXXXIII.—Stair Hall Details, Congress Hall." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LXXXIII.—Stair Hall Details, Congress Hall.</span> +</td></tr> +</table> + + +<p>The third example in another room at Upsala is virtually the same as the +mantel just described, except for the greater elaboration of the +pilasters, pilaster projections of the frieze and central panel. Apart +from these three features, the only essential differences are a dentil +course in the cornice like that of the first Upsala mantel described and +a vertical fluted belt in the capital of the pilasters and associated +moldings. In the pilaster projections of the frieze there are flush +outline ornaments taking the form of a shield, while other graceful<span class='page-number'><a name="Page_182" id="Page_182">182</a></span> +outline patterns running through the flutings adorn the upper half of +the pilasters proper. The lower half is fluted in the short running bond +sections. The central panel of the frieze retains and elaborates the +motive of festoons and straight hanging garlands, the space above the +festoons in this instance being left flush except for an incised +conventionalized flower design in each of the three sections.</p> + +<p>Rarely are three mantels of such attractive design, good proportion, +distinctive detail and dainty appearance to be found in a single house. +Seldom are three mantels to be found which are so similar and yet so +different. They present an eloquent illustration of the infinite +possibilities of minor variation in architectural design.</p> + +<p>The same influences were at work elsewhere, however, and two other +mantels shown by accompanying illustrations, one in a house at Third and +DeLancy streets and another in the Rex house, Mount Airy, show numerous +variations of similar motives. In both, vertical flutings are depended +upon chiefly for decoration, ornamental patterns being formed by flush +sections where the cutting of the flutes is interrupted. In both +instances the original fireplace opening has been partially closed up, +in one case for a Franklin stove, and in the other for a hob grate, both +for burning coal.</p> + +<p>The mantel at Number 312 Cypress Street, with its well-proportioned +entablature and paneled<span class='page-number'><a name="Page_183" id="Page_183">183</a></span> +pilasters, displays a central panel in the +frieze similar to the foregoing examples, but possesses a more distinct +Adam character in the human figures in composition applied to the +pilaster projections of the frieze, and in the drillings of the upper +fascia of the architrave, simulating festoons. A reeded ovolo and deeply +cut and drilled denticulated member lend sufficient emphasis to the +string course of the cornice.</p> + +<p>At Number 729 Walnut Street is to be seen a typically Adam mantel of +exceptional grace and beauty. Instead of the usual pilasters the +entablature is supported by two pairs of slender reeded colonnettes, and +the fireplace opening is framed by moldings in which a torus enriched +with a rope motive is prominent. The shelf or cymatium of the +entablature has round corners and is supported by pilaster projections +above the colonnettes at each end and by a projecting central panel, all +of these projections being vertical fluted in the frieze portion. Both +the central panel and the sunken panels each side of it bear graceful +festoons and straight hanging garlands suspended from flower ornaments, +the central space of both sunken panels being occupied by a small, +sharply delineated medallion in white, suggestive of wedgewood. This +composition work was nicely detailed and is still well preserved. Below, +the upper fascia of the architrave is enriched in accord with the Adam +spirit. Drillings forming<span class='page-number'><a name="Page_184" id="Page_184">184</a></span> festoons with a tiny ornament above alternate +with groups of seven vertical dotted lines. The fireplace opening has +been closed up with stone slabs to inclose a Franklin stove for burning +coal, the effect being much the same as a hob grate. In terms of dainty +grace and chaste simplicity this is one of the best mantels in +Philadelphia.<span class='page-number'><a name="Page_185" id="Page_185">185</a></span></p> + + + +<h3><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI</h3> + +<p class="head">INTERIOR WOOD FINISH</p> + +<p class="noindent"><span class="lg">M</span><span class="smcap2">antels</span> +and staircases, the most important architectural features of +interiors, were very properly elaborated considerably beyond the +somewhat negative character of background accessories by the builders of +Colonial times. Virtually furnishings as well as necessary parts of the +house, the application of tasteful ornamentation to them seems amply +justified. Each is a subject in itself, as indicated by the fact that +stair building and mantel construction still remain independent trades +quite apart from ordinary joinery. For that reason two separate chapters +of this book have been devoted to these important subjects, the present +chapter being devoted to interior woodwork in general.</p> + +<p>What the interior wood trim of the average eighteenth-century +Philadelphia house consists of is shown by accompanying photographs, +especially those in Stenton, Mount Pleasant and Whitby Hall. It is found +that the principal rooms of pretentious mansions, such as the hall, +parlor and reception<span class='page-number'><a name="Page_186" id="Page_186">186</a></span> room at Stenton, were sometimes entirely paneled +up on all sides. About this time, however, hand-blocked wall paper began +to be brought to America, and a favorite treatment of Colonial +interiors, including halls, parlors, dining rooms and even the principal +bedrooms of large houses, combined a cornice, or often a cornice and +frieze, and sometimes a complete entablature, with a paneled wainscot or +a flat dado with surbase and skirting, the wall between being papered. +Sometimes a dado effect was secured by means of a surbase above the +skirting, the plaster space between being left white as in the parlor at +Cliveden or in the hall and dining room at Whitby Hall, or papered like +the wall above, as in the parlor at Whitby Hall and in some of the +chambers at Upsala. Later the skirting only was frequently employed with +a simple cornice or picture mold, even in the principal rooms of the +better houses, as in the dining room at Whitby Hall. Several +accompanying illustrations show it with the dado, while a few interiors +of Mount Pleasant, Upsala and Cliveden show it with the paneled +wainscot. This general scheme constitutes a pleasing and consistent +application of the classic orders to interior walls, the dado, the wall +above it and whatever portion of the entablature happens to be employed +corresponding to the pedestal, shaft and entablature of the complete +order respectively. In a room so treated the dado becomes virtually a<span class='page-number'><a name="Page_187" id="Page_187">187</a></span> +continuous pedestal with a base or skirting and a surbase above the die +or plane face of the pedestal. Usually this surbase is molded to +resemble the upper fascia or the complete architrave of the various +orders. Again it may be hand-carved with vertical flutings, continuous, +as in the parlor at Upsala, or in groups of three or more in alternation +with an incised flower pattern, as in the Rex house.</p> + +<p>For the most part the surmounting cornice and frieze of the room was of +wood, beautifully molded and often hand-carved, the architrave usually +being omitted. In the library at Solitude, however, is to be seen a +handsome cornice and frieze entirely of plaster or composition work in +the Adam manner, including familiar classic detail in which enriched +cavetto and ogee moldings, festoons, flower ornaments and draped human +figures are prominent. When chandeliers for candles began to be used in +private houses they were hung from ornamental centerpieces of plaster on +the ceiling, the motives usually being circles, ovals, festooned +garlands and acanthus leaves. Such a centerpiece and ornamental +treatment of the ceiling is also a feature of this room.</p> + +<p>In most of the better houses during the Provincial period, important +rooms had paneled wainscots, papered walls and molded cornices, as in +the parlor and second-story hall at Mount Pleasant and in the parlor at +Upsala. Sometimes the plaster walls were<span class='page-number'><a name="Page_188" id="Page_188">188</a></span> left white or painted, as in +the hall at Cliveden and the library at Stenton. A fireplace with +paneled chimney piece was an important feature of most rooms, and the +entire wall including it was often completely paneled up, closely +relating the fireplace, doors or windows in a definite architectural +scheme, as already shown by examples in Stenton, Whitby Hall and Mount +Pleasant. Embrasured windows with two-part paneled folding shutters and +seats jutting somewhat into the room were customary in early brick and +stone houses, as at Stenton. These were fastened by bars of wood thrust +across from side to side and fitting into slots in the jambs. Later, +outside shutters came into vogue, and the jambs and soffit of the +embrasures were paneled, as at Whitby Hall, the treatment of the +Palladian window on the staircase landing in this house being an +especially fine example.</p> + +<p>The parlor at Stenton is among the most notable instances in +Philadelphia of this architectural treatment of the fireplace in a room +with wood paneling throughout. Along Georgian lines and decidedly +substantial in character, it is essentially simple in conception and +graceful in form and proportion, the spacing of the large bolection +molded raised panels being excellent. First attention properly goes to +the wide chimney piece with its unusual, but attractive overmantel +paneling, low arched and marble-faced fireplace opening, beautiful brass +fender<span class='page-number'><a name="Page_189" id="Page_189">189</a></span> and andirons. The symmetrical arrangement of two flanking china +closets, with round-headed double doors recalling those shown at Whitby +Hall and Mount Pleasant, is most effective. The work is executed in a +masterly manner, the proportions being well calculated and the precision +of the hand tooling remarkably well maintained. Both the doors and +embrasured windows of this room merit careful study.</p> + +<p>Of more modest, but generally similar treatment, is the paneling of the +reception room at Stenton, the fireplace opening here having been closed +for installation of a Franklin stove.</p> + +<p>At Whitby Hall there are two interesting and characteristic examples of +embrasured windows with paneled jambs and soffits, and molded architrave +casings. In the dining room the embrasures are cased down to the window +seats, while in the parlor the casings with their broader sections at +top and bottom do not extend below the surbase, although the embrasure +continues to the floor. In this latter room one of the Colonial +builder's favorite motives, ever recurring with minor variations +throughout many houses, occupies the string course of the cornice. This +double denticulated member or Grecian fret band is formed by vertical +cross cuttings, alternately from top and bottom of a square molding, the +plain ogee molding beneath giving it just the proper emphasis.<span class='page-number'><a name="Page_190" id="Page_190">190</a></span></p> + +<p>Conforming to the characteristic panel arrangement of the time, most of +the inside doors of Philadelphia have six panels, the upper pair being +not quite square and the two lower pairs being oblong, the middle pair +being longer than the lower. Like outside doors they were for the most +part molded and raised with broad bevels, although occasionally, as on +the second floor at Mount Pleasant, they were flat and bolection molded, +giving the door a considerably different aspect. Generally speaking, the +workmanship was excellent, the beveling of the panels and the molding of +the stiles and rails manifesting the utmost painstaking. A simple knob +and key-plate, usually of brass, completed the complement of hardware, +apart from the H hinges of early years and the butts which soon +followed. It will be noted that all of these six-panel doors have stiles +and muntins of virtually equal width, any variation being slightly wider +stiles. Top and frieze rails are alike and about the same width as the +muntin, but the bottom rail is somewhat broader and the lock rail the +broadest of the four. Moldings are very simple and confined to the edge +of the panels, with the splayed or beveled panels of earlier years +gradually being abandoned in favor of plain, flat surfaces.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 239px;"> +<a name="PL_84" id="PL_84"></a> +<a href="images/ill_085_pl_84a.png"> +<img src="images/ill_085_pl_84a_th.png" width="239" height="300" alt="Plate LXXXIV.—Interior Detail of Main Entrance, Congress +Hall; President's Dais, Senate Chamber, Congress Hall." /> +</a></div> +</td><td> +<div class="illustration" style="width: 231px;"> +<a name="PL_84b" id="PL_84b"></a> +<a href="images/ill_085_pl_84b.png"> +<img src="images/ill_085_pl_84b_th.png" width="231" height="300" alt="Plate LXXXIV.—Interior Detail of Main Entrance, Congress +Hall; President's Dais, Senate Chamber, Congress Hall." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LXXXIV.—Interior Detail of Main Entrance, Congress +Hall; President's Dais, Senate<br />Chamber, Congress Hall.</span> +</td></tr> +</table> + + +<p>Architrave casings were the rule, sometimes extending to the floor and +often standing on heavy, square plinth blocks the height of the +skirting<span class='page-number'><a name="Page_191" id="Page_191">191</a></span> beneath its molding. There are instances of both types at +Mount Pleasant and Whitby Hall. The thickness of the walls in houses of +brick and stone encouraged the custom of paneling the jambs and soffit +of doorway openings to correspond with the paneling of the doors, the +effect being rich and very pleasing. Generally the architrave casing was +miter-joined across the lintel, as at Upsala, but in many of the better +houses this horizontal part of the casing was given an overhang of an +inch or two to form the doorhead. How pleasing this simple device was, +especially when a rosette of stucco was applied to each jog of the +casing, is well exemplified by the doors on the first floor at Whitby +Hall. Very similar door trim without the rosette is to be seen at +Cliveden and in numerous other houses.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_85" id="PL_85"></a> +<a href="images/ill_086_pl_85.png"> +<img src="images/ill_086_pl_85_th.png" width="300" height="232" alt="Plate LXXXV.—Gallery, Senate Chamber, Congress Hall." /></a> +<span class="caption">Plate LXXXV.—Gallery, Senate Chamber, Congress Hall.</span> +</div> + + +<p>At Mount Pleasant, and in several of the more pretentious old Colonial +mansions of Philadelphia, this type of door trim was elaborated by a +surmounting frieze and heavy pediment above the architrave casing. The +first floor hall at Mount Pleasant presents the interesting combination +of a pulvinated Ionic pediment with a mutulary Doric cornice and frieze +about the ceiling. Here one notices the flat dado and doors with raised +and molded panels as contrasted with the paneled wainscot and +bolection-molded, flat-paneled doors of the second-story hall. In this +latter, also, some of the pediments are complete, others broken,<span class='page-number'><a name="Page_192" id="Page_192">192</a></span> +illustrating another whim of the early American builders. Here the +cornice is also Ionic with jig-sawed modillions, and the ensemble is +generally more pleasing. In proportion and precision of workmanship this +woodwork is hardly excelled in Philadelphia. The simple, carefully +wrought dentil course of the doorheads lends a refining influence and +pleasing sense of scale that seems to lighten the design very +materially.</p> + +<p>Philadelphia has no handsomer example of the enriched pedimental +doorhead than the interior treatment of the entrance doorway of the +Blackwell house, Number 224 Pine Street. Above the horizontal overhang +of the architrave casing across the lintel two beautifully carved +consoles, the width of the frieze in height, support a cornice which is +the base of a broken pediment. The familiar Grecian band or double +denticulated molding in the string course gives character to the +cornice, while an attractive leaf decoration in applied composition +adorns the recessed frieze panel. Projections of the cornice above the +consoles lend an added touch of refinement. This elaboration of the +white wood trim is further emphasized by the dark red-brown painting of +the door to simulate old mahogany, which became a frequent feature of +the houses of this period.</p> + +<p>Round-headed doorways here and there, not only at the front entrance, +but elsewhere, as in the hall<span class='page-number'><a name="Page_193" id="Page_193">193</a></span> at Hope Lodge, provided a welcome +variation from the customary square-headed types and have been a +pleasing feature of Colonial interiors since early times. As framing the +glazed doorways of china closets already referred to, they were a +charming feature of the interior wood finish. At the front entrance the +round-headed doorway was utilized to provide an ornamental yet practical +fanlight transom over the door which admitted considerable light to +brighten the hall. As contrasted with this more graceful arrangement, +the broad front entrance to Whitby Hall, with its severely plain +unmolded four-panel double doors and wrought-iron strap hinges, bolts, +latch and great rim lock, is of quaint interest. The accompanying +photograph shows well the dado effect secured by a surbase and skirting, +and one notes with interest the cornice with its prominent modillions +and the heavy plinth blocks on which the architrave casings of the doors +stand.</p> + +<p>Round-headed windows were employed for landing windows in stair halls, +as at Whitby Hall, and in the central part of the Palladian windows over +entrances, as at Mount Pleasant, where they became decorative interior +features of the front end of the second-floor halls.</p> + +<p>Elliptical-headed openings are rare in Philadelphia, and in most +instances were arches across the main hall, as at Hope Lodge. Sometimes +they framed the staircase vista at the head or foot of<span class='page-number'><a name="Page_194" id="Page_194">194</a></span> the flight, +where they became one of the most charming features of the best Colonial +interiors.</p> + +<p>The illustrations of interiors at Stenton accompanying this chapter, +serve, as might many others, to show that white-painted interior +woodwork, although one of the greatest charms of the Colonial house, +finds its principal mission in providing the only architectural +background that sets off satisfactorily the warmth of color and grace of +line possessed by eighteenth-century furniture in mahogany and other +dark woods. Bright and cheerful, chaste and beautiful, it emphasizes the +beauties of everything before it, yet seldom forces itself into undue +prominence. It is a scheme of interior treatment which has stood the +test of time and indicates what excellent taste the Colonial builders +manifested in resorting to its subtle influence to display their rare +pieces of furniture brought from England and the Continent.</p> + +<p>The admirable work of Philadelphia joiners indicates conclusively the +many possibilities of white-painted soft woods. Unlike hardwood finish, +the natural grain of the wood is concealed by painting, so that broad +flat surfaces and simple moldings would be monotonous. Beauty of form is +therefore substituted for the beauty of wood grain. Classic motives and +detail are brought to bear upon the interior woodwork in such a manner +as to delight the eye, yet not to detract unduly from the<span class='page-number'><a name="Page_195" id="Page_195">195</a></span> furnishings +of the room. And the charm of much of the resulting woodwork indicates +an early realization by American craftsmen of the fact that a nice +balance between plain surface and decoration is as important as the +decoration itself. It was by their facility in the design and execution +of this woodwork that skilled wood-carvers were able to impart that +lightness, grace and ingenuity of adaptation to which the Colonial style +chiefly owes its charm.<span class='page-number'><a name="Page_196" id="Page_196">196</a></span></p> + + + +<h3><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII</h3> + +<p class="head">PUBLIC BUILDINGS</p> + +<p class="noindent"><span class="lg">A</span><span class="smcap2">s</span> +in its domestic architecture of Colonial times, Philadelphia is so +rich in its fine old public buildings that a readable and instructive +book could be made about them alone. Intended for religious, political +and commercial purposes, erected from one to two centuries ago and +ranging from the frugal simplicity of the Mennonite Meeting House in +Germantown to the stately beauty of Independence Hall, these noble +edifices of bygone days were the scenes of momentous events in the most +glorious and troublous period of the world's first republic. Their +histories are inspiring and likewise their architecture. Exigencies of +space in a book of this sort render it impossible to include all worthy +examples, but an effort has been made to present a representative +collection that does justice to the annals and building genius of this +remarkable city.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 211px;"> +<a name="PL_86" id="PL_86"></a> +<a href="images/ill_087_pl_86a.png"> +<img src="images/ill_087_pl_86a_th.png" width="211" height="300" alt="Plate LXXXVI.—Carpenter's Hall, off Chestnut Street, +between South Third and South Fourth Streets. Erected in 1770; Old +Market House, Second and Pine Streets." /> +</a></div> +</td><td> +<div class="illustration" style="width: 225px;"> +<a name="PL_86b" id="PL_86b"></a> +<a href="images/ill_087_pl_86b.png"> +<img src="images/ill_087_pl_86b_th.png" width="225" height="300" alt="Plate LXXXVI.—Carpenter's Hall, off Chestnut Street, +between South Third and South Fourth Streets. Erected in 1770; Old +Market House, Second and Pine Streets." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate LXXXVI.—Carpenter's Hall, off Chestnut Street, +between South Third and South Fourth<br />Streets. Erected in 1770; Old +Market House, Second and Pine Streets.</span> +</td></tr> +</table> + + + +<p>Probably the most famous historical monument in the United States is +Independence Hall, on Chestnut Street between Fifth and Sixth streets. +Here the American nation really came into being and<span class='page-number'><a name="Page_197" id="Page_197">197</a></span> began to +function, and here come thousands of visitors annually to view in awed +admiration the greatest patriotic shrine of a free people. The building, +designed by Andrew Hamilton, speaker of the Assembly, and built under +his direction for the State House, was used for that purpose until 1799. +The foundations were laid in 1731, and the main building was ready for +occupancy in 1735, although the wings and steeple were not completed +until 1751. The steeple was taken down in 1781, but was restored to its +original condition by William Strickland in 1828, and further +restorations of the building to its original condition were effected +later by the city government. The east, or "Declaration" chamber, still +appears substantially as it did when that famous document was signed, +but the restoration of certain other rooms has been less satisfactory. +The building has been set apart by the city, which purchased it from the +State in 1816, as a museum of historical relics, and during the past +century has been used by various public offices and societies.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_87" id="PL_87"></a> +<a href="images/ill_088_pl_87.png"> +<img src="images/ill_088_pl_87_th.png" width="300" height="221" alt="Plate LXXXVII.—Main Building, Pennsylvania Hospital. +Erected in 1755." /></a> +<span class="caption">Plate LXXXVII.—Main Building, Pennsylvania Hospital. +Erected in 1755.</span> +</div> + +<p>Many famous buildings of Colonial times were the work of amateur +architects, but this is without exception the finest contemporary +administrative building in America; a noble building rich in glorious +memories; nobler even than the Bulfinch State House at Boston or the +Maryland State House at Annapolis. It is an enduring monument to<span class='page-number'><a name="Page_198" id="Page_198">198</a></span> +Hamilton's versatility, showing that with his genius he might have won +distinction as an architect no less than as a barrister. His sense of +design, mass and proportion, his appreciation of the relative value and +most effective uses of classic detail and his ability to harmonize the +exigencies of the floor plan with attractive appearance were second to +those of no professional architect of his time.</p> + +<p>Independence Hall is a stately structure of exceptionally well-balanced +symmetrical arrangement, beautiful alike in its general mass and +minutest details, and presenting a delightful appearance from whatever +viewpoint it is seen,—dignified, spacious and picturesque, a building +that seems to typify the serenity of mind and steadfastness of purpose +of those sturdy patriots who made it famous.</p> + +<p>The structure comprises three parts; a large central building with +hip-roofed wings for offices connected with the main building by open +arcaded loggias. The present wings are restorations. Beyond the wings +are two buildings erected after the close of the Revolution, but forming +part of the group. That at the corner of Fifth and Chestnut streets was +erected as the Philadelphia County Court House, while that at the corner +of Sixth and Chestnut streets was the City Hall.</p> + +<p>The entire group is of characteristic Philadelphia brick construction, +delightfully mellowed by age, with marble and white-painted wood trim. +The<span class='page-number'><a name="Page_199" id="Page_199">199</a></span> main building is two stories high with a decked gable roof, heavily +balustraded between large, arched quadruple chimney stacks at each end, +corners heavily quoined with marble and ends without fenestration other +than a round bull's-eye window in each. Across the one hundred and seven +feet of the Chestnut Street façade there is a range of nine broad, high, +twenty-four-paned windows with flat gauged brick arches and high marble +keystones, the central window being replaced by a simple, very high and +deeply recessed doorway with a broad stone stoop before it. Tying into +the keystones is a horizontal belt of marble across the entire front. A +similar belt is located immediately beneath the window sills of the +second story, and between the two belts and ranging with the windows are +nine oblong marble panels set into the brickwork.</p> + +<p>On the Independence Square façade everything is subordinated to the +great square steeple-like clock tower, centrally located, which stands +its entire height outside but adjoining the walls of the main building. +In construction the lower two stories of the tower correspond to those +of the building itself, and the cornice of the latter is effectively +carried around the tower. Above, the tower rises two more stories of +brick with pedimented and pilastered walls in the Ionic order and +surmounted with classic urns and flame motives. Above this level the +construction of the clock tower is of<span class='page-number'><a name="Page_200" id="Page_200">200</a></span> +white-painted wood, one story +with Corinthian pilasters and another balustraded, rising in four-sided +diminutions to the octagonal, open arched belfry and superstructure, +above which is a tapering pinnacle and gilt weathervane. It is a tower +of grace, dignity and repose, a tower suggestive of ecclesiastical work, +perhaps, yet withal in complete harmony with its situation and purpose. +In the base of this tower is the main entrance, a simple and dignified +pillared doorway in the mutulary Doric order with double four-panel +doors, and a magnificent Palladian window in the Ionic order above, to +which reference was made in a previous chapter. Thus three distinct +orders of architecture are used in this tower alone, presenting another +instance of the great freedom with which early American architects +utilized their favorite motives.</p> + +<p>Entering this doorway one comes into a great, square, lofty, brick-paved +hall in the base of the tower where now reposes the Liberty Bell at the +foot of what has often been called the finest staircase in America. And +where, indeed, is to be found a more splendid combination of nicely +worked white wood trim with touches of mahogany and dark green stairs? +Done in the Ionic order, with a heavy cornice having carved modillions +and a prominent dentil course, deeply embrasured windows with paneled +jambs and broad sills supported by beautifully hand-tooled consoles, and +a nicely<span class='page-number'><a name="Page_201" id="Page_201">201</a></span> spaced paneled wainscot, this entrance is a fitting frame for +the broad winding staircase. Rising ramp after ramp by broad treads and +low risers, it leads first to a broad landing in front lighted by the +Palladian window over the entrance, and thence upward and around to a +gallery across the opposite wall, where a broad double doorway with +delightful fanlight above leads into the main hall of the second floor. +To the right a narrow staircase rises to the belfry. The classic +balustrade, with its mahogany-capped rail and simple landing newels is +heavy but well proportioned; the paneled wainscot along the wall follows +the contour of the ramped rail opposite, and the under side of the +landings, gallery and upper runs are nicely paneled. Elaborately carved +scroll brackets adorn the stair ends, and a harmonious floreated volute +spiral band runs along the edge of the gallery; while the pilaster +casings of the upper doorway and of the Palladian window are enriched +with straight hanging garlands. At the foot of the staircase the newel +treatment takes the scroll form of the Ionic volute, the rail and +balusters on the circular end of the broad lower step winding around a +central column like the landing newels.</p> + +<p>Hanging from its original beam, but within an ornamental frame erected +in the center of this staircase hall, is the best-known relic of the +building, the famous Liberty Bell, which is supposed,<span class='page-number'><a name="Page_202" id="Page_202">202</a></span> without adequate +evidence, to have been the first bell to announce the adoption of the +Declaration of Independence. It was cast in England early in 1752 and +bears the following inscription: "By order of the Assembly of the +Province of Pennsylvania for the State House in Philadelphia, 1752", and +underneath: "Proclaim Liberty throughout all the land unto all the +inhabitants thereof, Lev. XXV, V, X." In August, 1752, the bell was +received in Philadelphia, but was cracked by a stroke of the clapper the +following month. It was recast, but the work being unsatisfactory, it +was again recast with more copper, in Philadelphia during May, 1753, and +in June was hung in the State House steeple, where it remained until +taken to Allentown, Pennsylvania, in 1777, to prevent it from falling +into the hands of the British. In 1781 the bell was lowered and the +steeple removed. In 1828 a new steeple was erected, and a new bell put +in place, the Liberty Bell being given a place in an upper story of the +tower to be rung only on occasions of great importance. On July 8, 1835, +it suddenly cracked again while being tolled in memory of Chief Justice +John Marshall, and on February 22, 1843, this crack was so increased as +nearly to destroy its sound. In 1864 it was placed in the east or +Declaration room, but in 1876, the Centennial year, it was again hung in +the tower by a chain of thirteen links. From the time of its second +recasting in<span class='page-number'><a name="Page_203" id="Page_203">203</a></span> 1753, until it lost its sound in 1843, the Liberty Bell +was sounded on all important occasions, both grave and gay. It convened +town meetings and the Assembly, proclaimed the national anniversary, +ushered in the new year, welcomed distinguished men, tolled for the +honored dead, and on several occasions was muffled and tolled as an +expression of public disapproval of various acts of British tyranny.</p> + +<p>Passing through a high, round-headed arch with paneled jambs and soffit +one enters the central hall, a magnificent apartment in the mutulary +Doric order, extending through the building to the Chestnut Street +entrance. Fluted columns standing on a high, broad pedestal which runs +about the walls like a wainscot, support a heavy complete entablature +enriched with beautifully hand-carved moldings, notably an egg and dart +ovolo between cornice and frieze and foliated moldings about the mutules +and the panels of the soffit and metopes. It is a hall of charming +vistas in a noble architectural frame,—straight ahead to the Chestnut +Street entrance; back through the great single arch to the staircase; to +the left through an arcade of three pilastered arches into the west or +Supreme Court chamber; to the right through a broad, double doorway into +the east or "Declaration" room, the original Assembly chamber.</p> + +<p>The treatment of the latter wall of the hall is most<span class='page-number'><a name="Page_204" id="Page_204">204</a></span> elaborate. Three +cased arches correspond to the open arches opposite. On the wall within +the two end ones are handsome, pedimental-topped, inscribed tablets, +while in the middle one is located the doorway with an ornate, broken, +pedimental doorhead taking the form of a swag.</p> + +<p>Like the hall, the Supreme Court chamber is Doric with fluted pilasters +instead of engaged columns, and walls entirely paneled up. There are +three windows at each end and two back of the judge's bench with its +paneled platform and rail, and balustraded staircases at each end. In +this room the convention to form a new constitution for Pennsylvania met +July 15, 1776, and unanimously approved the Declaration of Independence, +and pledged the support of the State. Delegates to Congress were elected +who were signers of the Declaration. In this room now stands the statue +of Washington carved out of a single block of wood by Colonel William +Rush, after Stuart.</p> + +<p>Across the hall is the Declaration chamber, forty feet and two inches +long, thirty-nine feet and six inches wide and nineteen feet and eight +inches high. As in size, its architecture is substantially the same as +the chamber opposite, and like it the two corners near the hall are +rounding. Also it is of spacious appearance, light, beautiful and +cheerful, a room to inspire noble deeds. Instead of the high judge's +bench at the side opposite the entrance, there is a<span class='page-number'><a name="Page_205" id="Page_205">205</a></span> relatively small +platform or dais of two steps on which stands the presiding officer's +desk in front of a large, elaborate, pedimental-topped frame with +exquisitely enriched carved moldings, within which is a smaller frame +containing a facsimile of the Declaration of Independence. To either +side, between fluted pilasters, are segmental arched fireplaces with +heavy mantel shelves above, supported by carved consoles, while beyond +these are single doors with pedimental heads. Otherwise the room is +substantially like that across the hall. They are regarded as the best +of the restored rooms of the building, and of the two the courtroom is +perhaps rather the better in its greater simplicity.</p> + +<p>In the east or so-called Declaration chamber, the second Continental +Congress met May 10, 1775; George Washington was chosen commander in +chief of the Continental Army June 15, 1775; and the Declaration of +Independence was adopted July 4, 1776. The American officers taken +prisoners at the Battle of Brandywine, September 11, and of Germantown, +October 4, 1777, were held here as prisoners of war, and on July 9, +1778, the Articles of Confederation and perpetual union between the +States were signed here by representatives of eight States. The room +contains much of the furniture of those days. The table and high-backed +Chippendale chair of mahogany used by the presidents of the Continental +Congress and<span class='page-number'><a name="Page_206" id="Page_206">206</a></span> occupied by John Hancock at the signing still remain, and +on the table is to be seen the silver ink-stand with its quill box and +sand shaker, in which the delegates dipped their pens in autographing +the famous document. There are also fourteen of the original chairs used +by delegates. On the walls hang portraits of forty-five of the fifty-six +signers, also a portrait of Washington by Rembrandt Peale.</p> + +<p>In fact, the collection of portraits is largely based on canvases +secured from the famous Peale Museum which at one time occupied the +upper floors of the building. There are also valuable paintings by +Benjamin West, Gilbert Stuart, Edgar Pine, Thomas Sully and Allan +Ramsay. The bronze statue of Washington standing in front of +Independence Hall on Chestnut Street is a replica of the original one in +white marble by Bailey, which was removed on account of its +disintegration. Forty-five crayons and pastels by John Sharpless, +purchased by the city in 1876, form a notable collection estimated to be +worth half a million dollars. What is supposed to be the earliest +exhibition of paintings ever held in America was that of Robert Edge +Pine, which occurred in Independence Hall in 1784.</p> + +<div class="illustration" style="width: 234px;"> +<a name="PL_88" id="PL_88"></a> +<a href="images/ill_089_pl_88.png"> +<img src="images/ill_089_pl_88_th.png" width="234" height="300" alt="Plate LXXXVIII.—Main Hall and Double Staircase, +Pennsylvania Hospital." /></a> +<span class="caption">Plate LXXXVIII.—Main Hall and Double Staircase, +Pennsylvania Hospital.</span> +</div> + + + + +<p>On the second floor the principal room is a great banqueting hall +extending across the entire building on the Chestnut Street side with +its range of nine windows and having a fireplace at each end. There are +smaller rooms on each side of the broad entrance<span class='page-number'><a name="Page_207" id="Page_207">207</a></span> corridor; its wide, +flat arch has four fluted columns supporting a heavy pedimental head +with elliptical fanlight. Architecturally the restoration of the second +floor is less happy than that of the first. It is not in the spirit of +the work below; nor does it accord with typical Colonial work of +pre-Revolutionary days. It lacks that simple, straight-forward dignity +of design; that fine sense of proportion; that refinement and +appropriateness of detail. The spacing of the paneling of both the +wainscot and the fireplace mantels is not characteristic; the detail of +the latter is poorly chosen and assembled, and the whole aspect, +especially the entrance arch, suggests a studied effort to achieve +picturesque effect.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_89" id="PL_89"></a> +<a href="images/ill_090_pl_89a.png"> +<img src="images/ill_090_pl_89a_th.png" width="300" height="235" alt="Plate LXXXIX.—Custom House, Fifth and Chestnut Streets. +Completed in 1824; Main Building, Girard College. Begun in 1833." /> +</a></div> +<div class="illustration" style="width: 300px;"> +<a name="PL_89b" id="PL_89b"></a> +<a href="images/ill_090_pl_89b.png"> +<img src="images/ill_090_pl_89b_th.png" width="300" height="242" alt="Plate LXXXIX.—Custom House, Fifth and Chestnut Streets. +Completed in 1824; Main Building, Girard College. Begun in 1833." /></a> +<span class="caption">Plate LXXXIX.—Custom House, Fifth and Chestnut Streets. +Completed in 1824; Main Building, Girard College. Begun in 1833.</span> +</div> + +<p>On the northwest corner of Independence Square, which is the southeast +corner of Sixth and Chestnut streets, is old Congress Hall, erected in +1787, in which Congress sat from 1790 to 1800, and in which Washington +was inaugurated in 1793 for a second term with Adams as vice-president, +and in which Adams, in 1797, was inaugurated president with Jefferson as +vice-president.</p> + +<p>Here Washington presented his famous message concerning Jay's treaty +with England; here, toward the close of his second administration, he +pronounced his farewell address, which is still regarded as a model of +dignity and farsightedness. Here, too, was officially announced the +death of<span class='page-number'><a name="Page_208" id="Page_208">208</a></span> +Washington, when John Marshall offered a resolution that a +joint committee of the House and Senate consider "the most suitable +manner of paying honor to the memory of the man first in war, first in +peace and first in the hearts of his countrymen", thus originating a +phrase never to be forgotten in America. For some years after 1800 the +building was occupied by the criminal courts, now located in the City +Hall.</p> + +<p>Were it not so near the more pretentious Independence Hall, this demure +little building would receive much more attention, for it is +architecturally a gem of the Colonial period, and such of its interior +woodwork as has been restored has been more happily treated than is +often the case. It is an oblong structure of brick, with marble and +white wood trim, two stories high, hip-roofed and surmounted in the +center by a well-proportioned, octagonal open cupola. On the front a +pediment springs from the cornice over a slightly projecting central +section of the façade, while a three-sided bay breaks the rear wall and +enlarges the building. The stoop and doorway are of simple dignity, the +double doors having the appearance of being four separate, very narrow +four-panel doors, and the graceful fanlight above being in accord with +the round-headed windows of the lower story. These windows are set +effectively in brick arches with marble sills, keystones and imposts. On +the upper<span class='page-number'><a name="Page_209" id="Page_209">209</a></span> story the windows are twenty-four-paned and square-headed +with gauged brick arches and marble keystones. Under the central front +window over the entrance there is a handsome wrought-iron fire balcony. +The best exterior feature of the building is the beautifully hand-tooled +cornice with its coved member having a series of recessed arches and the +well-known Grecian band or double denticulated molding beneath. At the +second-floor level a white marble belt accords well with the general +scheme.</p> + +<p>No less interesting than the outward appearance of the entrance is its +inward aspect, with its deeply paneled embrasures and soffit, its quaint +strap hinges and rim lock. The arrangement of the double staircases with +a halfway landing in this lofty, airy stair hall compels admiration for +effective simplicity. The stair ends are unadorned, but the spaces under +the lower run of both flights are nicely paneled up. The balusters are +of good, though familiar pattern, and the lines of the dark ramped rail +gracefully drawn.</p> + +<p>Interest centers in the Senate chamber with its barrel ceiling and +panel-fronted galleries along both sides supported by slender round +columns. Here momentous business was transacted during the early years +of the American nation, and many relics of those troublous times are +here preserved. In the bay at the rear end the President's dais has +been<span class='page-number'><a name="Page_210" id="Page_210">210</a></span> restored from remains found beneath an old platform. It is of +graceful design with free-flowing curves and an elliptical swell front +where the balustrade has a solid three-panel insert. The turned +balusters are of slender grace, while the paneled pilasters or newels at +the ends and corners are adorned with straight hanging garlands in +applied work. There is also a festooned border in applied work above the +opening into the bay that is carried about the room above the galleries. +The central decoration of the ceiling and the eagle over the President's +dais furnish excellent examples of eighteenth-century frescoes.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_90" id="PL_90"></a> +<a href="images/ill_091_pl_90a.png"> +<img src="images/ill_091_pl_90a_th.png" width="300" height="235" alt="Plate XC.—Old Stock Exchange, Walnut and Dock Streets; +Girard National Bank, 116 South Third Street." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_90b" id="PL_90b"></a> +<a href="images/ill_091_pl_90b.png"> +<img src="images/ill_091_pl_90b_th.png" width="300" height="234" alt="Plate XC.—Old Stock Exchange, Walnut and Dock Streets; +Girard National Bank, 116 South Third Street." /></a> +<span class="caption">Plate XC.—Old Stock Exchange, Walnut and Dock Streets; +Girard National Bank, 116 South Third Street.</span> +</div> + +<p>A short distance east of Independence Square, in a narrow court off +Chestnut Street, between South Third and South Fourth streets, hedged +about by high modern office buildings that dwarf its size, is +Carpenters' Hall, in which the first Continental Congress assembled, +September 5, 1774, and in which the National Convention, in 1787, framed +the present Constitution of the United States. The building was also the +headquarters of the Pennsylvania Committee of Correspondence; the +basement was used as a magazine for ammunition during the Revolution, +and from 1791 to 1797 the whole of it was occupied by the first United +States Bank.</p> + +<p>The Carpenters' Company, established in 1724, was patterned after the +Worshipful Company of<span class='page-number'><a name="Page_211" id="Page_211">211</a></span> Carpenters of London, which dates back to 1477, +and the early organization of such a guild in America indicates the +large number and high character of the Colonial builders of Philadelphia +and explains the excellence of the architecture in this neighborhood. +The present building was begun in 1770, but was not completed until +1792, so that throughout the Revolutionary period it was used in a +partly finished condition. Since 1857 it has been preserved wholly for +its historic associations. Here was conceived that liberty which had its +birth in Independence Hall, so that its claim to fame is second only to +the latter. Like it, too, there are many interesting relics of those +glorious days to be seen within. An inscription on a tablet outside very +properly reads, "Within these walls, Henry, Hancock, and Adams inspired +the delegates of the Colonies with nerve and sinew for the toils of +war."</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 215px;"> +<a name="PL_91" id="PL_91"></a> +<a href="images/ill_092_pl_91a.png"> +<img src="images/ill_092_pl_91a_th.png" width="215" height="300" alt="Plate XCI.—Christ Church, North Second Street near +Market Street. Erected in 1727-44; Old Swedes' Church, Swanson and +Christian Streets. Erected in 1698-1700." /> +</a></div> +</td><td> +<div class="illustration" style="width: 240px;"> +<a name="PL_91b" id="PL_91b"></a> +<a href="images/ill_092_pl_91b.png"> +<img src="images/ill_092_pl_91b_th.png" width="240" height="300" alt="Plate XCI.—Christ Church, North Second Street near +Market Street. Erected in 1727-44; Old Swedes' Church, Swanson and +Christian Streets. Erected in 1698-1700." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XCI.—Christ Church, North Second Street near +Market Street. Erected in 1727-44;<br />Old Swedes' Church, Swanson and +Christian Streets. Erected in 1698-1700.</span> +</td></tr> +</table> + +<p>The building is in the form of a Greek cross with four projecting gable +ends and an octagonal cupola of graceful design and proportions at the +center of the roof. It is of characteristic Philadelphia brickwork, with +handsomely cased twenty-four-paned windows shuttered on the lower floor. +The entrance façade, with its broad, high stoop and pedimental doorway, +double doors and fanlight above; its pleasing fenestration, especially +the round-headed, Palladian windows of the second floor, above +balustrade sections resting on a horizontal belt of white at the<span class='page-number'><a name="Page_212" id="Page_212">212</a></span> +second-floor level, and its pediment with a handsome hand-tooled cornice +in which an always pleasing Grecian band is prominent, does credit to +its design, and altogether the structure was worthy of its purpose.</p> + +<p>Within, the meeting room is of surprisingly generous size, considering +the small impression given by the exterior aspect of the building. The +restored woodwork is unfortunate, yet the general effect of bygone years +remains.</p> + +<p>For two centuries Philadelphia has been justly famous for its public +markets, numerous and readily accessible to the entire community. +Marketing has ever been one of the duties of the thrifty housewife, to +which Philadelphia women have given particular attention, and everything +possible has been done to make the task easy and satisfactory to them. +When the city was first laid out its few wide streets, with the +exception of Broad Street, were laid out for the convenience of markets, +which in those days were placed in their center. A few of these old-time +markets still remain, notably that at Second and Pine streets, its +market house or central building of quaintly interesting design +embracing features such as the octagonal cupola, marble lintels, sills +and belt, and the elliptical and semicircular fanlights which are +typically Colonial.</p> + +<p>To Benjamin Franklin, Philadelphia is largely indebted for the +Pennsylvania Hospital fronting on<span class='page-number'><a name="Page_213" id="Page_213">213</a></span> Pine Street between South Eighth and +South Ninth streets, the first hospital in the United States, which was +projected in 1751, erected in 1755 and still continues to be the +foremost of some one hundred institutions in the city. The main building +was designed by Samuel Rhodes, mayor of Philadelphia, and in +architectural excellence is regarded as second only to Independence +Hall.</p> + +<p>Individuals gave funds freely for its erection; the British Parliament +turned over to it some funds unclaimed by a land company; Bishop +Whitefield gave a considerable sum; Benjamin West painted a replica of +his famous work, "Christ Healing the Sick", now in the entrance hall, +which was exhibited and earned four thousand pounds sterling in +admissions; some players gave "Hamlet" for the benefit of the hospital, +and money was raised in numerous other ways.</p> + +<p>The building is a large and beautiful one of noble appearance, three +stories high, having long, balanced wings two and a half stories high, +with dormers and an octagon tower over the cross wings at each end. The +total frontage is some two hundred and seventy-five feet. It is of +reddish-brown brick, faced on the front of the first story of the main +building with gray marble, and pierced by two large round-topped windows +each side of a central doorway with a balustraded stoop and handsome +semicircular fanlight and side lights. Above, six <span class='page-number'><a name="Page_214" id="Page_214">214</a></span> +Corinthian pilasters +support a beautifully detailed entablature at the eaves, from which +springs a pediment with ornamental oval window. Surmounting the hip roof +is a square superstructure of wood, paneled and painted white, above +which is a low octagonal belvedere platform with a huge, round +balustrade. Brick walls and an ornamental wistaria-clad iron fence +surround the grounds, and no visitor has entered the central gate since +La Fayette.</p> + +<p>Within the building there is much splendid interior wood finish. Its +best feature, however, is the high, broad hall, with fluted Ionic +columns supporting a mutulary Doric entablature, leading back to a +double winding staircase, which is a marvelous work of art, combining +the simplicity and purity as well as the beauty of the middle Georgian +period. There are two landings on each flight, and from the spiral +newels at the bottom the balustrades with ramped rails and heavy, turned +balusters swing upward, as do the staircases, to the third floor. One +notes with interest the unusual outline of the brackets under the +overhang of the stair treads.</p> + +<p>A few important public buildings of Philadelphia that were not erected +until early in the nineteenth century had their inception directly or +indirectly in the outgrowth of the War of Independence, and their +omission would render any treatise of the<span class='page-number'><a name="Page_215" id="Page_215">215</a></span> public buildings of the city +noticeably incomplete. Their inclusion here finds still further +justification in the fact that they are of classic architecture and so +to a degree in accord with Colonial traditions.</p> + +<p>The Custom House, a classic stone structure, on the south side of +Chestnut Street between Fourth and Fifth streets, was built for the +second United States Bank, authorized by Congress in April, 1816, +because of the bad financial condition into which the government had +fallen during the War of 1812. The building was designed by William +Strickland, in his day the leading American architect, being modeled +after the Parthenon of Athens. It was completed in 1824 and was put to +its present use in 1845.</p> + +<p>The main building of Girard College on Girard Avenue between North 19th +and North 25th streets, of which Thomas Ustick Walter, a pupil of +Strickland's, was the architect, is one of the finest specimens of pure +Greek architecture in America. Indeed, this imposing Corinthian +structure of stone has been called "the most perfect Greek temple in +existence." Work upon it was begun in 1833, and the college was opened +January 1, 1848. To a sarcophagus in this main building were removed the +remains of Stephen Girard in 1851. The building is 111 feet wide and 169 +feet long, and is surrounded by thirty-four fluted columns fifty-six +feet high and seven feet in diameter at the base, which<span class='page-number'><a name="Page_216" id="Page_216">216</a></span> cost thirteen +thousand dollars each. The total height of the building is ninety-seven +feet, and it is arched throughout with brick and stone, and roofed with +marble tiles. The weight of the roof is estimated at nearly one thousand +tons.</p> + +<p>The old Stock Exchange at Third and Walnut and Dock streets, facing a +broad open space once an old-time market, is also the work of William +Strickland, who likewise designed St. Paul's Church, St. Stephen's +Church, the almshouse and the United States Naval Asylum. It is an +impressive round-fronted classic structure of gray stone in the +Corinthian order, with a semicircular colonnade above the first story +supporting a handsomely executed entablature with conspicuous antefixes +about the cornice. Instead of a central flight of steps leading to a +main entrance, there were two well-designed flights at each side. +Surmounting the whole is a daring, tall, round cupola, its roof +supported by engaged columns and the spaces between pierced by classic +grilles. The structure is notable throughout for excellence in mass and +detail.</p> + +<table +border="0" +summary="plates" +cellpadding="0" +cellspacing="0"> +<tr><td> +<div class="illustration" style="width: 239px;"> +<a name="PL_92" id="PL_92"></a> +<a href="images/ill_093_pl_92a.png"> +<img src="images/ill_093_pl_92a_th.png" width="239" height="300" alt="Plate XCII.—St. Peter's Church, South Third and Pine +Streets. Erected in 1761; Lectern, St. Peter's Church." /> +</a></div> +</td><td> +<div class="illustration" style="width: 227px;"> +<a name="PL_92b" id="PL_92b"></a> +<a href="images/ill_093_pl_92b.png"> +<img src="images/ill_093_pl_92b_th.png" width="227" height="300" alt="Plate XCII.—St. Peter's Church, South Third and Pine +Streets. Erected in 1761; Lectern, St. Peter's Church." /> +</a></div> +</td></tr> +<tr><td colspan="2" align="center"> +<span class="caption">Plate XCII.—St. Peter's Church, South Third and Pine +Streets. Erected in 1761; Lectern, St. Peter's<br />Church.</span> +</td></tr> +</table> + + +<p>At Number 116 South Third Street stands the oldest banking building in +America, and withal one of the handsomest of such buildings. Erected in +1795 by the first Bank of the United States, this beautiful stone and +brick structure in the Corinthian order, with its fine pedimental +portico bearing in high relief a modification of the seal of the +United<span class='page-number'><a name="Page_217" id="Page_217">217</a></span> States, was owned and occupied by Stephen Girard from 1812 to +1831, and since 1832 by the Girard Bank and the Girard National Bank. It +is one of those classic structures which by reason of nicety in +proportion and precision in detail still compares favorably with the +best modern buildings of the city. The high, fluted columns and +pilasters with their nicely wrought capitals lend an imposing nobility +that immediately arrests attention, while the refinement of detail +throughout well repays careful scrutiny. In this latter respect its best +features are the cornice with its beautifully enriched moldings and +modillions, the balustrade above, the window heads supported by +hand-tooled consoles and the insert panels under the portico.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_93" id="PL_93"></a> +<a href="images/ill_094_pl_93a.png"> +<img src="images/ill_094_pl_93a_th.png" width="300" height="240" alt="Plate XCIII.—Interior and Chancel, Christ Church; +Interior and Lectern, St. Peter's Church." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_93b" id="PL_93b"></a> +<a href="images/ill_094_pl_93b.png"> +<img src="images/ill_094_pl_93b_th.png" width="300" height="227" alt="Plate XCIII.—Interior and Chancel, Christ Church; +Interior and Lectern, St. Peter's Church." /></a> +<span class="caption">Plate XCIII.—Interior and Chancel, Christ Church; +Interior and Lectern, St. Peter's Church.</span> +</div> + + +<p>The first Bank of the United States was incorporated in 1791 with a +capital of ten million dollars. It was the first national bank of issue +essential to the system of banking built up by Alexander Hamilton in +organizing the finances of the Federal Government under the constitution +of 1789. It issued circulating notes, discounted commercial paper and +aided the government in its financial operations. Although the +government subscribed one-fifth of the capital, it was paid for by a +roundabout process which actually resulted in the loan of the amount by +the bank to the treasury. Other loans were made by the bank to the +government, until by the end of 1795 its obligations had reached +$6,200,000.<span class='page-number'><a name="Page_218" id="Page_218">218</a></span> In order to meet these obligations, the government +gradually disposed of its bank stock and by 1802 had sold its entire +holdings at a profit of $671,860. A statement submitted to Congress +January 24, 1811, by Albert Gallatin, then Secretary of the Treasury, +showed resources of $24,183,046, of which $14,578,294 was in loans and +discounts, $2,750,000 in United States stock and $5,009,567 in specie.</p> + +<p>The expiration of the charter of the bank, in 1811, was the occasion for +a party contest which prevented renewal and added greatly to the +financial difficulties of the government during the War of 1812. +Although foreign stockholders were not permitted to vote by proxy, and +the twenty-five directors were required to be citizens of the United +States, the bank was attacked on the ground of foreign ownership, and it +was also claimed that Congress had no constitutional power to create +such an institution.</p> + +<p>Thereupon the bank building and the cashier's house in Philadelphia were +purchased at a third of the original cost by Girard, who, in May, 1812, +established the Bank of Stephen Girard and thereafter assisted the +government very materially. He was, in fact, the financier of the War of +1812.</p> + +<p>No less interesting than the governmental and commercial public +buildings of Philadelphia are its churches, of which several of noble +architecture date back to the Colonial period.<span class='page-number'><a name="Page_219" id="Page_219">219</a></span></p> + +<p>On North Second Street, just north of Market, is located Christ Church, +Protestant Episcopal, the first diocesan church of Pennsylvania. It is a +fine old building designed mainly by Doctor John Kearsley, a vestryman +and physician. The corner stone was laid in 1727, and the building was +completed in 1744, but the steeple, in part designed by Benjamin +Franklin and containing a famous chime of eight bells, was not erected +until 1754. Franklin was one of the managers of a lottery in 1753 for +raising funds for the steeple and bells, the latter being imported at a +cost of five hundred pounds sterling. On July 4, 1776, after the +Declaration of Independence had been read, these bells "rang out a merry +chime."</p> + +<p>This imposing edifice eloquently indicates what architectural triumphs +can be achieved in brickwork in the Colonial style. Apart from the +spire, interest centers in the fenestration, which has already been +treated in Chapter VIII, and in the wood trim. As in much contemporary +architecture, the woodwork is conspicuous for the free use of the +orders. For example, one immediately notes the mutulary Doric cornice +and frieze along the sides, and the pulvinated Ionic entablature across +the chancel gable above the Palladian window. The roof is heavily +balustraded in white-painted wood with the urns on the several pedestals +holding torches with carved flames. A brick belfry rises square and<span class='page-number'><a name="Page_220" id="Page_220">220</a></span> +sturdy above the roof and then continues upward in diminishing +construction of wood, first virtually four-sided, then octagonal and +finally in a low, tapering spire surmounted by a weather-vane. A +distinctive feature is the simple iron fence along the street with two +wrought-iron arched gates, as beautiful as any in America, hung from +high, ball-topped stone posts.</p> + +<p>Imposing in its simplicity, the interior is generally Doric in +character, but the Ionic entablatures over the side sections of the +beautiful Palladian chancel window reflect the treatment outside. Fluted +columns standing on high pedestals, with square, Doric entablature +sections above, support graceful, elliptical arches, which separate the +nave from the aisles in which are panel-fronted galleries. The organ +loft over the main entrance is bow-fronted and highly ornate.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_94" id="PL_94"></a> +<a href="images/ill_095_pl_94a.png"> +<img src="images/ill_095_pl_94a_th.png" width="300" height="243" alt="Plate XCIV.—Interior and Chancel, Old Swedes' Church; +St. Paul's Church, South Third Street near Walnut Street." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_94b" id="PL_94b"></a> +<a href="images/ill_095_pl_94b.png"> +<img src="images/ill_095_pl_94b_th.png" width="300" height="227" alt="Plate XCIV.—Interior and Chancel, Old Swedes' Church; +St. Paul's Church, South Third Street near Walnut Street." /></a> +<span class="caption">Plate XCIV.—Interior and Chancel, Old Swedes' Church; +St. Paul's Church, South Third Street near Walnut Street.</span> +</div> + + + +<p>Certain alterations to the interior were made in 1836, and in 1882 it +was restored to its ancient character, but the high old-fashioned +wineglass pulpit of 1770 remains, as does the font. A silver bowl, +weighing more than five pounds, presented in 1712 by Colonel Quarry of +the British Army, is still in use, while a set of communion plate +presented by Queen Anne in 1708 is brought forth on special occasions. +The brass chandelier for candles has hung in its central position since +1749. Bishop White officiated as rector during<span class='page-number'><a name="Page_221" id="Page_221">221</a></span> +Revolutionary days, +and his body lies under the altar. Many well-known figures of American +history worshiped here, both Washington and Franklin maintaining pews +which are still preserved. That in which Washington sat was placed in +Independence Hall in 1836.</p> + +<div class="illustration" style="width: 300px;"> +<a name="PL_95" id="PL_95"></a> +<a href="images/ill_096_pl_95a.png"> +<img src="images/ill_096_pl_95a_th.png" width="300" height="233" alt="Plate XCV.—Mennonite Meeting House, Germantown. Erected +in 1770; Holy Trinity Church, South Twenty-first and Walnut Streets." /> +</a></div> + +<div class="illustration" style="width: 300px;"> +<a name="PL_95b" id="PL_95b"></a> +<a href="images/ill_096_pl_95b.png"> +<img src="images/ill_096_pl_95b_th.png" width="300" height="233" alt="Plate XCV.—Mennonite Meeting House, Germantown. Erected +in 1770; Holy Trinity Church, South Twenty-first and Walnut Streets." /></a> +<span class="caption">Plate XCV.—Mennonite Meeting House, Germantown. Erected +in 1770; Holy Trinity Church, South Twenty-first and Walnut Streets.</span> +</div> + +<p>In the churchyard adjoining are buried a number of noted patriots, +including Benjamin Franklin, Robert Morris, the financier of the +Revolution, James Wilson, the first justice of the State and a signer of +the Declaration and Constitution, Brigadier General John Forbes, John +Penn, Peyton Randolph, Francis Hopkinson, Doctor Benjamin Rush, Generals +Lambert, Cadwalader, Charles Lee and Jacob Morgan of the Continental +Army, and Commodores Truxton, Bainbridge and Dale of the Navy.</p> + +<p>In the southeast part of the city, at Swanson and Christian streets, +just east of Front Street, is located the ivy-clad Old Swedes' Church, +one of the most venerable buildings in America. It stands on the site of +a blockhouse erected by the Swedish settlers in 1677. The present +structure of brick was begun in 1698 and finished two years later. For +one hundred and forty-three years it remained a worshiping place of the +Swedish Lutherans, and for one hundred and thirty years it was in charge +of ministers sent over from Sweden. The baptismal font is the original +one brought from Sweden, and the communion service has been in use since +1773.<span class='page-number'><a name="Page_222" id="Page_222">222</a></span> In the adjoining churchyard the oldest tombstone bearing a +legible epitaph is dated 1708. Here Alexander Wilson, the celebrated +naturalist, was buried at his own request, saying that the "birds would +be apt to come and sing over my grave."</p> + +<p>Although generally Colonial in external appearance, and frankly so in +the detail of its wood trim, the arrangement of the structure and its +proportions, especially the peaked gable over the entrance and the +small, low and square wooden belfry, give it a somewhat foreign aspect +which is by no means surprising in the circumstances. Indeed, it may be +said to have decided Norse suggestion. The interior, with its severely +simple galleries, straight-backed wooden pews and high pulpit under the +chancel window, has that quaintness to be seen in the earliest country +churches of America. Two big-eyed, winged cherubim on the organ loft are +interesting examples of early Swedish wood carving probably taken from +an old Swedish ship.</p> + +<p>St. Peter's at South Third and Pine streets, the second Protestant +Episcopal Church in the city, was an offshoot of Christ Church, and for +many years both were under the same rectorship. Washington, during his +various sojourns in Philadelphia, attended sometimes one and again the +other, and Pew Number 41 in St. Peter's is pointed out as his. The +building was erected in 1761 and still retains its Colonial +characteristics.<span class='page-number'><a name="Page_223" id="Page_223">223</a></span></p> + +<p>It is a brick structure two and a half stories in height, having +pedimental ends and corners quoined with stone. The fenestration with +many round-headed windows is excellent and has already been alluded to +in Chapter VIII. At one end a massive, square, vine-clad belfry tower of +brick rises to a height of six stories, above which there is a tall, +slender wooden spire surmounted by a ball and cross.</p> + +<p>Within are the original square box pews with doors, and seats facing +both ways, those of the galleries being similarly arranged. The whole +aspect is one of great plainness and simple dignity, yet withal +pleasing. A unique feature is the location of the organ and altar at the +eastern end and the reading desk and lofty wineglass pulpit, with +sounding board overhead, at the western end. This compels the rector to +conduct part of the service at each end of the church and obliges the +congregation to change to the other seat of the pews in order to face in +the opposite direction. In the adjoining churchyard are buried many +distinguished early residents of the city, including Commodore Stephen +Decatur.</p> + +<p>Trinity Church, Oxford, stands on the site of a log meetinghouse where +Church of England services were held as early as 1698. The present brick +structure was erected in 1711. Standing among fine old trees in the +midst of a picturesque<span class='page-number'><a name="Page_224" id="Page_224">224</a></span> churchyard, it has an appearance rather English +than American. The detail of the wood trim is obviously Colonial, +however, and the brickwork corresponds to the best in Philadelphia. The +influence of Flemish brickwork is seen in the large diamond patterns +each side of the semicircular marble inscription tablet above the +principal doorway.</p> + +<p>St. Paul's Protestant Episcopal Church, South Third and Walnut streets, +was designed by William Strickland and built some years later than St. +Peter's. The exterior remains the same, but the interior has been +considerably altered. It is a simple gable-roof structure of plastered +rubble masonry, and its façade with broad pilasters, handsome +round-topped windows and simple doorway is heavily vine-clad. A handsome +fence with highly ornamental wrought-iron gates and large ball-topped +posts lends a touch of added refinement to the picture. Edwin Forrest, +the eminent American actor, is buried in one of the vaults of the +church.</p> + +<p>Although the Friends were the first sect to erect a meetinghouse of +their own in Germantown, about 1693, the Mennonites built a log +meetinghouse in 1709, the first of this sect in America, and their +present stone church on Germantown Avenue, near Herman Street, in 1770, +a modest one-story gable-roof structure of ledge stone. It would be +impossible to conceive anything simpler than the<span class='page-number'><a name="Page_225" id="Page_225">225</a></span> tall, narrow, double +doors with the little hood above a stone stoop with plain, iron handrail +on one side. In the churchyard in front of it lie the remains of the man +who shot and mortally wounded General Agnew during the Battle of +Germantown.</p> + + +<h3><a name="INDEX" id="INDEX"></a>INDEX</h3> +<ul> +<li>Abacus, <a href="#Page_109">109</a>, <a href="#Page_112">112</a></li> +<li>Acanthus leaf, <a href="#Page_81">81</a>, <a href="#Page_164">164</a></li> +<li>Adam, mantels, <a href="#Page_92">92</a>, <a href="#Page_179">179</a>, <a href="#Page_183">183</a>; +<ul> +<li>design, in American building, <a href="#Page_166">166</a>;</li> +<li>cornice and frieze, <a href="#Page_187">187</a></li> +</ul> +</li> +<li>Agnew, General, <a href="#Page_63">63</a></li> +<li>Allen, Nathaniel, <a href="#Page_3">3</a></li> +<li>Ambler, Doctor W. S., <a href="#Page_121">121</a></li> +<li>American flag, the first, tradition concerning the making of, <a href="#Page_51">51</a>, <a href="#Page_52">52</a></li> +<li>Andirons, <a href="#Page_172">172</a>, <a href="#Page_181">181</a></li> +<li>André, Major John, <a href="#Page_14">14</a>, <a href="#Page_22">22</a></li> +<li>Arch Street, house at No. 229 (Ross house), <a href="#Page_51">51</a>, <a href="#Page_52">52</a></li> +<li>Arches, detailed, <a href="#Page_20">20</a>; +<ul> +<li>flat brick, <a href="#Page_23">23</a>;</li> +<li>elliptical, <a href="#Page_24">24</a>, <a href="#Page_172">172</a>;</li> +<li>with cores of brick, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>;</li> +<li>at foot of stairway, <a href="#Page_60">60</a>;</li> +<li>Palladian window recessed within, <a href="#Page_66">66</a>;</li> +<li>recessed, <a href="#Page_66">66</a>;</li> +<li>gauged, <a href="#Page_141">141</a>;</li> +<li>relieving, <a href="#Page_141">141</a>;</li> +<li>flanked by two narrow arches, <a href="#Page_165">165</a>;</li> +<li>across main hall, <a href="#Page_193">193</a></li> +</ul> +</li> +<li>Architects, amateur, <a href="#Page_6">6</a></li> +<li>Architecture, advantage of study of, <a href="#Page_2">2</a>; +<ul> +<li>a part of gentleman's education in Colonial times, <a href="#Page_6">6</a></li> +</ul> +</li> +<li>Architrave casings, of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>; +<ul> +<li>fine-scale hand carving in, <a href="#Page_111">111</a>;</li> +<li>of Wharton house, <a href="#Page_113">113</a>;</li> +<li>molded, <a href="#Page_162">162</a>;</li> +<li>of old Spruce Street house, <a href="#Page_178">178</a>;</li> +<li>were the rule, <a href="#Page_190">190</a>;</li> +<li>miter-joined, <a href="#Page_191">191</a></li> +</ul> +</li> +<li>Architraves, fluted, <a href="#Page_109">109</a>; +<ul> +<li>molded, <a href="#Page_112">112</a>;</li> +<li>incised, <a href="#Page_115">115</a>;</li> +<li>of Upsala, <a href="#Page_120">120</a>;</li> +<li>horizontal, <a href="#Page_172">172</a></li> +</ul> +</li> +<li>Areaways, <a href="#Page_40">40</a>, <a href="#Page_49">49</a>, <a href="#Page_61">61</a></li> +<li>Armat, Thomas, <a href="#Page_81">81</a>, <a href="#Page_82">82</a></li> +<li>Armat, Thomas Wright, <a href="#Page_81">81</a></li> +<li>Arnold, Benedict, <a href="#Page_75">75</a>, <a href="#Page_76">76</a></li> +<li>Articles of Confederation, signing of, <a href="#Page_205">205</a></li> +<li>Astragal, <a href="#Page_176">176</a>, <a href="#Page_177">177</a>, <a href="#Page_180">180</a>, <a href="#Page_181">181</a></li> +<li>Bainbridge, Commodore, <a href="#Page_221">221</a></li> +<li>Balconies, hall, <a href="#Page_154">154</a></li> +<li>Ball and cross, <a href="#Page_223">223</a></li> +<li>Ball and disk, <a href="#Page_97">97</a></li> +<li>Balusters, of Stenton, <a href="#Page_157">157</a>; +<ul> +<li>of Whitby Hall, <a href="#Page_159">159</a>;</li> +<li>of Upsala, <a href="#Page_167">167</a>;</li> +<li>in Congress Hall, <a href="#Page_209">209</a>, <a href="#Page_210">210</a></li> +</ul> +</li> +<li>Balustraded, belvederes, <a href="#Page_19">19</a>, <a href="#Page_73">73</a>; +<ul> +<li>roof, <a href="#Page_199">199</a>;</li> +<li>clock-tower, <a href="#Page_200">200</a></li> +</ul> +</li> +<li>Balustrades, of stairway, <a href="#Page_74">74</a>, <a href="#Page_157">157</a>, <a href="#Page_159">159</a>, <a href="#Page_167">167</a>; +<ul> +<li>of porch, <a href="#Page_92">92</a>;</li> +<li>of wing steps, <a href="#Page_98">98</a>;</li> +<li>patterned after cathedral grilles and screens, <a href="#Page_127">127</a>;</li> +<li>of cast iron, of Wistar house, spiral design in, <a href="#Page_129">129</a>;</li> +<li>of house No. 207 La Grange Alley, <a href="#Page_130">130</a>;</li> +<li>of Independence Hall, <a href="#Page_201">201</a></li> +</ul> +</li> +<li>Bank of North America, <a href="#Page_8">8</a>, <a href="#Page_9">9</a></li> +<li>Bank of Stephen Girard, <a href="#Page_218">218</a></li> +<li>Bank of the United States, the first, and the building it occupied, <a href="#Page_216">216-218</a></li> +<li>Barclay, Alexander, <a href="#Page_20">20</a></li> +<li>"Barn" pointing, <a href="#Page_55">55</a>, <a href="#Page_95">95</a></li> +<li>Bartram, John, <a href="#Page_94">94</a></li> +<li>Bartram, William, <a href="#Page_95">95</a></li> +<li>Bartram House, <a href="#Page_93">93-95</a>; +<ul> +<li>windows of, <a href="#Page_136">136</a>;</li> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>with neither outside shutters nor blinds, <a href="#Page_142">142</a></li> +</ul> +</li> +<li>Bead and reel, <a href="#Page_175">175</a>, <a href="#Page_176">176</a>, <a href="#Page_180">180</a>, <a href="#Page_181">181</a></li> +<li>Bed-molding, reeded, <a href="#Page_109">109</a>; +<ul> +<li>denticulated, <a href="#Page_112">112</a></li> +</ul> +</li> +<li>Belfry, <a href="#Page_219">219</a></li> +<li>Belting, of Stenton, <a href="#Page_26">26</a>; +<ul> +<li>of Port Royal House, <a href="#Page_35">35</a>;</li> +<li>of city blocks, <a href="#Page_39">39</a>;</li> +<li>of Morris house, <a href="#Page_49">49</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>;</li> +<li>of The Woodlands stable, <a href="#Page_66">66</a>;</li> +<li>of Mount Pleasant, <a href="#Page_73">73</a>;</li> +<li>of Solitude, <a href="#Page_83">83</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>;</li> +<li>of The Highlands, <a href="#Page_91">91</a>;</li> +<li>of Independence Hall, <a href="#Page_199">199</a></li> +</ul> +</li> +<li>Belvedere platform, <a href="#Page_214">214</a></li> +<li>Belvederes, of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>of Port Royal House, <a href="#Page_35">35</a>;</li> +<li>of Mount Pleasant, <a href="#Page_73">73</a></li> +</ul> +</li> +<li>Bezan, John, <a href="#Page_3">3</a></li> +<li>Billmeyer, Michael, <a href="#Page_99">99</a></li> +<li>Billmeyer house, description of, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>; +<ul> +<li>history of, <a href="#Page_99">99</a>;</li> +<li>six-panel door of, <a href="#Page_103">103</a>;</li> +<li>seats of entrance of, <a href="#Page_107">107</a>;</li> +<li>stoop of, <a href="#Page_129">129</a>;</li> +<li>windows of, <a href="#Page_138">138</a>;</li> +<li>dormers of, <a href="#Page_141">141</a></li> +</ul> +</li> +<li>Bingham, Hannah, <a href="#Page_44">44</a></li> +<li>Bingham, William, <a href="#Page_43">43</a>, <a href="#Page_44">44</a></li> +<li>Blackwell, Colonel Jacob, <a href="#Page_43">43</a></li> +<li>Blackwell, Rev. Doctor Robert, <a href="#Page_43">43</a>, <a href="#Page_44">44</a></li> +<li>Blackwell house, description of, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>; +<ul> +<li>history of, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>;</li> +<li>eight-panel door of, <a href="#Page_104">104</a>;</li> +<li>windows of, <a href="#Page_136">136</a>, <a href="#Page_138">138</a>;</li> +<li>shutters of, <a href="#Page_143">143</a>, <a href="#Page_145">145</a>;</li> +<li>doorhead of, <a href="#Page_192">192</a></li> +</ul> +</li> +<li>Blinds, of Girard house, <a href="#Page_31">31</a>; +<ul> +<li>of Port Royal House, <a href="#Page_35">35</a>;</li> +<li>of city blocks, <a href="#Page_40">40</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>;</li> +<li>of Grumblethorpe, <a href="#Page_61">61</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Loudoun, <a href="#Page_81">81</a>;</li> +<li>of The Highlands, <a href="#Page_92">92</a>;</li> +<li>use of, <a href="#Page_143">143</a>, <a href="#Page_144">144</a>;</li> +<li>structure of, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>;</li> +<li>methods of hanging and fastening, <a href="#Page_146">146-148</a></li> +</ul> +</li> +<li>Blocks, houses in, <a href="#Page_15">15</a>, <a href="#Page_38">38</a>; +<ul> +<li>characteristics of, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>;</li> +<li>many of them palatial, <a href="#Page_40">40</a>;</li> +<li>decay of, <a href="#Page_41">41</a>;</li> +<li>of Camac Street, <a href="#Page_41">41</a>, <a href="#Page_42">42</a></li> +</ul> +</li> +<li>Bolts, <a href="#Page_147">147</a></li> +<li>Bonding, <a href="#Page_18">18</a>, <a href="#Page_23">23</a>, <a href="#Page_38">38</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a></li> +<li>Books on joinery, <a href="#Page_6">6</a></li> +<li>Botanical garden of John Bartram, <a href="#Page_94">94</a>, <a href="#Page_95">95</a></li> +<li>Brackets, <a href="#Page_167">167</a>, <a href="#Page_168">168</a>, <a href="#Page_214">214</a></li> +<li>Brandywine, Battle of, <a href="#Page_205">205</a></li> +<li>Brick, favored from the outset in preference to wood, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>; +<ul> +<li>Georgian country houses of, <a href="#Page_17">17-37</a>;</li> +<li>city residences of, <a href="#Page_38">38-52</a></li> +</ul> +</li> +<li>"Brick" stone, <a href="#Page_86">86</a>, <a href="#Page_87">87</a>, <a href="#Page_95">95</a>, <a href="#Page_98">98</a></li> +<li>Brick trim, <a href="#Page_170">170</a></li> +<li>Brickwork, how laid up, <a href="#Page_18">18</a>; +<ul> +<li>of Morris house, <a href="#Page_48">48</a>, <a href="#Page_49">49</a></li> +</ul> +</li> +<li>Builders, attracted to Philadelphia at an early time, <a href="#Page_5">5</a></li> +<li>Bull baiting, <a href="#Page_13">13</a></li> +<li>Bull's-eye, light, <a href="#Page_160">160</a>; +<ul> +<li>window, <a href="#Page_199">199</a></li> +</ul> +</li> +<li>Cadwalader, General, <a href="#Page_221">221</a></li> +<li>Camac Street, <a href="#Page_41">41</a>, <a href="#Page_42">42</a></li> +<li>Capitals, of acanthus-leaf motive, <a href="#Page_81">81</a>; +<ul> +<li>Corinthian, <a href="#Page_116">116</a>;</li> +<li>Ionic, <a href="#Page_121">121</a>, <a href="#Page_159">159</a></li> +</ul> +</li> +<li>Carlton, windows of, <a href="#Page_137">137</a>; +<ul> +<li>dormers of, <a href="#Page_140">140</a></li> +</ul> +</li> +<li>Carpenter house, <a href="#Page_168">168</a></li> +<li>Carpenters, attracted to Philadelphia at an early time, <a href="#Page_5">5</a></li> +<li>Carpenters' Company, the, <a href="#Page_5">5</a>, <a href="#Page_210">210</a></li> +<li>Carpenters' Hall, <a href="#Page_8">8</a>; +<ul> +<li>windows of, <a href="#Page_148">148</a>;</li> +<li>description and history of, <a href="#Page_210">210-212</a></li> +</ul> +</li> +<li>Carr, Colonel, <a href="#Page_95">95</a></li> +<li>Carving, elliptical, <a href="#Page_97">97</a>; +<ul> +<li>floreated, <a href="#Page_173">173</a></li> +</ul> +</li> +<li>Casement sashes, <a href="#Page_31">31</a></li> +<li>Casings. <i>See</i> <span class="smcap"><a href="#Door-casings">Door-casings</a></span>, +<span class="smcap"><a href="#Window-casings">Window-casings</a></span></li> +<li>Cedar Grove, windows of, <a href="#Page_135">135</a>; +<ul> +<li>dormers of, <a href="#Page_139">139</a>;</li> +<li>shutters of, <a href="#Page_143">143</a></li> +</ul> +</li> +<li>Chalkley Hall, eight-panel door of, <a href="#Page_104">104</a>; +<ul> +<li>windows of, <a href="#Page_137">137</a>, <a href="#Page_139">139</a>;</li> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>blinds of, <a href="#Page_143">143</a>, <a href="#Page_146">146</a></li> +</ul> +</li> +<li>Chandeliers, <a href="#Page_187">187</a></li> +<li>Chew, Benjamin, <a href="#Page_88">88-90</a></li> +<li>Chew, John, <a href="#Page_89">89</a></li> +<li>Chew house, shutters of, <a href="#Page_147">147</a></li> +<li>Chew's Woods, <a href="#Page_91">91</a></li> +<li>Chimney breast, <a href="#Page_171">171</a>, <a href="#Page_175">175</a></li> +<li>Chimney-pieces, of Hope Lodge, <a href="#Page_24">24</a>; +<ul> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>;</li> +<li>development of, <a href="#Page_171">171</a>;</li> +<li>of Whitby Hall, <a href="#Page_172">172</a>, <a href="#Page_173">173</a>;</li> +<li>of Mount Pleasant, <a href="#Page_175">175</a>, <a href="#Page_176">176</a>;</li> +<li>of Cliveden, <a href="#Page_177">177</a>;</li> +<li>of old house on Spruce Street, <a href="#Page_178">178</a>;</li> +<li>paneled, <a href="#Page_188">188</a>;</li> +<li>of Stenton, <a href="#Page_188">188</a></li> +</ul> +</li> +<li>Chimney stacks, of Port Royal House, <a href="#Page_35">35</a>; +<ul> +<li>of Mount Pleasant, <a href="#Page_73">73</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>;</li> +<li>of Independence Hall, <a href="#Page_199">199</a></li> +</ul> +</li> +<li>Chimneys, of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>of Stenton, <a href="#Page_26">26</a>;</li> +<li>of Girard house, <a href="#Page_31">31</a>;</li> +<li>of city blocks, <a href="#Page_39">39</a>;</li> +<li>of Grumblethorpe, <a href="#Page_61">61</a>;</li> +<li>of Vernon, <a href="#Page_79">79</a>;</li> +<li>of Solitude, <a href="#Page_83">83</a></li> +</ul> +</li> +<li>China closets, <a href="#Page_189">189</a></li> +<li>Christ church, designed by Doctor John Kearsley, <a href="#Page_6">6</a>; +<ul> +<li>windows of, <a href="#Page_148">148-150</a>;</li> +<li>history and description of, <a href="#Page_219">219-221</a></li> +</ul> +</li> +<li>Churches, <a href="#Page_218">218-225</a></li> +<li>City Troop, the, <a href="#Page_50">50</a></li> +<li>Clarendon Code, the, <a href="#Page_3">3</a></li> +<li>Classic, façade, <a href="#Page_88">88</a>; +<ul> +<li>moldings, <a href="#Page_113">113</a>;</li> +<li>entablature, <a href="#Page_115">115</a>;</li> +<li>detail, <a href="#Page_127">127</a>, <a href="#Page_165">165</a>, <a href="#Page_178">178</a>, <a href="#Page_179">179</a>, <a href="#Page_187">187</a>, <a href="#Page_194">194</a>, <a href="#Page_198">198</a>;</li> +<li>orders, application of, to walls, etc., <a href="#Page_186">186</a>;</li> +<li>urns, <a href="#Page_199">199</a>;</li> +<li>three orders used in tower of Independence Hall, <a href="#Page_200">200</a>;</li> +<li>balustrade, <a href="#Page_201">201</a>;</li> +<li>Custom House, <a href="#Page_215">215</a>;</li> +<li>Girard College, <a href="#Page_215">215</a>;</li> +<li>Stock Exchange, <a href="#Page_216">216</a>;</li> +<li>Bank Building, <a href="#Page_217">217</a></li> +</ul> +</li> +<li>Clay, makeshift for lime, <a href="#Page_96">96</a></li> +<li>Cleveland, Parker, <a href="#Page_63">63</a></li> +<li>Cliveden, description of, <a href="#Page_87">87</a>, <a href="#Page_88">88</a>; +<ul> +<li>history of, <a href="#Page_88">88-91</a>, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>;</li> +<li>door of, <a href="#Page_105">105</a>;</li> +<li>doorway of, <a href="#Page_117">117</a>, <a href="#Page_118">118</a>;</li> +<li>stoop of, <a href="#Page_127">127</a>, <a href="#Page_128">128</a>;</li> +<li>windows of, <a href="#Page_137">137</a>;</li> +<li>dormers of, <a href="#Page_141">141</a>;</li> +<li>lintels of, <a href="#Page_142">142</a>;</li> +<li>shutters of, <a href="#Page_143">143</a>, <a href="#Page_144">144</a>;</li> +<li>hall and staircase of, <a href="#Page_165">165</a>, <a href="#Page_166">166</a>;</li> +<li>chimney piece of, <a href="#Page_177">177</a>;</li> +<li>parlor of, <a href="#Page_186">186</a>;</li> +<li>interior finish of, <a href="#Page_188">188</a>, <a href="#Page_191">191</a></li> +</ul> +</li> +<li>Clock tower, <a href="#Page_199">199</a></li> +<li>Closets, with sliding top, <a href="#Page_27">27</a>; +<ul> +<li>fireplace, <a href="#Page_172">172-174</a></li> +</ul> +</li> +<li>Clunie. <i>See</i> <span class="smcap"><a href="#Mount_Pleasant">Mount Pleasant</a></span></li> +<li>Coach, old family, <a href="#Page_91">91</a></li> +<li>Cock fighting, <a href="#Page_13">13</a></li> +<li>Coin d'Or, <a href="#Page_42">42</a></li> +<li>Coleman, William, <a href="#Page_20">20</a></li> +<li>Colonial domestic architecture, much of best, to be found in neighborhood of Philadelphia, <a href="#Page_2">2</a></li> +<li>Colonial pointing, <a href="#Page_55">55</a></li> +<li>Colonial style of architecture, in Philadelphia, <a href="#Page_3">3</a>; +<ul> +<li>reference books on joinery the fountainhead of, <a href="#Page_6">6</a>;</li> +<li>more or less common to all buildings of the period in Philadelphia, <a href="#Page_14">14</a></li> +</ul> +</li> +<li>Colonnettes, <a href="#Page_152">152</a>, <a href="#Page_183">183</a></li> +<li>Columns, of Hope Lodge, <a href="#Page_23">23</a>; +<ul> +<li>of city blocks, <a href="#Page_40">40</a>;</li> +<li>engaged Ionic, of The Woodlands, <a href="#Page_65">65</a>;</li> +<li>Tuscan, of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Loudoun, <a href="#Page_81">81</a>;</li> +<li>Ionic, of Solitude, <a href="#Page_83">83</a>;</li> +<li>reeded, of The Highlands, <a href="#Page_92">92</a>;</li> +<li>of Bartram House, <a href="#Page_94">94</a>;</li> +<li>engaged, supporting pediment, <a href="#Page_108">108</a>;</li> +<li>engaged, supporting massive entablature, <a href="#Page_112">112</a>;</li> +<li>of Wharton house, <a href="#Page_113">113</a>;</li> +<li>fluted, of house No. 6105 Germantown Avenue, <a href="#Page_115">115</a>;</li> +<li>fluted, of Dr. Denton's house, <a href="#Page_116">116</a>;</li> +<li>of Upsala, <a href="#Page_120">120</a>;</li> +<li>fluted, in Independence Hall, <a href="#Page_203">203</a>;</li> +<li>engaged, in Independence Hall, <a href="#Page_204">204</a></li> +</ul> +</li> +<li>Combes Alley, <a href="#Page_41">41</a></li> +<li>Combes Alley house, windows of, <a href="#Page_136">136</a>; +<ul> +<li>shutters of, <a href="#Page_144">144</a></li> +</ul> +</li> +<li>Congress Hall, windows of, <a href="#Page_148">148</a>; +<ul> +<li>history and description of, <a href="#Page_207">207-210</a></li> +</ul> +</li> +<li>Consoles, hand-carved, <a href="#Page_107">107</a>, <a href="#Page_173">173</a>, <a href="#Page_174">174</a>, <a href="#Page_177">177</a>, <a href="#Page_192">192</a>, <a href="#Page_200">200</a>; +<ul> +<li>of dental course, <a href="#Page_115">115</a>;</li> +<li>of Mount Pleasant, <a href="#Page_176">176</a>;</li> +<li>of Independence Hall, <a href="#Page_200">200</a></li> +</ul> +</li> +<li>Constitution of United States, setting of convention which framed, <a href="#Page_9">9</a></li> +<li>Continental Congresses in Philadelphia, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>, <a href="#Page_205">205</a></li> +<li>Corinthian, doorways, <a href="#Page_115">115</a>; +<ul> +<li>capitals, <a href="#Page_116">116</a>;</li> +<li>pilasters, <a href="#Page_200">200</a>, <a href="#Page_213">213</a>, <a href="#Page_214">214</a>;</li> +<li>Girard College, <a href="#Page_215">215</a>;</li> +<li>Stock Exchange, <a href="#Page_216">216</a></li> +</ul> +</li> +<li>Cornices, of Woodford, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>; +<ul> +<li>of Hope Lodge, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>;</li> +<li>of Girard house, <a href="#Page_31">31</a>;</li> +<li>of Port Royal House, <a href="#Page_35">35</a>;</li> +<li>of city blocks, <a href="#Page_39">39</a>;</li> +<li>of Morris house, <a href="#Page_49">49</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>;</li> +<li>of Mount Pleasant, <a href="#Page_73">73</a>, <a href="#Page_74">74</a>, <a href="#Page_163">163</a>, <a href="#Page_176">176</a>, <a href="#Page_192">192</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Vernon, <a href="#Page_80">80</a>;</li> +<li>of Solitude, <a href="#Page_83">83</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>, <a href="#Page_165">165</a>;</li> +<li>of The Highlands, <a href="#Page_91">91</a>;</li> +<li>of Green Tree Inn, <a href="#Page_97">97</a>;</li> +<li>of house No. 6504 Germantown Avenue, <a href="#Page_110">110</a>;</li> +<li>of house No. 709 Spruce Street, <a href="#Page_111">111</a>;</li> +<li>of house No. 5200 Germantown Avenue, <a href="#Page_111">111</a>;</li> +<li>of house No. 4927 Frankford Avenue, <a href="#Page_111">111</a>;</li> +<li>of Grumblethorpe, <a href="#Page_114">114</a>;</li> +<li>of Stenton, <a href="#Page_156">156</a>;</li> +<li>of Whitby Hall, <a href="#Page_159">159</a>, <a href="#Page_172">172</a>;</li> +<li>of Mount Vernon, <a href="#Page_173">173</a>;</li> +<li>as usually used, <a href="#Page_186">186</a>, <a href="#Page_187">187</a>;</li> +<li>of house No. 224 Pine Street, <a href="#Page_192">192</a>;</li> +<li>with prominent modillions, <a href="#Page_193">193</a>;</li> +<li>of Independence Hall, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>;</li> +<li>of Congress Hall, <a href="#Page_208">208</a>;</li> +<li>in Girard National Bank building, <a href="#Page_217">217</a></li> +</ul> +</li> +<li>Corona, <a href="#Page_180">180</a></li> +<li>Coultas, Colonel, <a href="#Page_160">160</a>, <a href="#Page_161">161</a></li> +<li>Coultas, James, <a href="#Page_160">160</a></li> +<li>Country houses, Georgian, of brick, <a href="#Page_17">17-37</a>; +<ul> +<li>ledge-stone, <a href="#Page_53">53-68</a></li> +</ul> +</li> +<li>Coving, of Hope Lodge, <a href="#Page_23">23</a>; +<ul> +<li>of Girard house, <a href="#Page_31">31</a>;</li> +<li>of Green Tree Inn, <a href="#Page_97">97</a></li> +</ul> +</li> +<li>Cupolas, <a href="#Page_208">208</a>, <a href="#Page_211">211</a></li> +<li>Custom House, <a href="#Page_215">215</a></li> +<li>Cymatium, <a href="#Page_176">176</a>, <a href="#Page_177">177</a>, <a href="#Page_180">180</a>, <a href="#Page_183">183</a></li> +<li>Cypress Street, house No. 312, mantel of, <a href="#Page_182">182</a></li> +<li>Dado, <a href="#Page_157">157</a>, <a href="#Page_159">159</a>, <a href="#Page_164">164</a>, <a href="#Page_186">186</a>, <a href="#Page_191">191</a></li> +<li>Dais, President's, in Congress Hall, <a href="#Page_209">209</a>, <a href="#Page_210">210</a></li> +<li>Dale, Commodore, <a href="#Page_221">221</a></li> +<li>Decatur, Commodore Stephen, <a href="#Page_223">223</a></li> +<li>Declaration of Independence, signing of, <a href="#Page_9">9</a>, <a href="#Page_205">205</a></li> +<li>De Lancy, Captain John Peter, <a href="#Page_14">14</a></li> +<li>Dentil course, of Morris house, <a href="#Page_109">109</a>; +<ul> +<li>of house No. 6504 Germantown Avenue, <a href="#Page_110">110</a>;</li> +<li>of house No. 4927 Frankford Avenue, <a href="#Page_112">112</a>;</li> +<li>of house No. 6105 Germantown Avenue, <a href="#Page_115">115</a>;</li> +<li>of Dr. Denton's house, <a href="#Page_115">115</a>;</li> +<li>of Upsala, <a href="#Page_120">120</a>;</li> +<li>of The Woodlands, <a href="#Page_152">152</a>;</li> +<li>of Mount Pleasant, <a href="#Page_176">176</a>, <a href="#Page_192">192</a>;</li> +<li>and mantel, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>;</li> +<li>of Independence Hall, <a href="#Page_200">200</a></li> +</ul> +</li> +<li>Denton, Dr., his house, <a href="#Page_115">115</a>, <a href="#Page_128">128</a></li> +<li>Deschler, David, <a href="#Page_78">78</a></li> +<li>Deschler, Widow, <a href="#Page_99">99</a></li> +<li>Dickinson, John, <a href="#Page_82">82</a></li> +<li>Dirck, Keyser house, footscraper of, <a href="#Page_131">131</a></li> +<li><a name="Door-casings" id="Door-casings"></a>Door-casings, of Hope Lodge, <a href="#Page_24">24</a>; +<ul> +<li>of Blackwell house, <a href="#Page_42">42</a>;</li> +<li>of Mount Pleasant, <a href="#Page_74">74</a>;</li> +<li>molded, <a href="#Page_106">106</a>;</li> +<li>of houses No. 114 League Street and No. 5933 Germantown Avenue, <a href="#Page_107">107</a>;</li> +<li>rusticated, <a href="#Page_116">116</a>;</li> +<li>of Whitby Hall, <a href="#Page_172">172</a></li> +</ul> +</li> +<li>Doorheads, pedimental, <a href="#Page_74">74</a>, <a href="#Page_162">162</a>, <a href="#Page_164">164</a>, <a href="#Page_192">192</a>; +<ul> +<li>elaborated, <a href="#Page_107">107</a></li> +</ul> +</li> +<li>Door trim, <a href="#Page_191">191</a></li> +<li>Doors, paneled, of Hope Lodge, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>; +<ul> +<li>paneled, of Stenton, <a href="#Page_27">27</a>;</li> +<li>of Girard house, <a href="#Page_31">31</a>;</li> +<li>paneled, of city blocks, <a href="#Page_40">40</a>;</li> +<li>of Blackwell house, <a href="#Page_43">43</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>;</li> +<li>of Grumblethorpe, <a href="#Page_62">62</a>;</li> +<li>of Wyck, <a href="#Page_71">71</a>;</li> +<li>paneled, of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>paneled, of Loudoun, <a href="#Page_81">81</a>;</li> +<li>of The Highlands, <a href="#Page_92">92</a>;</li> +<li>of Johnson house, <a href="#Page_96">96</a>;</li> +<li>four types common in Colonial period, <a href="#Page_102">102</a>;</li> +<li>single and double, <a href="#Page_102">102</a>;</li> +<li>types classified according to arrangement of panels <a href="#Page_103">103</a>;</li> +<li>six-panel, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_107">107</a>, <a href="#Page_108">108</a>;</li> +<li>three-panel, <a href="#Page_104">104</a>;</li> +<li>four-panel, <a href="#Page_200">200</a>;</li> +<li>eight-panel, <a href="#Page_104">104</a>, <a href="#Page_105">105</a>;</li> +<li>of Morris house, <a href="#Page_109">109</a>;</li> +<li>of house No. 701 South Seventh Street, <a href="#Page_110">110</a>;</li> +<li>of house No. 709 Spruce Street, <a href="#Page_111">111</a>;</li> +<li>of house No. 5200 Germantown Avenue, <a href="#Page_111">111</a>;</li> +<li>of house No. 4927 Frankford Avenue, <a href="#Page_111">111</a>;</li> +<li>of Powel house, <a href="#Page_113">113</a>;</li> +<li>of Wharton house, <a href="#Page_113">113</a>;</li> +<li>of Grumblethorpe, <a href="#Page_114">114</a>;</li> +<li>of house No. 6105 Germantown Avenue, <a href="#Page_115">115</a>;</li> +<li>double blind, <a href="#Page_116">116</a>;</li> +<li>of Mount Pleasant, <a href="#Page_116">116</a>;</li> +<li>of Cliveden, <a href="#Page_116">116</a>;</li> +<li>of Solitude, <a href="#Page_118">118</a>;</li> +<li>of Perot-Morris house, <a href="#Page_118">118</a>;</li> +<li>of Upsala, <a href="#Page_121">121</a>;</li> +<li>with molded flat panels, <a href="#Page_122">122</a>;</li> +<li>in round-arched doorways, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>;</li> +<li>closet, <a href="#Page_174">174</a>;</li> +<li>by the side of the fireplace, <a href="#Page_178">178</a></li> +</ul> +</li> +<li><a name="Doorways" id="Doorways"></a>Doorways, of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>Doric, of Port Royal house, <a href="#Page_35">35</a>;</li> +<li>of city blocks, <a href="#Page_40">40</a>;</li> +<li>of Blackwell house, <a href="#Page_42">42</a>;</li> +<li>pedimental, of Morris house, <a href="#Page_49">49</a>;</li> +<li>of Grumblethorpe, <a href="#Page_61">61</a>;</li> +<li>of The Woodlands, <a href="#Page_65">65</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Vernon, <a href="#Page_80">80</a>;</li> +<li>of Loudoun, <a href="#Page_81">81</a>;</li> +<li>of Solitude, <a href="#Page_83">83</a>;</li> +<li>Doric, of Cliveden, <a href="#Page_88">88</a>;</li> +<li>of The Highlands, <a href="#Page_92">92</a>;</li> +<li>of Bartram House, <a href="#Page_94">94</a>;</li> +<li>the dominating feature of façade, <a href="#Page_101">101</a>;</li> +<li>have character and individuality, <a href="#Page_101">101</a>;</li> +<li>broad range of, in Philadelphia houses, <a href="#Page_102">102</a>;</li> +<li>unlike those of New England, <a href="#Page_102">102</a>;</li> +<li>high and narrow, and speak of Quaker severity, <a href="#Page_102">102</a>;</li> +<li>recessed, <a href="#Page_105">105</a>;</li> +<li>the simplest type of, <a href="#Page_106">106</a>, <a href="#Page_107">107</a>;</li> +<li>of houses No. 114 League Street and No. 5933 Germantown Avenue, <a href="#Page_107">107</a>;</li> +<li>the characteristic type of pedimental door trim, <a href="#Page_108">108</a>;</li> +<li>of houses No. 5011 Germantown Avenue and No. 247 Pine Street, <a href="#Page_108">108</a>, <a href="#Page_109">109</a>;</li> +<li>of Morris house, <a href="#Page_109">109</a>;</li> +<li>of houses No. 6504 Germantown Avenue and No. 701 South Seventh Street, <a href="#Page_110">110</a>;</li> +<li>of house No. 709 Spruce Street, <a href="#Page_111">111</a>;</li> +<li>of house No. 5200 Germantown Avenue, <a href="#Page_111">111</a>;</li> +<li>of house No. 4927 Frankford Avenue, <a href="#Page_111">111</a>, <a href="#Page_112">112</a>;</li> +<li>of the Powel house, <a href="#Page_112">112</a>, <a href="#Page_113">113</a>;</li> +<li>of house No. 301 South Seventh Street, <a href="#Page_114">114</a>;</li> +<li>of Grumblethorpe, <a href="#Page_114">114</a>;</li> +<li>of house No. 6105 Germantown Avenue, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>;</li> +<li>of Corinthian order, <a href="#Page_115">115</a>;</li> +<li>of Dr. Denton's house, <a href="#Page_115">115</a>;</li> +<li>of Mount Pleasant, <a href="#Page_116">116</a>;</li> +<li>having complete entablature above fanlight surmounted by pediment, <a href="#Page_116">116</a>;</li> +<li>Tuscan, <a href="#Page_116">116</a>;</li> +<li>Doric, <a href="#Page_116">116</a>;</li> +<li>of Cliveden, <a href="#Page_117">117</a>, <a href="#Page_118">118</a>;</li> +<li>fine specimen of mutulary Doric, <a href="#Page_117">117</a>;</li> +<li>of Solitude, <a href="#Page_118">118</a>;</li> +<li>of Perot-Morris house, <a href="#Page_118">118</a>, <a href="#Page_119">119</a>;</li> +<li>of Upsala, <a href="#Page_121">121</a>;</li> +<li>of Henry house, <a href="#Page_121">121</a>;</li> +<li>of house No. 224 South Eighth Street, <a href="#Page_122">122</a>, <a href="#Page_123">123</a>;</li> +<li>of Stenton, earliest instance of side lights in Philadelphia, <a href="#Page_123">123</a>, <a href="#Page_124">124</a>;</li> +<li>round-arched, <a href="#Page_124">124</a>;</li> +<li>examples of round-arched, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>;</li> +<li>of Mount Vernon, <a href="#Page_174">174</a>;</li> +<li>round-headed, <a href="#Page_192">192</a>, <a href="#Page_193">193</a>;</li> +<li>of Congress Hall, <a href="#Page_208">208</a></li> +</ul> +</li> +<li>Doric, doorway, <a href="#Page_35">35</a>, <a href="#Page_88">88</a>, <a href="#Page_116">116</a>, <a href="#Page_117">117</a>, <a href="#Page_151">151</a>, <a href="#Page_200">200</a>; +<ul> +<li>inspiration, in Morris house, <a href="#Page_110">110</a>;</li> +<li>columns, <a href="#Page_112">112</a>, <a href="#Page_120">120</a>;</li> +<li>capitals, <a href="#Page_116">116</a>;</li> +<li>architrave, <a href="#Page_120">120</a>;</li> +<li>entablature, <a href="#Page_162">162</a>, <a href="#Page_214">214</a>;</li> +<li>cornice, <a href="#Page_191">191</a>, <a href="#Page_219">219</a>;</li> +<li>apartment, <a href="#Page_203">203</a>, <a href="#Page_204">204</a>;</li> +<li>frieze, <a href="#Page_219">219</a>;</li> +<li>mutulary, <a href="#Page_117">117</a>, <a href="#Page_162">162</a>, <a href="#Page_200">200</a>, <a href="#Page_203">203</a>, <a href="#Page_214">214</a>, <a href="#Page_219">219</a></li> +</ul> +</li> +<li><a name="Dormers" id="Dormers"></a>Dormers of Hope Lodge, <a href="#Page_23">23</a>; +<ul> +<li>of Stenton, <a href="#Page_26">26</a>;</li> +<li>of Port Royal House, <a href="#Page_35">35</a>;</li> +<li>pedimental, of city blocks, <a href="#Page_39">39</a>;</li> +<li>of Morris house, <a href="#Page_48">48</a>;</li> +<li>shed-roof, of Livezey house, <a href="#Page_56">56</a>;</li> +<li>of Upsala, <a href="#Page_59">59</a>;</li> +<li>of Grumblethorpe, <a href="#Page_61">61</a>;</li> +<li>of Mount Pleasant, <a href="#Page_73">73</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Vernon, <a href="#Page_80">80</a>;</li> +<li>of Loudoun, <a href="#Page_81">81</a>;</li> +<li>of Solitude, <a href="#Page_83">83</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>;</li> +<li>of Bartram House, <a href="#Page_94">94</a>;</li> +<li>of the Johnson house, <a href="#Page_95">95</a>;</li> +<li>of Green Tree Inn, <a href="#Page_97">97</a>;</li> +<li>of the Billmeyer house, <a href="#Page_99">99</a>;</li> +<li>pedimental or gable-roofed, segmental topped, lean-to or shed-roofed, <a href="#Page_139">139-141</a></li> +</ul> +</li> +<li>Dots and dashes, <a href="#Page_180">180</a></li> +<li>Douglass, David, <a href="#Page_14">14</a></li> +<li>Drama, introduced into Philadelphia, <a href="#Page_14">14</a></li> +<li>Drilled rope, <a href="#Page_180">180</a>, <a href="#Page_181">181</a></li> +<li>Drop handles, <a href="#Page_106">106</a>, <a href="#Page_117">117</a></li> +<li>Drops, <a href="#Page_159">159</a></li> +<li>Dunkin, Ann, <a href="#Page_49">49</a></li> +<li>Dutch seats, <a href="#Page_94">94</a></li> +<li>Eastwick, Andrew, <a href="#Page_95">95</a></li> +<li>Eaves, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>, <a href="#Page_96">96</a></li> +<li>Egg and dart motive, <a href="#Page_175">175</a>, <a href="#Page_176">176</a>, <a href="#Page_177">177</a>, <a href="#Page_203">203</a></li> +<li>Eighth and Spruce streets, house at, doorway of, <a href="#Page_124">124</a>; +<ul> +<li>stoop of, <a href="#Page_129">129</a></li> +</ul> +</li> +<li>Elfret Alley, <a href="#Page_41">41</a></li> +<li>English Classic style of architecture. <i>See</i> <span class="smcap"><a href="#Georgian">Georgian</a></span></li> +<li>Entablature, <a href="#Page_40">40</a>; +<ul> +<li>of Loudoun, <a href="#Page_81">81</a>;</li> +<li>Ionic, <a href="#Page_112">112</a>, <a href="#Page_113">113</a>;</li> +<li>Corinthian, <a href="#Page_115">115</a>;</li> +<li>above fanlight, <a href="#Page_116">116</a>;</li> +<li>recessed, <a href="#Page_118">118</a>;</li> +<li>Doric, <a href="#Page_120">120</a>, <a href="#Page_214">214</a>;</li> +<li>of Mount Pleasant, <a href="#Page_162">162</a>, <a href="#Page_164">164</a>;</li> +<li>at Cliveden, <a href="#Page_165">165</a>;</li> +<li>at Upsala, <a href="#Page_180">180</a>;</li> +<li>at house No. 729 Walnut Street, <a href="#Page_183">183</a>;</li> +<li>at Independence Hall, <a href="#Page_203">203</a></li> +</ul> +</li> +<li>Entrances, of Hope Lodge, <a href="#Page_23">23</a>; +<ul> +<li>of Stenton, <a href="#Page_27">27</a>;</li> +<li>characteristic, <a href="#Page_40">40</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>;</li> +<li>of Grumblethorpe, <a href="#Page_62">62</a>;</li> +<li>of The Woodlands, <a href="#Page_65">65</a>;</li> +<li>of the Billmeyer house, <a href="#Page_98">98</a>;</li> +<li>house associated with, <a href="#Page_101">101</a>;</li> +<li>of the Morris house, 109.</li> +<li><i>See</i> <span class="smcap"><a href="#Doorways">Doorways</a></span>, <span class="smcap"><a href="#Porches">Porches</a></span>.</li> +</ul> +</li> +<li>Estates of the countryside of Philadelphia, <a href="#Page_15">15</a></li> +<li>Evans house, windows of, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>; +<ul> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>shutters and blinds of, <a href="#Page_144">144</a>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a></li> +</ul> +</li> +<li>Façade, of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>of Hope Lodge, <a href="#Page_23">23</a>;</li> +<li>of Morris house, <a href="#Page_48">48</a>;</li> +<li>of Upsala, <a href="#Page_59">59</a>, <a href="#Page_60">60</a>;</li> +<li>of Grumblethorpe, <a href="#Page_61">61</a>;</li> +<li>of Mount Pleasant, <a href="#Page_73">73</a>;</li> +<li>of Vernon, <a href="#Page_79">79</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>;</li> +<li>of The Highlands, <a href="#Page_91">91</a>;</li> +<li>of Bartram House, <a href="#Page_94">94</a>;</li> +<li>of Independence Hall, <a href="#Page_199">199</a></li> +</ul> +</li> +<li>Fanlights, used in Philadelphia entrances, <a href="#Page_40">40</a>; +<ul> +<li>of house No. 225 South Eighth Street, <a href="#Page_49">49</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>, <a href="#Page_120">120</a>;</li> +<li>of The Woodlands, <a href="#Page_65">65</a>, <a href="#Page_152">152</a>;</li> +<li>of Vernon, <a href="#Page_79">79</a>;</li> +<li>of Loudoun, <a href="#Page_81">81</a>;</li> +<li>of The Highlands, <a href="#Page_91">91</a>, <a href="#Page_92">92</a>;</li> +<li>transom replaced by, <a href="#Page_108">108</a>;</li> +<li>of house No. 5011 Germantown Avenue, <a href="#Page_108">108</a>;</li> +<li>of house No. 247 Pine Street, <a href="#Page_109">109</a>;</li> +<li>of house No. 6504 Germantown Avenue, <a href="#Page_110">110</a>;</li> +<li>of house No. 5200 Germantown Avenue, <a href="#Page_111">111</a>;</li> +<li>of house No. 4927 Frankford Avenue, <a href="#Page_111">111</a>;</li> +<li>a frequent type of doorway with, <a href="#Page_112">112</a>;</li> +<li>of the Wharton house, <a href="#Page_113">113</a>;</li> +<li>of Grumblethorpe, <a href="#Page_114">114</a>;</li> +<li>a rare type of, <a href="#Page_116">116</a>;</li> +<li>patterned after a much-used Palladian window, <a href="#Page_122">122</a>;</li> +<li>of house No. 39 Fisher's Lane, <a href="#Page_122">122</a>;</li> +<li>of house No. 224 South Eighth Street, <a href="#Page_122">122</a>;</li> +<li>in round-headed doorways, <a href="#Page_193">193</a>;</li> +<li>of Independence Hall, <a href="#Page_201">201</a>, <a href="#Page_207">207</a>;</li> +<li>of Congress Hall, <a href="#Page_208">208</a>;</li> +<li>of the Pennsylvania Hospital, <a href="#Page_213">213</a></li> +</ul> +</li> +<li>Farmhouse type, Pennsylvania, characteristic examples of, <a href="#Page_100">100</a></li> +<li>Farmhouses, <a href="#Page_127">127</a></li> +<li>Fascia, <a href="#Page_111">111</a>, <a href="#Page_112">112</a>, <a href="#Page_115">115</a>, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>, <a href="#Page_183">183</a></li> +<li>Fences, <a href="#Page_50">50</a>, <a href="#Page_126">126</a>, <a href="#Page_220">220</a>, <a href="#Page_224">224</a></li> +<li>Fenestration. <i>See</i> <span class="smcap"><a href="#Windows">Windows</a></span></li> +<li>Festoons, <a href="#Page_180">180</a>, <a href="#Page_183">183</a>, <a href="#Page_184">184</a>, <a href="#Page_187">187</a></li> +<li>"Fête Champêtre", <a href="#Page_85">85</a></li> +<li>Firebacks, <a href="#Page_28">28</a>, <a href="#Page_169">169</a>, <a href="#Page_172">172</a></li> +<li>Fire balconies, <a href="#Page_92">92</a>, <a href="#Page_208">208</a></li> +<li>Fire marks, <a href="#Page_119">119</a></li> +<li>Fireplaces, of Woodford, <a href="#Page_20">20</a>; +<ul> +<li>of Hope Lodge, <a href="#Page_24">24</a>;</li> +<li>of Livezey house, <a href="#Page_57">57</a>;</li> +<li>of Mount Pleasant, <a href="#Page_74">74</a>;</li> +<li>the significance and the history of, <a href="#Page_169">169-171</a>;</li> +<li>segmental arched, <a href="#Page_205">205</a></li> +</ul> +</li> +<li>Fisher, Deborah, 45. +<ul> +<li><i>See</i> <span class="smcap"><a href="#Wharton_Deborah">Wharton, Deborah</a></span></li> +</ul> +</li> +<li>Fisher, Samuel, <a href="#Page_45">45</a></li> +<li>Fisher's Lane, house No. 39, eight-panel door of, <a href="#Page_105">105</a>; +<ul> +<li>porch of, <a href="#Page_122">122</a></li> +</ul> +</li> +<li>Fixtures, wrought-iron, for hanging and fastening shutters and blinds, <a href="#Page_146">146</a></li> +<li>Flemish bond, <a href="#Page_18">18</a>, <a href="#Page_23">23</a>, <a href="#Page_26">26</a>, <a href="#Page_38">38</a>, <a href="#Page_48">48</a></li> +<li>Floors, of Woodford, <a href="#Page_20">20</a></li> +<li>Florentine manner, iron work wrought in, <a href="#Page_129">129</a></li> +<li>Florida cession, the, <a href="#Page_93">93</a></li> +<li>Flow, John H., and the tradition of the first American flag, <a href="#Page_52">52</a></li> +<li>Flush pointing, <a href="#Page_55">55</a></li> +<li>Flutings, <a href="#Page_65">65</a>, <a href="#Page_180">180-183</a></li> +<li>Footscrapers, <a href="#Page_109">109</a>, <a href="#Page_127">127</a>, <a href="#Page_130">130-133</a></li> +<li>Forbes, Brigadier General John, <a href="#Page_221">221</a></li> +<li>Foreshortening, of windows, of Girard house, <a href="#Page_31">31</a>; +<ul> +<li>of city blocks, <a href="#Page_39">39</a>, <a href="#Page_40">40</a>;</li> +<li>of Morris</li> +<li>house, <a href="#Page_48">48</a>;</li> +<li>of Livezey house, <a href="#Page_57">57</a>;</li> +<li>of Johnson house, <a href="#Page_96">96</a>;</li> +<li>of the Billmeyer house, <a href="#Page_99">99</a>;</li> +<li>in three-story houses, <a href="#Page_138">138</a>, <a href="#Page_139">139</a></li> +</ul> +</li> +<li>Forrest, Edwin, <a href="#Page_224">224</a></li> +<li>Fourth and Liberty streets, house at, <a href="#Page_130">130</a></li> +<li>Frankford, <a href="#Page_36">36</a></li> +<li>Frankford Avenue, house No. 4927, doorway of, <a href="#Page_111">111</a></li> +<li>Franklin, Benjamin, <a href="#Page_9">9</a>, <a href="#Page_58">58</a>, <a href="#Page_212">212</a>, <a href="#Page_219">219</a>, <a href="#Page_221">221</a></li> +<li>Franklin Inn, <a href="#Page_42">42</a></li> +<li>Franks, Abigail, <a href="#Page_21">21</a></li> +<li>Franks, David, <a href="#Page_21">21</a></li> +<li>Franks, Isaac, <a href="#Page_78">78</a></li> +<li>Franks, Rebecca, <a href="#Page_21">21</a></li> +<li>Free Quakers' Meeting House, windows of, <a href="#Page_138">138</a>, <a href="#Page_148">148</a>; +<ul> +<li>lintels of, <a href="#Page_142">142</a></li> +</ul> +</li> +<li>Frieze, of The Woodlands, <a href="#Page_65">65</a>; +<ul> +<li>of house No. 114 League Street, <a href="#Page_107">107</a>;</li> +<li>of house No. 6504 Germantown Avenue, <a href="#Page_110">110</a>;</li> +<li>of Whitby Hall, <a href="#Page_158">158</a>;</li> +<li>of house No. 312 Cypress Street, <a href="#Page_183">183</a>;</li> +<li>of house No. 729 Walnut Street, <a href="#Page_158">158</a>;</li> +<li>of Solitude, <a href="#Page_187">187</a></li> +</ul> +</li> +<li>Front, double, of Morris house, <a href="#Page_39">39</a>, <a href="#Page_48">48</a></li> +<li>Furniture, old, <a href="#Page_63">63</a>, <a href="#Page_79">79</a>, <a href="#Page_205">205</a>, <a href="#Page_206">206</a></li> +<li>Gable ends, <a href="#Page_60">60</a></li> +<li>Gable roofs, <a href="#Page_39">39</a>; +<ul> +<li>of Livezey house, <a href="#Page_56">56</a>;</li> +<li>of Upsala, <a href="#Page_59">59</a>, <a href="#Page_120">120</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Vernon, <a href="#Page_79">79</a>;</li> +<li>of Bartram House, <a href="#Page_94">94</a>;</li> +<li>of the Johnson house, <a href="#Page_95">95</a>;</li> +<li>of Independence Hall, <a href="#Page_199">199</a>;</li> +<li>of St. Paul's Protestant Episcopal church, <a href="#Page_224">224</a></li> +</ul> +</li> +<li>Gambrel roof, <a href="#Page_80">80</a></li> +<li>Gardens, of city houses, <a href="#Page_40">40</a>; +<ul> +<li>of Morris house, <a href="#Page_49">49</a>;</li> +<li>of Grumblethorpe, <a href="#Page_62">62</a>, <a href="#Page_64">64</a>;</li> +<li>of The Woodlands, <a href="#Page_65">65</a>, <a href="#Page_67">67</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_76">76</a>;</li> +<li>of John Bartram, <a href="#Page_94">94</a>, <a href="#Page_95">95</a></li> +</ul> +</li> +<li>Gates, <a href="#Page_220">220</a></li> +<li><a name="Georgian" id="Georgian"></a>Georgian countryhouses of brick, <a href="#Page_16">16-37</a></li> +<li>Georgian fireplace, <a href="#Page_188">188</a></li> +<li>Georgian sashes, <a href="#Page_31">31</a>, <a href="#Page_134">134</a></li> +<li>Georgian style, <a href="#Page_3">3</a>, <a href="#Page_17">17</a>, <a href="#Page_156">156</a>; +<ul> +<li>of brick houses, <a href="#Page_17">17</a>;</li> +<li>Woodford, <a href="#Page_19">19</a>;</li> +<li>Hope Lodge, <a href="#Page_22">22</a>;</li> +<li>The Woodlands, <a href="#Page_65">65</a>, <a href="#Page_66">66</a>;</li> +<li>Clunie, <a href="#Page_72">72</a>, <a href="#Page_74">74</a>;</li> +<li>of brick houses, <a href="#Page_86">86</a>;</li> +<li>The Highlands, <a href="#Page_91">91</a></li> +</ul> +</li> +<li>Germantown, Battle of, <a href="#Page_61">61</a>, <a href="#Page_63">63</a>, <a href="#Page_71">71</a>, <a href="#Page_78">78</a>, <a href="#Page_90">90</a>, <a href="#Page_97">97</a>, <a href="#Page_99">99</a>, <a href="#Page_205">205</a></li> +<li>Germantown, ledge-stone houses at, <a href="#Page_53">53</a></li> +<li>Germantown Academy, the, <a href="#Page_98">98</a>, <a href="#Page_99">99</a></li> +<li>Germantown Avenue, house No. 5442, description of, <a href="#Page_76">76-78</a>; +<ul> +<li>history of, <a href="#Page_78">78</a>, <a href="#Page_79">79</a>;</li> +<li>six-panel door of house No. 5442, <a href="#Page_103">103</a>;</li> +<li>eight-panel door of house No. 4908, <a href="#Page_105">105</a>;</li> +<li>house No. 1748, doorway of, <a href="#Page_107">107</a>;</li> +<li>house No. 5011, doorway of, <a href="#Page_108">108</a>;</li> +<li>house No. 6504, doorway of, <a href="#Page_110">110</a>;</li> +<li>house No. 5200, doorway of, <a href="#Page_111">111</a>;</li> +<li>house No. 6105, doorway of, <a href="#Page_114">114</a>, <a href="#Page_115">115</a>;</li> +<li>house No. 6105, dormers of, <a href="#Page_140">140</a>;</li> +<li>house No. 6105, blinds of, <a href="#Page_145">145</a>, <a href="#Page_147">147</a>;</li> +<li>house No. 6043, shutter fasteners of, <a href="#Page_148">148</a></li> +</ul> +</li> +<li>Germantown stone, <a href="#Page_87">87</a></li> +<li>Germantown type of pointing, <a href="#Page_55">55</a></li> +<li>Ginkgo tree, the, <a href="#Page_67">67</a></li> +<li>Girard, Stephen, <a href="#Page_31">31-33</a>; +<ul> +<li>his will, <a href="#Page_33">33</a>, <a href="#Page_34">34</a></li> +</ul> +</li> +<li>Girard College, <a href="#Page_31">31</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_215">215</a></li> +<li>Girard (Stephen) house, <a href="#Page_31">31</a></li> +<li>Glass, <a href="#Page_134">134</a></li> +<li>Glen Fern. <i>See</i><span class="smcap"> <a href="#Livezey_house">Livezey House</a></span></li> +<li>Gothic, tracery, <a href="#Page_123">123</a>, <a href="#Page_127">127</a>; +<ul> +<li>detail, <a href="#Page_128">128</a>;</li> +<li>arch, curves reminiscent of, <a href="#Page_149">149</a></li> +</ul> +</li> +<li>Gowen house, <a href="#Page_167">167</a></li> +<li>Gravitating catches, <a href="#Page_147">147</a></li> +<li>Gray, Martha Ibbetson, <a href="#Page_161">161</a></li> +<li>Greame Park, <a href="#Page_69">69</a>; +<ul> +<li>windows of, <a href="#Page_136">136</a>;</li> +<li>dormers of, <a href="#Page_139">139</a></li> +</ul> +</li> +<li>Grecian band, <a href="#Page_130">130</a>, <a href="#Page_133">133</a>, <a href="#Page_192">192</a>, <a href="#Page_209">209</a></li> +<li>Grecian fret, <a href="#Page_77">77</a>, <a href="#Page_91">91</a>, <a href="#Page_109">109</a>, <a href="#Page_111">111</a>, <a href="#Page_173">173</a>, <a href="#Page_176">176</a>, <a href="#Page_189">189</a></li> +<li>Greek architecture, Girard College a fine specimen of, <a href="#Page_215">215</a></li> +<li>Green Tree Inn, <a href="#Page_97">97</a>, <a href="#Page_98">98</a>; +<ul> +<li>six-panel door of, <a href="#Page_103">103</a>;</li> +<li>doorway of, <a href="#Page_107">107</a></li> +</ul> +</li> +<li><a name="Grumblethorpe" id="Grumblethorpe"></a>Grumblethorpe, <a href="#Page_61">61</a></li> +<li>Haines family, <a href="#Page_72">72</a></li> +<li>Hallam's (William) Old American Company, <a href="#Page_14">14</a>, <a href="#Page_67">67</a></li> +<li>Halls, of Wyck, <a href="#Page_71">71</a>; +<ul> +<li>an important interior feature, <a href="#Page_153">153</a>;</li> +<li>in early times, <a href="#Page_153">153</a>;</li> +<li>development of, <a href="#Page_154">154</a>;</li> +<li>staircases and balconies introduced into, <a href="#Page_154">154</a>;</li> +<li>in the Georgian period of English architecture, <a href="#Page_154">154</a>, <a href="#Page_155">155</a>;</li> +<li>in Provincial mansions of Philadelphia, <a href="#Page_155">155</a>;</li> +<li>of Stenton, <a href="#Page_156">156</a>, <a href="#Page_157">157</a>;</li> +<li>from back to front of the house, <a href="#Page_157">157</a>;</li> +<li>of Whitby Hall, <a href="#Page_158">158-160</a>, <a href="#Page_162">162-164</a>;</li> +<li>of Mount Pleasant, <a href="#Page_161">161-164</a>;</li> +<li>of Cliveden, <a href="#Page_165">165</a>, <a href="#Page_166">166</a>;</li> +<li>of Upsala, <a href="#Page_166">166</a>, <a href="#Page_167">167</a></li> +</ul> +</li> +<li>Hamilton, Alexander, <a href="#Page_78">78</a></li> +<li>Hamilton, Andrew, designer of Independence Hall, <a href="#Page_6">6</a>, <a href="#Page_197">197</a>, <a href="#Page_198">198</a>; +<ul> +<li>married Abigail Franks, <a href="#Page_21">21</a>;</li> +<li>the first of the name in America, <a href="#Page_66">66</a>;</li> +<li>Benjamin Chew studied law with, <a href="#Page_89">89</a></li> +</ul> +</li> +<li>Hamilton, Governor James, <a href="#Page_67">67</a></li> +<li>Hamilton, William, <a href="#Page_66">66-68</a></li> +<li>Hancock, John, <a href="#Page_206">206</a></li> +<li>Handles, brass, of Woodford, <a href="#Page_20">20</a></li> +<li>Handrail, wrought-iron, of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>wrought-iron, of city blocks, <a href="#Page_40">40</a>;</li> +<li>of Wistar house, <a href="#Page_127">127</a>;</li> +<li>patterned after cathedral grilles and screens, <a href="#Page_127">127</a>;</li> +<li>other examples of, <a href="#Page_128">128-130</a>, <a href="#Page_157">157</a>, <a href="#Page_167">167</a></li> +</ul> +</li> +<li>Headers, <a href="#Page_18">18</a>, <a href="#Page_26">26</a>, <a href="#Page_38">38</a>, <a href="#Page_48">48</a></li> +<li>Heage, William, <a href="#Page_3">3</a></li> +<li>Heath, Susanna, <a href="#Page_25">25</a></li> +<li>Heating, methods of, <a href="#Page_169">169-171</a></li> +<li>Henry house, <a href="#Page_121">121</a></li> +<li>Hewn stone country houses, <a href="#Page_86">86-100</a></li> +<li>Highlands, The, description of, <a href="#Page_91">91</a>, <a href="#Page_92">92</a>; +<ul> +<li>history of, <a href="#Page_92">92</a>, <a href="#Page_93">93</a>;</li> +<li>door of, <a href="#Page_105">105</a>;</li> +<li>porch of, <a href="#Page_120">120</a>;</li> +<li>unique in having porch, side-lights, and elliptical fanlight, <a href="#Page_122">122</a>;</li> +<li>windows of, <a href="#Page_137">137</a>;</li> +<li>blinds of, <a href="#Page_145">145</a></li> +</ul> +</li> +<li>Hinges, <a href="#Page_146">146</a>, <a href="#Page_172">172</a>, <a href="#Page_209">209</a></li> +<li>Hipped roof, of Woodford, <a href="#Page_18">18</a>; +<ul> +<li>of Hope Lodge, <a href="#Page_23">23</a>, <a href="#Page_120">120</a>;</li> +<li>of Stenton, <a href="#Page_26">26</a>;</li> +<li>of Girard house, <a href="#Page_31">31</a>;</li> +<li>of Port Royal House, <a href="#Page_35">35</a>;</li> +<li>of the stable of The Woodlands, <a href="#Page_66">66</a>;</li> +<li>of Mount Pleasant, <a href="#Page_72">72</a>, <a href="#Page_73">73</a>;</li> +<li>of Vernon, <a href="#Page_79">79</a>;</li> +<li>of Loudoun, <a href="#Page_80">80</a>;</li> +<li>of Solitude, <a href="#Page_83">83</a>;</li> +<li>of The Highlands, <a href="#Page_120">120</a>;</li> +<li>of Congress Hall, <a href="#Page_208">208</a></li> +</ul> +</li> +<li>Hitner, purchaser of The Highlands, <a href="#Page_93">93</a></li> +<li>Holme, Thomas, <a href="#Page_3">3</a>, <a href="#Page_4">4</a></li> +<li>Hoods, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>, <a href="#Page_106">106</a></li> +<li>Hope, Henry, <a href="#Page_25">25</a></li> +<li>Hope Lodge, description of, <a href="#Page_22">22-24</a>; +<ul> +<li>history of, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>;</li> +<li>door of, <a href="#Page_105">105</a>;</li> +<li>porch of, <a href="#Page_120">120</a>;</li> +<li>windows of, <a href="#Page_135">135</a>, <a href="#Page_141">141</a>;</li> +<li>dormers of, <a href="#Page_141">141</a>;</li> +<li>shutters of, <a href="#Page_143">143</a>;</li> +<li>round-headed doorway of, <a href="#Page_193">193</a>;</li> +<li>arch across main hall of, <a href="#Page_193">193</a></li> +</ul> +</li> +<li>Hopkinson, Francis, <a href="#Page_221">221</a></li> +<li>Horse block, <a href="#Page_99">99</a></li> +<li>Howe, Sir William, <a href="#Page_21">21</a>, <a href="#Page_30">30</a>, <a href="#Page_78">78</a></li> +<li>Independence Hall, designed by Andrew Hamilton, <a href="#Page_6">6</a>; +<ul> +<li>meeting of second Continental Congress in, <a href="#Page_8">8</a>;</li> +<li>windows of, <a href="#Page_148">148</a>, <a href="#Page_151">151</a>;</li> +<li>stair-end treatment of, <a href="#Page_168">168</a>;</li> +<li>history and description of, <a href="#Page_196">196-207</a></li> +</ul> +</li> +<li>Inns and taverns of Colonial days, <a href="#Page_11">11</a>, <a href="#Page_12">12</a></li> +<li><a name="Interior" id="Interior"></a>Interior wood-finish, of the average eighteenth-century Philadelphia house, <a href="#Page_185">185-187</a>; +<ul> +<li>in the better houses of the Provincial period, <a href="#Page_187">187</a>, <a href="#Page_188">188</a>;</li> +<li>of Stenton, <a href="#Page_188">188</a>, <a href="#Page_189">189</a>;</li> +<li>of Whitby Hall, <a href="#Page_189">189</a>;</li> +<li>doors and doorways, <a href="#Page_189">189-194</a>;</li> +<li>white-painted, <a href="#Page_194">194</a>, <a href="#Page_195">195</a>;</li> +<li>of Congress Hall, <a href="#Page_208">208</a>;</li> +<li>of Carpenters' Hall, <a href="#Page_214">214</a></li> +</ul> +</li> +<li>Interiors, Colonial, a favorite treatment of, <a href="#Page_186">186</a></li> +<li>Ionic, pilasters, <a href="#Page_65">65</a>, <a href="#Page_91">91</a>; +<ul> +<li>columns, <a href="#Page_83">83</a>, <a href="#Page_94">94</a>;</li> +<li>entablature, <a href="#Page_112">112</a>, <a href="#Page_219">219</a>, <a href="#Page_220">220</a>;</li> +<li>doorway, <a href="#Page_118">118</a>;</li> +<li>pediments, <a href="#Page_120">120</a>, <a href="#Page_191">191</a>;</li> +<li>window, <a href="#Page_151">151</a>;</li> +<li>newel, <a href="#Page_159">159</a>;</li> +<li>pulvinated, <a href="#Page_163">163</a>, <a href="#Page_219">219</a>;</li> +<li>cornice, <a href="#Page_192">192</a>;</li> +<li>walls of tower, <a href="#Page_199">199</a>;</li> +<li>Palladian window, <a href="#Page_200">200</a>;</li> +<li>hall in Independence Hall, <a href="#Page_200">200</a>;</li> +<li>volute, <a href="#Page_201">201</a></li> +</ul> +</li> +<li>Ironwork, <a href="#Page_124">124-133</a></li> +<li>Jambs, molded, <a href="#Page_71">71</a>; +<ul> +<li>paneled, <a href="#Page_106">106</a>, <a href="#Page_107">107</a>, <a href="#Page_108">108</a>, <a href="#Page_111">111</a>, <a href="#Page_113">113</a>, <a href="#Page_121">121</a>, <a href="#Page_191">191</a>, <a href="#Page_200">200</a>, <a href="#Page_203">203</a>;</li> +<li>rusticated, <a href="#Page_116">116</a></li> +</ul> +</li> +<li>Jansen, Dirck, <a href="#Page_96">96</a></li> +<li>Jansen family, <a href="#Page_72">72</a></li> +<li>Jefferson, Thomas, <a href="#Page_78">78</a></li> +<li>Johnson house, description of, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>; +<ul> +<li>history of, <a href="#Page_96">96</a>, <a href="#Page_97">97</a>;</li> +<li>six-paneled door of, <a href="#Page_103">103</a>;</li> +<li>doorway of, <a href="#Page_106">106</a>;</li> +<li>windows of, <a href="#Page_136">136</a>;</li> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>shutters of, <a href="#Page_143">143</a></li> +</ul> +</li> +<li>Johnson, General Sir Henry, <a href="#Page_21">21</a></li> +<li>Johnson, John, <a href="#Page_60">60</a>, <a href="#Page_90">90</a></li> +<li>Johnson, John, Jr., <a href="#Page_60">60</a></li> +<li>Johnson, Norton, <a href="#Page_61">61</a></li> +<li>Johnson, Sallie W., <a href="#Page_61">61</a></li> +<li>Johnson, Doctor William N., <a href="#Page_61">61</a></li> +<li>Joinery, reference books on, <a href="#Page_6">6</a></li> +<li>Jones, Inigo, <a href="#Page_171">171</a></li> +<li>Kearsley, Doctor John, <a href="#Page_6">6</a>, <a href="#Page_219">219</a></li> +<li>Keith, Sir William, <a href="#Page_69">69</a></li> +<li>Key plate, <a href="#Page_110">110</a></li> +<li>Keyed arch, <a href="#Page_111">111</a></li> +<li>Keyed lintels, <a href="#Page_39">39</a>, <a href="#Page_60">60</a>, <a href="#Page_73">73</a>, <a href="#Page_88">88</a></li> +<li>Keystones, <a href="#Page_91">91</a>, <a href="#Page_113">113</a>, <a href="#Page_199">199</a></li> +<li>Kitchen, of Stenton, <a href="#Page_26">26</a>; +<ul> +<li>of Grumblethorpe, <a href="#Page_63">63</a></li> +</ul> +</li> +<li>Knobs, <a href="#Page_72">72</a>, <a href="#Page_109">109</a>, <a href="#Page_110">110</a></li> +<li>Knockers, <a href="#Page_72">72</a>, <a href="#Page_105">105</a>, <a href="#Page_106">106</a>, <a href="#Page_110">110</a>, <a href="#Page_111">111</a></li> +<li>Knox, Henry, <a href="#Page_78">78</a></li> +<li>Kunders, Thomas, <a href="#Page_82">82</a></li> +<li>La Fayette, <a href="#Page_71">71</a>, <a href="#Page_90">90</a>, <a href="#Page_98">98</a></li> +<li>La Grange Alley, house No. 207, balustrade of, <a href="#Page_130">130</a></li> +<li>Lambert, General, <a href="#Page_221">221</a></li> +<li>Landings, staircase, <a href="#Page_154">154</a>, <a href="#Page_158">158</a>, <a href="#Page_163">163</a>, <a href="#Page_165">165</a>, <a href="#Page_166">166</a>, <a href="#Page_167">167</a></li> +<li>Laurel Hill, windows of, <a href="#Page_137">137</a>; +<ul> +<li>shutters of, <a href="#Page_143">143</a></li> +</ul> +</li> +<li>Leaded glass, <a href="#Page_92">92</a></li> +<li>League Street, house No. 114, doorway of, <a href="#Page_107">107</a></li> +<li><a name="Ledge-stone" id="Ledge-stone"></a>Ledge-stone country houses, <a href="#Page_53">53-68</a></li> +<li>Ledge stonework, of Germantown, its picturesque appeal, <a href="#Page_53">53</a>; +<ul> +<li>its adaptability, <a href="#Page_53">53</a>, <a href="#Page_54">54</a>;</li> +<li>has marked horizontal effect, <a href="#Page_54">54</a>;</li> +<li>is conducive to handsome, honest masonry, <a href="#Page_54">54</a>;</li> +<li>in combination with white-painted woodwork, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_66">66</a>;</li> +<li>mansions, the chief distinction of Philadelphia architecture, <a href="#Page_68">68</a></li> +</ul> +</li> +<li>Lee, Alice, <a href="#Page_46">46</a></li> +<li>Lee, Arthur, <a href="#Page_46">46</a></li> +<li>Lee, General Charles, <a href="#Page_221">221</a></li> +<li>Lee, Richard Henry, <a href="#Page_46">46</a></li> +<li>Lee, Thomas, <a href="#Page_46">46</a></li> +<li>Lenox, General, <a href="#Page_63">63</a></li> +<li>Lesbian leaf ornaments, <a href="#Page_173">173</a>, <a href="#Page_175">175</a></li> +<li>Lewis, Mordecai, <a href="#Page_44">44</a>, <a href="#Page_45">45</a></li> +<li>Lewis, Samuel N., <a href="#Page_45">45</a></li> +<li>Lewis, William, <a href="#Page_22">22</a></li> +<li>Liberty Bell, <a href="#Page_200">200-203</a></li> +<li>Library, of Stenton, <a href="#Page_28">28</a></li> +<li>Lime, makeshift for, <a href="#Page_96">96</a></li> +<li>Lintels, of Port Royal House, <a href="#Page_35">35</a>; +<ul> +<li>keyed, of city blocks, <a href="#Page_39">39</a>;</li> +<li>of Morris house, <a href="#Page_49">49</a>;</li> +<li>keyed, of Upsala, <a href="#Page_60">60</a>;</li> +<li>keyed, of Mount Pleasant, <a href="#Page_73">73</a>;</li> +<li>keyed, of Cliveden, <a href="#Page_88">88</a>;</li> +<li>of The Highlands, <a href="#Page_91">91</a>;</li> +<li>of Bartram House, <a href="#Page_94">94</a>;</li> +<li>stone, <a href="#Page_142">142</a></li> +</ul> +</li> +<li>Livezey, John, <a href="#Page_59">59</a></li> +<li>Livezey, Rachael, <a href="#Page_96">96</a></li> +<li>Livezey, Thomas, <a href="#Page_57">57</a></li> +<li>Livezey, Thomas, Jr., <a href="#Page_57">57</a>, <a href="#Page_58">58</a></li> +<li>Livezey, Thomas, son of Thomas, Jr., <a href="#Page_59">59</a></li> +<li><a name="Livezey_house" id="Livezey_house"></a>Livezey house, description of, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>; +<ul> +<li>history of, <a href="#Page_57">57-59</a>;</li> +<li>six-panel door of, <a href="#Page_103">103</a>;</li> +<li>windows of, <a href="#Page_136">136</a>;</li> +<li>dormers of, <a href="#Page_139">139</a>;</li> +<li>shutters and blinds of, <a href="#Page_144">144</a>, <a href="#Page_146">146</a></li> +</ul> +</li> +<li>Logan, Albanus, <a href="#Page_30">30</a></li> +<li>Logan, Deborah, <a href="#Page_30">30</a></li> +<li>Logan, Doctor George, <a href="#Page_29">29</a></li> +<li>Logan, Gustavus, <a href="#Page_30">30</a>, <a href="#Page_82">82</a></li> +<li>Logan, James, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>, <a href="#Page_82">82</a></li> +<li>Logan, William, <a href="#Page_29">29</a></li> +<li>Lombardy poplar, the, <a href="#Page_67">67</a></li> +<li>Loudoun, description of, <a href="#Page_80">80</a>, <a href="#Page_81">81</a>; +<ul> +<li>history of, <a href="#Page_81">81</a>, <a href="#Page_82">82</a>;</li> +<li>eight-panel door of, <a href="#Page_104">104</a>;</li> +<li>windows of, <a href="#Page_137">137</a>;</li> +<li>dormers, <a href="#Page_140">140</a>;</li> +<li>shutters and blinds of, <a href="#Page_144">144</a>, <a href="#Page_145">145</a></li> +</ul> +</li> +<li>Lukens family, <a href="#Page_37">37</a></li> +<li>Mackinett, Daniel, <a href="#Page_98">98</a></li> +<li>Macpherson, John, <a href="#Page_74">74</a>, <a href="#Page_75">75</a></li> +<li>Madison, Dolly, <a href="#Page_93">93</a></li> +<li>Mahogany, <a href="#Page_43">43</a></li> +<li>Mansard roof, <a href="#Page_80">80</a></li> +<li>Mantel shelves, <a href="#Page_171">171</a>, <a href="#Page_176">176-178</a></li> +<li>Mantels, of Woodford, <a href="#Page_20">20</a>; +<ul> +<li>of Upsala, <a href="#Page_60">60</a>, <a href="#Page_179">179-182</a>;</li> +<li>of The Highlands, <a href="#Page_92">92</a>;</li> +<li>development of, <a href="#Page_171">171</a>;</li> +<li>of Stenton, <a href="#Page_172">172</a>;</li> +<li>of Whitby Hall, <a href="#Page_172">172</a>, <a href="#Page_173">173</a>;</li> +<li>of Mount Vernon, <a href="#Page_173">173-175</a>;</li> +<li>of Mount Pleasant, <a href="#Page_175">175</a>, <a href="#Page_176">176</a>;</li> +<li>of Cliveden, <a href="#Page_177">177</a>;</li> +<li>of old Spruce Street house, <a href="#Page_178">178</a>;</li> +<li>with shelf, <a href="#Page_178">178</a>;</li> +<li>of form of complete entablature, <a href="#Page_178">178</a>;</li> +<li>hand-carved ornaments for, <a href="#Page_179">179</a>;</li> +<li>for hob grate, <a href="#Page_180">180</a>;</li> +<li>elaborate, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>;</li> +<li>of house at Third and DeLancy streets, <a href="#Page_182">182</a>;</li> +<li>of the Rex house, <a href="#Page_182">182</a>;</li> +<li>of house No. 312 Cypress Street, <a href="#Page_182">182</a>;</li> +<li>of house No. 729 Walnut Street, <a href="#Page_183">183</a></li> +</ul> +</li> +<li>Marble, houses of, <a href="#Page_17">17</a>; +<ul> +<li>Pennsylvania, of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>use of, in trimmings, <a href="#Page_142">142</a>, <a href="#Page_173">173</a>, <a href="#Page_174">174</a>, <a href="#Page_176">176</a>, <a href="#Page_177">177</a>, <a href="#Page_180">180</a>, <a href="#Page_198">198</a>, <a href="#Page_199">199</a>, <a href="#Page_208">208</a>, <a href="#Page_209">209</a></li> +</ul> +</li> +<li>Markets, <a href="#Page_212">212</a></li> +<li>Markham, Captain William, <a href="#Page_3">3</a></li> +<li>Marshall, Chief Justice John, <a href="#Page_202">202</a>, <a href="#Page_208">208</a></li> +<li>Mastic, <a href="#Page_43">43</a></li> +<li>Matthews, James, <a href="#Page_80">80</a></li> +<li>McClenahan, Blair, <a href="#Page_90">90</a></li> +<li>Medallion, <a href="#Page_183">183</a></li> +<li>Mennonites, church of, <a href="#Page_224">224</a>, <a href="#Page_225">225</a></li> +<li>Merailles, Don Juan de, <a href="#Page_75">75</a></li> +<li>Mermaid Inn, in Mount Airy, <a href="#Page_12">12</a></li> +<li>Metopes, <a href="#Page_118">118</a>, <a href="#Page_162">162</a></li> +<li>Millan, Hans, <a href="#Page_71">71</a></li> +<li>"Mischianza", <a href="#Page_21">21</a></li> +<li>Modillions, of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>of Stenton, <a href="#Page_26">26</a>;</li> +<li>hand-tooled, of city blocks, <a href="#Page_39">39</a>;</li> +<li>of Mount Pleasant, <a href="#Page_73">73</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>;</li> +<li>of Upsala, <a href="#Page_120">120</a>;</li> +<li>of Whitby Hall, <a href="#Page_159">159</a>;</li> +<li>of Mount Pleasant, <a href="#Page_164">164</a>, <a href="#Page_192">192</a>;</li> +<li>of Independence Hall, <a href="#Page_200">200</a>;</li> +<li>of the Girard National Bank building, <a href="#Page_217">217</a></li> +</ul> +</li> +<li>Molding, denticulated, <a href="#Page_77">77</a>, <a href="#Page_80">80</a>, <a href="#Page_107">107</a>, <a href="#Page_112">112</a>, <a href="#Page_115">115</a>, <a href="#Page_140">140</a>, <a href="#Page_177">177</a>, <a href="#Page_192">192</a>, <a href="#Page_209">209</a>; +<ul> +<li>ovolo, <a href="#Page_97">97</a>, <a href="#Page_107">107</a>, <a href="#Page_115">115</a>, <a href="#Page_173">173</a>, <a href="#Page_176">176</a>;</li> +<li>cornice, <a href="#Page_109">109</a>, <a href="#Page_217">217</a>;</li> +<li>of classic order, <a href="#Page_113">113</a>;</li> +<li>rope, <a href="#Page_120">120</a>;</li> +<li>bolection, <a href="#Page_156">156</a>, <a href="#Page_171">171</a>, <a href="#Page_188">188</a>, <a href="#Page_190">190</a>, <a href="#Page_191">191</a>;</li> +<li>of Mount Pleasant, <a href="#Page_162">162</a>;</li> +<li>crenelated, <a href="#Page_172">172</a>;</li> +<li>of panel, <a href="#Page_175">175</a>;</li> +<li>bed, <a href="#Page_180">180</a>;</li> +<li>cavetto, <a href="#Page_181">181</a>, <a href="#Page_187">187</a>;</li> +<li>ogee, <a href="#Page_187">187</a>, <a href="#Page_189">189</a>;</li> +<li>of inside doors, <a href="#Page_190">190</a></li> +</ul> +</li> +<li>Morgan, General Jacob, <a href="#Page_221">221</a></li> +<li>Morris, Anthony, <a href="#Page_92">92</a></li> +<li>Morris, Joshua, <a href="#Page_25">25</a></li> +<li>Morris, Luke Wistar, <a href="#Page_50">50</a></li> +<li>Morris, Robert, services of, <a href="#Page_8">8</a>; +<ul> +<li>lived in Philadelphia, <a href="#Page_9">9</a>;</li> +<li>grave of, <a href="#Page_221">221</a></li> +</ul> +</li> +<li>Morris, Samuel, <a href="#Page_24">24</a>, <a href="#Page_25">25</a></li> +<li>Morris, Captain Samuel, <a href="#Page_50">50</a>, <a href="#Page_92">92</a></li> +<li>Morris, Samuel B., <a href="#Page_79">79</a></li> +<li>Morris house, description of, <a href="#Page_39">39</a>, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>; +<ul> +<li>history of, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>;</li> +<li>door of, <a href="#Page_105">105</a>;</li> +<li>doorway of, <a href="#Page_109">109</a>, <a href="#Page_110">110</a>;</li> +<li>windows of, <a href="#Page_137">137</a>, <a href="#Page_139">139</a>, <a href="#Page_141">141</a>, <a href="#Page_142">142</a>;</li> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>shutters of, <a href="#Page_143">143</a>, <a href="#Page_144">144</a>, <a href="#Page_146">146</a></li> +</ul> +</li> +<li><a name="Mount_Pleasant" id="Mount_Pleasant"></a>Mount Pleasant, description of, <a href="#Page_72">72-74</a>; +<ul> +<li>history of, <a href="#Page_74">74-76</a>;</li> +<li>three-panel door of, <a href="#Page_104">104</a>;</li> +<li>doorway of, <a href="#Page_116">116</a>;</li> +<li>stoop of, <a href="#Page_128">128</a>;</li> +<li>windows of, <a href="#Page_137">137</a>;</li> +<li>dormers of, <a href="#Page_141">141</a>;</li> +<li>with neither outside shutters nor blinds, <a href="#Page_142">142</a>;</li> +<li>Palladian window of, <a href="#Page_151">151</a>;</li> +<li>hall of, <a href="#Page_161">161-165</a>;</li> +<li>chimney-piece of, <a href="#Page_175">175</a>, <a href="#Page_176">176</a>;</li> +<li>interior wood finish of, <a href="#Page_185">185</a>, <a href="#Page_186">186</a>, <a href="#Page_187">187</a>, <a href="#Page_188">188</a>, <a href="#Page_190">190</a>, <a href="#Page_191">191</a>, <a href="#Page_192">192</a>;</li> +<li>round-headed windows of, <a href="#Page_193">193</a></li> +</ul> +</li> +<li>Mount Vernon, <a href="#Page_173">173-175</a></li> +<li>Mullions, fluted, <a href="#Page_116">116</a></li> +<li>Muntins, of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>of Hope Lodge, <a href="#Page_23">23</a>;</li> +<li>of Christ Church, <a href="#Page_149">149</a>;</li> +<li>of six-panel doors, <a href="#Page_190">190</a></li> +</ul> +</li> +<li>Musgrave, Colonel, <a href="#Page_90">90</a></li> +<li>Mutules, <a href="#Page_116">116</a></li> +<li>Newels, <a href="#Page_130">130</a>, <a href="#Page_132">132</a>, <a href="#Page_133">133</a>, <a href="#Page_157">157</a>, <a href="#Page_159">159</a>, <a href="#Page_167">167</a>, <a href="#Page_201">201</a></li> +<li>Nichol, James, <a href="#Page_63">63</a></li> +<li>Northern Liberties, the, <a href="#Page_4">4</a></li> +<li>Observatory, <a href="#Page_62">62</a>, <a href="#Page_64">64</a></li> +<li>Ogee, <a href="#Page_175">175</a></li> +<li>Old Swedes' Church, <a href="#Page_148">148</a>, <a href="#Page_149">149</a>, <a href="#Page_221">221</a>, <a href="#Page_222">222</a></li> +<li>Openings, elliptical-headed, <a href="#Page_193">193</a></li> +<li>Outinian Society, <a href="#Page_85">85</a></li> +<li>Oval shell pattern, <a href="#Page_107">107</a></li> +<li>Overmantel, <a href="#Page_173">173</a>, <a href="#Page_174">174</a>, <a href="#Page_177">177</a></li> +<li>Ovolo, reeded, <a href="#Page_111">111</a>, <a href="#Page_183">183</a>; +<ul> +<li>enriched, <a href="#Page_113">113</a>;</li> +<li>hand-tooled, <a href="#Page_114">114</a>;</li> +<li>with bead and reel and egg and dart motive, <a href="#Page_175">175</a>;</li> +<li>molded, <a href="#Page_176">176</a>;</li> +<li>with egg and dart motive, <a href="#Page_177">177</a>, <a href="#Page_203">203</a></li> +</ul> +</li> +<li>Paintings, first exhibition of, <a href="#Page_206">206</a></li> +<li>Palladian window, of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>of Port Royal House, <a href="#Page_35">35</a>;</li> +<li>of The Woodlands, <a href="#Page_66">66</a>;</li> +<li>of Mount Pleasant, <a href="#Page_73">73</a>, <a href="#Page_117">117</a>, <a href="#Page_164">164</a>;</li> +<li>of The Highlands, <a href="#Page_92">92</a>;</li> +<li>gable-roof dormers with, <a href="#Page_140">140</a>;</li> +<li>chancel, <a href="#Page_150">150</a>;</li> +<li>of Independence Hall, <a href="#Page_151">151</a>;</li> +<li>in domestic architecture, <a href="#Page_151">151</a>, <a href="#Page_152">152</a>;</li> +<li>on landing, <a href="#Page_158">158</a>;</li> +<li>of Whitby Hall, <a href="#Page_151">151</a>, <a href="#Page_158">158</a>, <a href="#Page_188">188</a>;</li> +<li>of Independence Hall, <a href="#Page_200">200</a>;</li> +<li>of Carpenters' Hall, <a href="#Page_211">211</a>;</li> +<li>of Christ Church, <a href="#Page_219">219</a>, <a href="#Page_220">220</a></li> +</ul> +</li> +<li>Pancoast, Samuel, <a href="#Page_44">44</a></li> +<li>Paneling, in shutters of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>in doors of Hope Lodge, <a href="#Page_23">23</a>;</li> +<li>in wainscots of Hope Lodge, <a href="#Page_24">24</a>;</li> +<li>of window-seats of Hope Lodge, <a href="#Page_24">24</a>;</li> +<li>of doors of Stenton, <a href="#Page_27">27</a>;</li> +<li>of wainscoting of Stenton, <a href="#Page_27">27</a>;</li> +<li>of walls of Stenton, <a href="#Page_27">27</a>;</li> +<li>in shutters of Girard house, <a href="#Page_31">31</a>;</li> +<li>of shutters of city blocks, <a href="#Page_40">40</a>;</li> +<li>of doors of city blocks, <a href="#Page_40">40</a>;</li> +<li>of sides of rooms and fireplace openings, <a href="#Page_43">43</a>;</li> +<li>of shutters of Morris house, <a href="#Page_48">48</a>;</li> +<li>of wainscots of Upsala, <a href="#Page_60">60</a>, <a href="#Page_167">167</a>;</li> +<li>of doors of Wyck, <a href="#Page_71">71</a>;</li> +<li>of door and wainscots of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of shutters of Loudoun, <a href="#Page_81">81</a>;</li> +<li>of door of Loudoun, <a href="#Page_81">81</a>;</li> +<li>of shutters of Johnson house, <a href="#Page_96">96</a>;</li> +<li>doors classified according to, <a href="#Page_103">103</a>;</li> +<li>six-panel doors, <a href="#Page_103">103</a>, <a href="#Page_104">104</a>, <a href="#Page_107">107</a>, <a href="#Page_108">108</a>;</li> +<li>three-panel doors, <a href="#Page_104">104</a>;</li> +<li>eight-panel doors, <a href="#Page_104">104</a>, <a href="#Page_105">105</a>;</li> +<li>of jambs, <a href="#Page_106">106</a>, <a href="#Page_107">107</a>, <a href="#Page_108">108</a>, <a href="#Page_111">111</a>;</li> +<li>of door of Morris house, <a href="#Page_109">109</a>;</li> +<li>of door of house No. 701 South Seventh Street, <a href="#Page_110">110</a>;</li> +<li>of door of house No. 709 Spruce Street, <a href="#Page_111">111</a>;</li> +<li>of door of house No. 5200 Germantown Avenue, <a href="#Page_111">111</a>;</li> +<li>of door of house No. 4927 Frankford Avenue, <a href="#Page_111">111</a>;</li> +<li>of door of Powel house, <a href="#Page_113">113</a>;</li> +<li>of jambs of Wharton House, <a href="#Page_113">113</a>;</li> +<li>of door of Wharton house, <a href="#Page_113">113</a>;</li> +<li>of door of Grumblethorpe, <a href="#Page_114">114</a>;</li> +<li>of door of house No. 6105 Germantown Avenue, <a href="#Page_115">115</a>;</li> +<li>of door of Mount Pleasant, <a href="#Page_116">116</a>;</li> +<li>of doors of Cliveden, <a href="#Page_117">117</a>;</li> +<li>of soffits, <a href="#Page_118">118</a>;</li> +<li>of doors of Solitude, <a href="#Page_118">118</a>;</li> +<li>of door of Perot-Morris house, <a href="#Page_118">118</a>;</li> +<li>of door of Upsala, <a href="#Page_121">121</a>;</li> +<li>of jambs and soffit of Henry house, <a href="#Page_121">121</a>;</li> +<li>molded flat, <a href="#Page_122">122</a>;</li> +<li>of doors in round-arched doorways, <a href="#Page_124">124</a>, <a href="#Page_125">125</a>;</li> +<li>of shutters, <a href="#Page_144">144</a>, <a href="#Page_145">145</a>;</li> +<li>of dado of Stenton, <a href="#Page_157">157</a>;</li> +<li>of wainscot of Cliveden, <a href="#Page_165">165</a>;</li> +<li>of wainscot of Mount Vernon, <a href="#Page_174">174</a>;</li> +<li>of wainscot of Mount Pleasant, <a href="#Page_176">176</a>;</li> +<li>of mantels, with shelf, <a href="#Page_178">178</a>;</li> +<li>of hall, parlor, and reception room, <a href="#Page_186">186</a>;</li> +<li>of wainscot, <a href="#Page_186">186</a>;</li> +<li>of chimney-piece, <a href="#Page_188">188</a>;</li> +<li>of overmantel, <a href="#Page_188">188</a>;</li> +<li>of reception room at Stenton, <a href="#Page_189">189</a>;</li> +<li>of inside doors, <a href="#Page_190">190</a>;</li> +<li>of jambs and soffits, <a href="#Page_191">191</a>;</li> +<li>of door of Independence Hall, <a href="#Page_200">200</a>;</li> +<li>in Independence Hall, <a href="#Page_200">200</a>, <a href="#Page_201">201</a>, <a href="#Page_203">203</a></li> +</ul> +</li> +<li>Panes, size, <a href="#Page_135">135</a>, <a href="#Page_164">164</a>; +<ul> +<li>number, <a href="#Page_135">135-140</a>, <a href="#Page_148">148-152</a>;</li> +<li>rectangular, <a href="#Page_149">149</a>;</li> +<li>keystone-shaped, <a href="#Page_149">149</a>;</li> +<li>quarter-round, <a href="#Page_149">149</a></li> +</ul> +</li> +<li>Paschall, Thomas, <a href="#Page_22">22</a></li> +<li>Pastorius, Francis Daniel, <a href="#Page_82">82</a></li> +<li>Peale, Rembrandt, <a href="#Page_206">206</a></li> +<li>Peale Museum, <a href="#Page_206">206</a></li> +<li>Pediments, of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>of Port Royal House, <a href="#Page_35">35</a>;</li> +<li>of city blocks, <a href="#Page_40">40</a>;</li> +<li>of Blackwell house, <a href="#Page_43">43</a>;</li> +<li>of The Woodlands, <a href="#Page_65">65</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Vernon, <a href="#Page_79">79</a>;</li> +<li>of Loudoun, <a href="#Page_81">81</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>;</li> +<li>of The Highlands, <a href="#Page_91">91</a>;</li> +<li>forming hood above doorway, <a href="#Page_106">106</a>;</li> +<li>of doorhead, <a href="#Page_107">107</a>;</li> +<li>of Morris house, <a href="#Page_109">109</a>;</li> +<li>Ionic, <a href="#Page_191">191</a></li> +</ul> +</li> +<li>Pen Rhyn house, windows of, <a href="#Page_139">139</a></li> +<li>Penn, Granville, <a href="#Page_85">85</a></li> +<li>Penn, Granville John, <a href="#Page_85">85</a></li> +<li>Penn, John, <a href="#Page_83">83-85</a>, <a href="#Page_90">90</a>, <a href="#Page_221">221</a></li> +<li>Penn, Governor John, <a href="#Page_84">84</a></li> +<li>Penn, Letitia, <a href="#Page_16">16</a>, <a href="#Page_17">17</a></li> +<li>Penn, Thomas, <a href="#Page_84">84</a></li> +<li>Penn, William, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_84">84</a>, <a href="#Page_85">85</a></li> +<li>Penn's house, windows of, <a href="#Page_136">136</a></li> +<li>Pennsylvania, importance of attitude of, in the Revolution, <a href="#Page_8">8</a></li> +<li>Pennsylvania Hospital, <a href="#Page_148">148</a>, <a href="#Page_212">212-214</a></li> +<li>Penthouse roof, influence of, <a href="#Page_19">19</a>, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>; +<ul> +<li>characteristic feature of ledge stonework, <a href="#Page_19">19</a>, <a href="#Page_106">106</a>;</li> +<li>of Grumblethorpe, <a href="#Page_62">62</a>;</li> +<li>of house No. 6306 Germantown Avenue, <a href="#Page_96">96</a>;</li> +<li>of Green Tree Inn, <a href="#Page_97">97</a>, <a href="#Page_107">107</a>;</li> +<li>of Billmeyer, <a href="#Page_98">98</a>;</li> +<li>of Whitby Hall, <a href="#Page_160">160</a></li> +</ul> +</li> +<li>Perot, Elliston, <a href="#Page_79">79</a></li> +<li>Perot, John, <a href="#Page_79">79</a></li> +<li>Perot-Morris house, eight-panel door of, <a href="#Page_104">104</a>, <a href="#Page_105">105</a>; +<ul> +<li>doorway of, <a href="#Page_118">118</a>, <a href="#Page_119">119</a>;</li> +<li>windows of, <a href="#Page_137">137</a>;</li> +<li>dormers of, <a href="#Page_141">141</a>;</li> +<li>shutters and blinds of, <a href="#Page_144">144</a>, <a href="#Page_146">146</a>, <a href="#Page_147">147</a></li> +</ul> +</li> +<li>Peters, Judge Richard, <a href="#Page_84">84</a></li> +<li>Philadelphia, unique position of, in American architecture, <a href="#Page_1">1</a>; +<ul> +<li>old buildings of, of brick and stone, and substantial in character, <a href="#Page_1">1</a>;</li> +<li>much of best Colonial domestic architecture to be found in neighborhood of, <a href="#Page_2">2</a>;</li> +<li>history enacted in buildings of, <a href="#Page_2">2</a>;</li> +<li>Georgian and pure Colonial styles in, <a href="#Page_3">3</a>;</li> +<li>review of early history of, <a href="#Page_3">3</a>;</li> +<li>laid out by Thomas Holme, <a href="#Page_4">4</a>;</li> +<li>character of early settlers of, <a href="#Page_4">4</a>;</li> +<li>early commerce of, <a href="#Page_5">5</a>;</li> +<li>at the time of the Revolution, <a href="#Page_5">5</a>;</li> +<li>importance of, in eighteenth century, <a href="#Page_6">6</a>;</li> +<li>a refuge for immigrants of persecuted sects, <a href="#Page_7">7</a>;</li> +<li>Quaker influence in, <a href="#Page_7">7</a>;</li> +<li>Scotch-Irish ascendancy in, <a href="#Page_7">7</a>;</li> +<li>center of the new republic in embryo, <a href="#Page_8">8</a>;</li> +<li>the meeting of the Continental Congresses in, <a href="#Page_8">8</a>, <a href="#Page_9">9</a>;</li> +<li>the sitting of the convention for framing the Constitution in, <a href="#Page_9">9</a>;</li> +<li>the national capital, <a href="#Page_9">9</a>;</li> +<li>famous men associated with, <a href="#Page_9">9</a>;</li> +<li>list of first things established or done at, <a href="#Page_9">9-11</a>;</li> +<li>noted for its generous hospitality, <a href="#Page_11">11</a>;</li> +<li>brilliancy of its social life, <a href="#Page_11">11-14</a>;</li> +<li>theaters in, <a href="#Page_14">14</a>;</li> +<li>estates of the countryside, <a href="#Page_15">15</a>;</li> +<li>has distinctive architecture in brick, stone, and woodwork, and diversified architecture of city and country types, <a href="#Page_15">15</a>;</li> +<li>clung to the manners and customs of the mother country, <a href="#Page_16">16</a>;</li> +<li>brick favored in, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>;</li> +<li>the dominant feature of the domestic architecture of the city proper, <a href="#Page_38">38</a>;</li> +<li>houses of, possess charm of architectural merit combined with historic interest, <a href="#Page_101">101</a></li> +</ul> +</li> +<li>Philosophical Society, the, <a href="#Page_48">48</a></li> +<li>Piers, of Stenton, <a href="#Page_26">26</a>; +<ul> +<li>of Cliveden, <a href="#Page_88">88</a></li> +</ul> +</li> +<li>Pilasters, of Woodford, <a href="#Page_20">20</a>; +<ul> +<li>of Hope Lodge, <a href="#Page_24">24</a>;</li> +<li>fluted, of city blocks, <a href="#Page_40">40</a>;</li> +<li>fluted, of Blackwell house, <a href="#Page_42">42</a>;</li> +<li>fluted, of Morris house, <a href="#Page_49">49</a>;</li> +<li>of The Woodlands, <a href="#Page_65">65</a>;</li> +<li>of Mount Pleasant, <a href="#Page_74">74</a>;</li> +<li>of The Highlands, <a href="#Page_91">91</a>;</li> +<li>supporting pediment, <a href="#Page_108">108</a>;</li> +<li>of house No. 6019 Germantown Avenue, <a href="#Page_107">107</a>;</li> +<li>fluted, of Whitby Hall, <a href="#Page_158">158</a>, <a href="#Page_159">159</a>;</li> +<li>of Mount Vernon, <a href="#Page_174">174</a>;</li> +<li>of Upsala, <a href="#Page_180">180</a>, <a href="#Page_181">181</a>, <a href="#Page_182">182</a>;</li> +<li>paneled, of house No. 312 Cypress Street, <a href="#Page_182">182</a>, <a href="#Page_183">183</a>;</li> +<li>fluted, of Independence Hall, <a href="#Page_204">204</a>, <a href="#Page_205">205</a></li> +</ul> +</li> +<li>Pillars, <a href="#Page_81">81</a></li> +<li>Pine, Edgar, <a href="#Page_206">206</a></li> +<li>Pine, Robert Edge, <a href="#Page_206">206</a></li> +<li>Pine Street, house No. 239, footscraper of, <a href="#Page_132">132</a></li> +<li>Pine Street, house No. 247, doorway of, <a href="#Page_109">109</a></li> +<li>Pineapple, the, <a href="#Page_130">130</a></li> +<li>Plastered stone country houses, <a href="#Page_69">69-85</a>; +<ul> +<li>one of the distinctive types of Philadelphia architecture, <a href="#Page_85">85</a></li> +</ul> +</li> +<li>Plastic Club, <a href="#Page_42">42</a></li> +<li>Pointing, methods of, <a href="#Page_55">55</a>; +<ul> +<li>of Upsala, <a href="#Page_59">59</a>;</li> +<li>of The Woodlands, <a href="#Page_66">66</a>;</li> +<li>of hewn stone houses, <a href="#Page_87">87</a>;</li> +<li>flush, of Cliveden, <a href="#Page_87">87</a>;</li> +<li>of The Highlands, <a href="#Page_91">91</a></li> +</ul> +</li> +<li>Pomfret, Earl of, <a href="#Page_84">84</a></li> +<li>Poor Richard Club, <a href="#Page_42">42</a></li> +<li>Porch, to servants' quarters and kitchen, of Hope Lodge, <a href="#Page_24">24</a>; +<ul> +<li>of Stenton, <a href="#Page_26">26</a></li> +</ul> +</li> +<li><a name="Porches" id="Porches"></a>Porches, of Hope Lodge, <a href="#Page_23">23</a>, <a href="#Page_120">120</a>; +<ul> +<li>pedimental, of Upsala, <a href="#Page_60">60</a>, <a href="#Page_120">120</a>;</li> +<li>of The Highlands, <a href="#Page_92">92</a>;</li> +<li>not common, <a href="#Page_119">119</a>;</li> +<li>of The Highlands, <a href="#Page_120">120</a>;</li> +<li>of the Henry house, <a href="#Page_121">121</a>;</li> +<li>elliptical, of house No. 39 Fisher's Lane, <a href="#Page_122">122</a></li> +</ul> +</li> +<li>Port Royal House, description of, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>; +<ul> +<li>history of, <a href="#Page_35">35-37</a>;</li> +<li>three-panel door of, <a href="#Page_104">104</a>;</li> +<li>windows of, <a href="#Page_137">137</a>;</li> +<li>dormers of, <a href="#Page_141">141</a>;</li> +<li>blinds of, <a href="#Page_143">143</a>, <a href="#Page_145">145</a></li> +</ul> +</li> +<li>Portico, <a href="#Page_65">65</a>, <a href="#Page_81">81</a>, <a href="#Page_82">82</a></li> +<li>Portius, James, induced by Penn to come to the New World, <a href="#Page_5">5</a>; +<ul> +<li>a leading member of the Carpenters' Company, <a href="#Page_5">5</a>;</li> +<li>laid foundation of builders' library, <a href="#Page_6">6</a></li> +</ul> +</li> +<li>Ports, <a href="#Page_220">220</a></li> +<li>Powel house, eight-panel door of, <a href="#Page_104">104</a>; +<ul> +<li>doorway of, <a href="#Page_113">113</a>;</li> +<li>stoop of, <a href="#Page_128">128</a>;</li> +<li>windows of, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>;</li> +<li>dormers of, <a href="#Page_141">141</a>;</li> +<li>shutters of, <a href="#Page_144">144</a>, <a href="#Page_145">145</a></li> +</ul> +</li> +<li>Public buildings, of Philadelphia, historically and architecturally inspiring, <a href="#Page_196">196</a>; +<ul> +<li>discussion of, <a href="#Page_196">196-225</a></li> +</ul> +</li> +<li>Quakers, Philadelphia a place of refuge for, <a href="#Page_3">3</a>; +<ul> +<li>influence of, in Philadelphia, <a href="#Page_7">7</a>;</li> +<li>loved eating and drinking, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>;</li> +<li>other distractions of, <a href="#Page_13">13</a>;</li> +<li>little difference between homes of "World's People" and, <a href="#Page_14">14</a></li> +</ul> +</li> +<li>Quoining, <a href="#Page_23">23</a>, <a href="#Page_35">35</a>, <a href="#Page_59">59</a>, <a href="#Page_73">73</a>, <a href="#Page_199">199</a>, <a href="#Page_223">223</a></li> +<li>Race Street, house No. 128, windows of, <a href="#Page_136">136</a>; +<ul> +<li>shutters of, <a href="#Page_144">144</a>, <a href="#Page_147">147</a></li> +</ul> +</li> +<li>Race Street, house No. 130, stoop of, <a href="#Page_128">128</a></li> +<li>Railing, wrought iron, <a href="#Page_83">83</a>, <a href="#Page_114">114</a>; +<ul> +<li>adaptation of Gothic tracery, <a href="#Page_123">123</a></li> +</ul> +</li> +<li>Rails, of blinds, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>; +<ul> +<li>of doors, <a href="#Page_103">103</a>, <a href="#Page_190">190</a>;</li> +<li>of shutters, <a href="#Page_144">144</a>, <a href="#Page_145">145</a>;</li> +<li>of windows, <a href="#Page_134">134</a></li> +</ul> +</li> +<li>Rain gauge, <a href="#Page_62">62</a></li> +<li>Ramsey, Allan, <a href="#Page_206">206</a></li> +<li>Randolph, Edmund, <a href="#Page_78">78</a></li> +<li>Randolph, Peyton, <a href="#Page_221">221</a></li> +<li>Randolph house, doorway of, <a href="#Page_124">124</a></li> +<li>Red Lion Inn, survival of inns of Colonial days, <a href="#Page_12">12</a></li> +<li>Reed, General Joseph, <a href="#Page_25">25</a></li> +<li>Reed, Joseph, <a href="#Page_25">25</a></li> +<li>Reeded casings, <a href="#Page_121">121</a></li> +<li>Reeded ovolo, <a href="#Page_111">111</a>, <a href="#Page_183">183</a></li> +<li>Reeve, Mrs. Josiah, <a href="#Page_97">97</a></li> +<li>Rex house, mantel of, <a href="#Page_182">182</a>; +<ul> +<li>interior wood finish of, <a href="#Page_187">187</a></li> +</ul> +</li> +<li>Reynolds, John, <a href="#Page_49">49</a></li> +<li>Rhodes, Samuel, <a href="#Page_213">213</a></li> +<li>Ridge or weathered pointing, <a href="#Page_55">55</a></li> +<li>Rim lock, <a href="#Page_106">106</a>, <a href="#Page_110">110</a>, <a href="#Page_209">209</a></li> +<li>Rittenhouse, David, <a href="#Page_9">9</a></li> +<li>Rock-face stonework, <a href="#Page_53">53</a></li> +<li>Rolling ways, <a href="#Page_40">40</a>, <a href="#Page_49">49</a></li> +<li>Roofs, balustraded, <a href="#Page_219">219</a>; +<ul> +<li>gable, <a href="#Page_39">39</a>, 56 (Livezey house), <a href="#Page_59">59</a>, 120 (Upsala), 77 (No. 5442 Germantown Avenue), 79 (Vernon), 94 (Bartram house), 95 (Johnson house), 199 (Independence Hall), 124 (St. Paul's Protestant Episcopal church);</li> +<li>gambrel, <a href="#Page_80">80</a>;</li> +<li>hipped, 19 (Woodford), 23 (Hope Lodge), 26 (Stenton), 31 (home of Stephen Girard), 35 (Port Royal House), 66 (stable of The Woodlands), <a href="#Page_72">72</a>, 73 (Mount Pleasant), 80 (Loudoun), 83 (Solitude), 198 (Independence Hall);</li> +<li>mansard, <a href="#Page_80">80</a></li> +</ul> +</li> +<li>Rosettes, <a href="#Page_130">130</a></li> +<li>Ross, Betsy, <a href="#Page_51">51</a>, <a href="#Page_52">52</a></li> +<li>Ross, John, <a href="#Page_51">51</a></li> +<li>Roxborough, <a href="#Page_167">167</a></li> +<li>Rubble masonry, <a href="#Page_70">70</a>, <a href="#Page_73">73</a>, <a href="#Page_79">79</a>, <a href="#Page_81">81</a>, <a href="#Page_82">82</a>, <a href="#Page_87">87</a>, <a href="#Page_91">91</a>, <a href="#Page_224">224</a></li> +<li>Rush, Doctor Benjamin, <a href="#Page_221">221</a></li> +<li>Rush, Colonel William, <a href="#Page_204">204</a></li> +<li>St. Luke's Church, <a href="#Page_82">82</a></li> +<li>St. Paul's Protestant Episcopal Church, <a href="#Page_224">224</a></li> +<li>St. Peter's Protestant Episcopal Church, <a href="#Page_149">149</a>, <a href="#Page_150">150</a>, <a href="#Page_222">222</a>, <a href="#Page_223">223</a></li> +<li>Sargent, John, <a href="#Page_25">25</a></li> +<li>Sash bars, <a href="#Page_134">134</a></li> +<li><a name="Sashes" id="Sashes"></a>Sashes, three-paned, <a href="#Page_138">138</a>, <a href="#Page_140">140</a>; +<ul> +<li>six-paned, <a href="#Page_40">40</a>, <a href="#Page_57">57</a>, <a href="#Page_83">83</a>, <a href="#Page_91">91</a>, <a href="#Page_96">96</a>, <a href="#Page_135">135-140</a>, <a href="#Page_151">151</a>;</li> +<li>seven-paned, <a href="#Page_148">148</a>;</li> +<li>eight-paned, <a href="#Page_48">48</a>, <a href="#Page_99">99</a>, <a href="#Page_137">137</a>, <a href="#Page_138">138</a>, <a href="#Page_140">140</a>;</li> +<li>nine-paned, <a href="#Page_23">23</a>, <a href="#Page_40">40</a>, <a href="#Page_57">57</a>, <a href="#Page_83">83</a>, <a href="#Page_96">96</a>, <a href="#Page_135">135-138</a>;</li> +<li>ten-paned, <a href="#Page_148">148</a>, <a href="#Page_149">149</a>;</li> +<li>twelve-paned, <a href="#Page_19">19</a>, <a href="#Page_48">48</a>, <a href="#Page_88">88</a>, <a href="#Page_99">99</a>, <a href="#Page_135">135-138</a>, <a href="#Page_148">148-152</a>;</li> +<li>fifteen-paned, <a href="#Page_148">148</a>, <a href="#Page_149">149</a>;</li> +<li>sixteen-paned, <a href="#Page_148">148</a>, <a href="#Page_149">149</a>;</li> +<li>eighteen-paned, <a href="#Page_149">149</a>;</li> +<li>twenty-paned, <a href="#Page_149">149</a>;</li> +<li>twenty-four-paned, <a href="#Page_151">151</a>;</li> +<li>with blinds, <a href="#Page_31">31</a>;</li> +<li>sliding Georgian, <a href="#Page_134">134</a>;</li> +<li>upper and lower, adjustment of, <a href="#Page_134">134</a>;</li> +<li>double-hung, <a href="#Page_134">134</a>;</li> +<li>sliding, <a href="#Page_148">148</a></li> +</ul> +</li> +<li>Say, Thomas, <a href="#Page_63">63</a></li> +<li>Scotch-Irish, in Philadelphia, <a href="#Page_7">7</a></li> +<li>Scroll work, <a href="#Page_130">130</a>, <a href="#Page_147">147</a>, <a href="#Page_159">159</a>, <a href="#Page_201">201</a></li> +<li><i>Sea Nymph</i>, the, <a href="#Page_36">36</a></li> +<li>Seats, doorway, <a href="#Page_94">94</a>, <a href="#Page_96">96</a>, <a href="#Page_98">98</a>, <a href="#Page_107">107</a>; +<ul> +<li>window, <a href="#Page_24">24</a>, <a href="#Page_157">157</a>, <a href="#Page_188">188</a></li> +</ul> +</li> +<li>Seventh and Locust Streets, house at, footscraper of, <a href="#Page_132">132</a>; +<ul> +<li>handrail of, <a href="#Page_133">133</a></li> +</ul> +</li> +<li>Sharpless, John, <a href="#Page_206">206</a></li> +<li>Sheaff, George, <a href="#Page_93">93</a></li> +<li>Shingles, <a href="#Page_65">65</a></li> +<li>Shippen, Edward, <a href="#Page_76">76</a></li> +<li>Shippen, Peggy, <a href="#Page_76">76</a></li> +<li>Shippen, Doctor William, <a href="#Page_46">46</a></li> +<li>Shippen house, <a href="#Page_125">125</a></li> +<li>Shoemaker, Jacob, <a href="#Page_57">57</a></li> +<li>Shoemaker, Thomas, <a href="#Page_57">57</a></li> +<li>Shutters, paneled, <a href="#Page_18">18</a>; +<ul> +<li>of Woodford, <a href="#Page_19">19</a>;</li> +<li>of Hope Lodge, <a href="#Page_23">23</a>;</li> +<li>paneled, of Girard house, <a href="#Page_31">31</a>;</li> +<li>paneled, of city blocks, <a href="#Page_40">40</a>;</li> +<li>paneled, of Morris house, <a href="#Page_48">48</a>;</li> +<li>of Livezey house, <a href="#Page_57">57</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>;</li> +<li>of Grumblethorpe, <a href="#Page_61">61</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Vernon, <a href="#Page_79">79</a>;</li> +<li>paneled, of Loudoun, <a href="#Page_81">81</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>;</li> +<li>paneled, of Johnson house, <a href="#Page_96">96</a>;</li> +<li>of the Billmeyer house, <a href="#Page_99">99</a>;</li> +<li>use of, <a href="#Page_142">142-144</a>;</li> +<li>boxed, <a href="#Page_143">143</a>;</li> +<li>paneling of, <a href="#Page_144">144</a>, <a href="#Page_145">145</a>;</li> +<li>methods of hanging and fastening, <a href="#Page_146">146-148</a></li> +</ul> +</li> +<li>Side lights, of Stenton, <a href="#Page_27">27</a>, <a href="#Page_123">123</a>; +<ul> +<li>of The Highlands, <a href="#Page_92">92</a>;</li> +<li>rare, <a href="#Page_122">122</a>;</li> +<li>earliest instance of, in Philadelphia, <a href="#Page_123">123</a>;</li> +<li>of Pennsylvania Hospital, <a href="#Page_213">213</a></li> +</ul> +</li> +<li>Site and Relic Society, <a href="#Page_80">80</a>, <a href="#Page_97">97</a></li> +<li>Sketch Club, <a href="#Page_42">42</a></li> +<li>Skirting, <a href="#Page_186">186</a></li> +<li>Soffits, paneled, <a href="#Page_107">107</a>, <a href="#Page_108">108</a>, <a href="#Page_111">111</a>, <a href="#Page_118">118</a>, <a href="#Page_158">158</a>, <a href="#Page_159">159</a>, <a href="#Page_191">191</a>, <a href="#Page_203">203</a>; +<ul> +<li>fluted, <a href="#Page_109">109</a>;</li> +<li>rusticated, <a href="#Page_116">116</a></li> +</ul> +</li> +<li>Solitude, description of, <a href="#Page_82">82</a>, <a href="#Page_83">83</a>; +<ul> +<li>history of, <a href="#Page_83">83-85</a>;</li> +<li>three-paneled door of, <a href="#Page_104">104</a>;</li> +<li>doorway of, <a href="#Page_118">118</a>;</li> +<li>windows of, <a href="#Page_136">136</a>;</li> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>with neither outside shutters nor blinds, <a href="#Page_142">142</a>;</li> +<li>interior finish of, <a href="#Page_187">187</a></li> +</ul> +</li> +<li>South American Street, house No. 272, stoop of, <a href="#Page_129">129</a></li> +<li>South Eighth Street, house No. 224, eight-paneled door of, <a href="#Page_105">105</a>; +<ul> +<li>doorway of, <a href="#Page_122">122</a>, <a href="#Page_123">123</a>;</li> +<li>stoop of, <a href="#Page_128">128</a></li> +</ul> +</li> +<li>South Ninth Street, house No. 216, stoop of, <a href="#Page_128">128</a></li> +<li>South Seventh Street, house No. 301, eight-paneled door of, <a href="#Page_104">104</a>, <a href="#Page_105">105</a>; +<ul> +<li>doorway of, <a href="#Page_114">114</a>;</li> +<li>stoop of, <a href="#Page_129">129</a>;</li> +<li>handrail of, <a href="#Page_132">132</a>, <a href="#Page_133">133</a></li> +</ul> +</li> +<li>South Seventh Street, house No. 701, doorway of, <a href="#Page_110">110</a>; +<ul> +<li>stoop of, <a href="#Page_128">128</a></li> +</ul> +</li> +<li>South Third Street, house No. 316, porch of, <a href="#Page_128">128</a></li> +<li>South Third Street, house No. 320, footscrapers of, <a href="#Page_132">132</a></li> +<li>Southwark, or South Street, Theater, <a href="#Page_111">111</a></li> +<li>Sower, Christopher, <a href="#Page_63">63</a></li> +<li>Spandrils, molded, <a href="#Page_116">116</a></li> +<li>Spindles, <a href="#Page_130">130</a></li> +<li>Spruce Street, house No. 709, doorway of, <a href="#Page_111">111</a></li> +<li>Spruce Street, old house on, chimney-piece of, <a href="#Page_178">178</a></li> +<li>Stable, of The Woodlands, <a href="#Page_66">66</a></li> +<li>Staircases, wainscoted, <a href="#Page_43">43</a>; +<ul> +<li>hall, <a href="#Page_154">154</a>, <a href="#Page_155">155</a>, <a href="#Page_157">157</a>, <a href="#Page_158">158</a>;</li> +<li>of Stenton, <a href="#Page_156">156</a>, <a href="#Page_157">157</a>;</li> +<li>of Whitby Hall, <a href="#Page_159">159-160</a>, <a href="#Page_162">162-164</a>;</li> +<li>of Mount Pleasant, <a href="#Page_161">161-164</a>;</li> +<li>of Cliveden, <a href="#Page_165">165</a>, <a href="#Page_166">166</a>;</li> +<li>of Upsala, <a href="#Page_166">166</a>, <a href="#Page_167">167</a>;</li> +<li>of Independence Hall, <a href="#Page_200">200</a>;</li> +<li>of Pennsylvania Hospital, <a href="#Page_214">214</a></li> +</ul> +</li> +<li>Stair rail, footscraper combined with, <a href="#Page_132">132</a>, <a href="#Page_133">133</a></li> +<li>Stairway, of Hope Lodge, <a href="#Page_24">24</a>; +<ul> +<li>balustraded, of Mount Pleasant, <a href="#Page_74">74</a>;</li> +<li>of The Highlands, <a href="#Page_92">92</a></li> +</ul> +</li> +<li>Stamper, John, <a href="#Page_43">43</a></li> +<li>State House, the old (Independence Hall), <a href="#Page_8">8</a>, <a href="#Page_197">197</a></li> +<li>Steeples, <a href="#Page_197">197</a>, <a href="#Page_219">219</a>, <a href="#Page_220">220</a>, <a href="#Page_223">223</a></li> +<li>Stenton, description of, <a href="#Page_25">25-28</a>; +<ul> +<li>history of, <a href="#Page_28">28-31</a>;</li> +<li>door of, <a href="#Page_105">105</a>;</li> +<li>doorway of, <a href="#Page_123">123</a>, <a href="#Page_124">124</a>;</li> +<li>windows of, <a href="#Page_137">137</a>, <a href="#Page_141">141</a>;</li> +<li>with neither outside shutters nor blinds, <a href="#Page_142">142</a>;</li> +<li>hall of, <a href="#Page_156">156</a>, <a href="#Page_157">157</a>;</li> +<li>fireplace of, <a href="#Page_172">172</a>;</li> +<li>interior wood finish of, <a href="#Page_185">185</a>, <a href="#Page_186">186</a>, <a href="#Page_188">188</a>, <a href="#Page_189">189</a></li> +</ul> +</li> +<li>Steps, of Woodford, <a href="#Page_19">19</a>; +<ul> +<li>of Hope Lodge, <a href="#Page_23">23</a>;</li> +<li>of Stenton, <a href="#Page_27">27</a>;</li> +<li>single, of city blocks, <a href="#Page_40">40</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>;</li> +<li>of Grumblethorpe, <a href="#Page_61">61</a>;</li> +<li>of The Highlands, <a href="#Page_92">92</a>;</li> +<li>of house No. 701 South Seventh Street, <a href="#Page_110">110</a>;</li> +<li>on various classes of stoops, <a href="#Page_126">126-130</a></li> +</ul> +</li> +<li>Steuben, Baron von, <a href="#Page_76">76</a></li> +<li>Stiles, of doors, <a href="#Page_103">103</a>, <a href="#Page_190">190</a>; +<ul> +<li>of doors, double, <a href="#Page_114">114</a>;</li> +<li>of windows, <a href="#Page_134">134</a>;</li> +<li>of shutters, <a href="#Page_144">144</a>, <a href="#Page_145">145</a>;</li> +<li>of blinds, <a href="#Page_146">146</a></li> +</ul> +</li> +<li>Stiles, Daniel, <a href="#Page_35">35</a></li> +<li>Stiles, Edward, <a href="#Page_35">35-37</a></li> +<li>Stiles, John, <a href="#Page_35">35</a></li> +<li>Stocker house, windows of, <a href="#Page_138">138</a>; +<ul> +<li>dormers of, <a href="#Page_141">141</a></li> +</ul> +</li> +<li>Stonework, surfaced and ledge, <a href="#Page_53">53</a>; +<ul> +<li>the refinements and the essentials of, <a href="#Page_54">54</a>;</li> +<li>pointed and unpointed, <a href="#Page_55">55</a>;</li> +<li>not always pleasing, <a href="#Page_69">69</a>, <a href="#Page_70">70</a>;</li> +<li>plastered, <a href="#Page_69">69-85</a>;</li> +<li>surfaced, to be recommended only for large and pretentious residences or for public work, 86.</li> +<li><i>See</i> <span class="smcap"><a href="#Ledge-stone">Ledge-stone</a></span></li> +</ul> +</li> +<li>Stoops, <a href="#Page_40">40</a>, <a href="#Page_126">126-130</a>, <a href="#Page_208">208</a></li> +<li>Stretchers, of blocks, <a href="#Page_18">18</a>, <a href="#Page_38">38</a>; +<ul> +<li>of Stenton, <a href="#Page_26">26</a>;</li> +<li>of Morris house, <a href="#Page_48">48</a></li> +</ul> +</li> +<li>Strickland, William, <a href="#Page_197">197</a>, <a href="#Page_215">215</a></li> +<li>String course, <a href="#Page_172">172</a></li> +<li>Stuart, Gilbert, <a href="#Page_63">63</a>, <a href="#Page_206">206</a></li> +<li>Sully, Thomas, <a href="#Page_206">206</a></li> +<li>Surbase, <a href="#Page_83">83</a>, <a href="#Page_157">157</a>, <a href="#Page_159">159</a>, <a href="#Page_163">163</a>, <a href="#Page_186">186</a>, <a href="#Page_187">187</a></li> +<li>Swaenson family, <a href="#Page_4">4</a></li> +<li>Swag, <a href="#Page_175">175</a></li> +<li>Swedes, at the mouth of the Schuylkill River, <a href="#Page_3">3</a></li> +<li>Theaters, in Philadelphia, <a href="#Page_14">14</a></li> +<li>Third and DeLancy streets, house at, mantel of, <a href="#Page_182">182</a></li> +<li>Third and Pine streets, house at, doorway of, <a href="#Page_125">125</a>; +<ul> +<li>porch of, <a href="#Page_128">128</a></li> +</ul> +</li> +<li>Third and Spruce streets, house at, footscraper of, <a href="#Page_131">131</a></li> +<li>Tiles, of Woodford, <a href="#Page_20">20</a>; +<ul> +<li>of Stenton, <a href="#Page_27">27</a>, <a href="#Page_28">28</a></li> +</ul> +</li> +<li>Torus, <a href="#Page_175">175</a>, <a href="#Page_176">176</a>, <a href="#Page_183">183</a></li> +<li>Tower, <a href="#Page_199">199</a>, <a href="#Page_200">200</a>, <a href="#Page_223">223</a></li> +<li>Transom, four-paned, <a href="#Page_71">71</a>, <a href="#Page_106">106</a></li> +<li>Triglyphs, <a href="#Page_116">116</a>, <a href="#Page_118">118</a>, <a href="#Page_162">162</a></li> +<li>Trinity Church, <a href="#Page_223">223</a>, <a href="#Page_224">224</a></li> +<li>Truxton, Commodore, <a href="#Page_221">221</a></li> +<li>Turn buckles, <a href="#Page_147">147</a></li> +<li>Tuscan, doorway, <a href="#Page_19">19</a>, <a href="#Page_116">116</a>, <a href="#Page_118">118</a>; +<ul> +<li>columns, <a href="#Page_77">77</a></li> +</ul> +</li> +<li>Two-family house, <a href="#Page_98">98</a></li> +<li>Underground passage, <a href="#Page_28">28</a>, <a href="#Page_83">83</a></li> +<li>"Underground railway", <a href="#Page_97">97</a></li> +<li>Upsala, description of, <a href="#Page_59">59</a>, <a href="#Page_60">60</a>; +<ul> +<li>history of, <a href="#Page_60">60</a>, <a href="#Page_61">61</a>;</li> +<li>eight-panel door of, <a href="#Page_104">104</a>;</li> +<li>porch and doorway of, <a href="#Page_120">120</a>, <a href="#Page_121">121</a>;</li> +<li>footscraper of, <a href="#Page_132">132</a>;</li> +<li>windows of, <a href="#Page_137">137</a>;</li> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>shutters and blinds of, <a href="#Page_144">144</a>, <a href="#Page_145">145</a>;</li> +<li>hall and staircase of, <a href="#Page_166">166</a>, <a href="#Page_167">167</a>;</li> +<li>mantels of, <a href="#Page_179">179-182</a>;</li> +<li>chambers of, <a href="#Page_186">186</a>, <a href="#Page_187">187</a>;</li> +<li>interior woodwork of, <a href="#Page_194">194</a></li> +</ul> +</li> +<li>Urns, <a href="#Page_88">88</a></li> +<li>Vernon, description of, <a href="#Page_79">79</a>, <a href="#Page_80">80</a>; +<ul> +<li>history of, <a href="#Page_80">80</a>;</li> +<li>door of, <a href="#Page_105">105</a>;</li> +<li>footscraper of, <a href="#Page_132">132</a>;</li> +<li>windows of, <a href="#Page_137">137</a>;</li> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>shutters of, <a href="#Page_143">143</a></li> +</ul> +</li> +<li>Wainscots, of Woodford, <a href="#Page_20">20</a>; +<ul> +<li>of Hope Lodge, <a href="#Page_24">24</a>;</li> +<li>of Stenton, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>;</li> +<li>of Blackwell house, <a href="#Page_43">43</a>;</li> +<li>of Livezey house, <a href="#Page_57">57</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>, <a href="#Page_167">167</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Cliveden, <a href="#Page_165">165</a>;</li> +<li>of Mount Vernon, <a href="#Page_174">174</a>;</li> +<li>of Mount Pleasant, <a href="#Page_176">176</a>;</li> +<li>paneled, <a href="#Page_186">186</a>, <a href="#Page_187">187</a>;</li> +<li>of Independence Hall, <a href="#Page_201">201</a></li> +</ul> +</li> +<li>Wall paper, hand-blocked, <a href="#Page_186">186</a></li> +<li>Walls, of city blocks, <a href="#Page_38">38</a>, <a href="#Page_39">39</a></li> +<li>Waln house, windows of, <a href="#Page_137">137</a>; +<ul> +<li>shutters of, <a href="#Page_143">143</a></li> +</ul> +</li> +<li>Walnut Street, house No. 1107, <a href="#Page_130">130</a></li> +<li>Walnut Street Theater, <a href="#Page_14">14</a></li> +<li>Walter, Thomas Ustick, <a href="#Page_34">34</a>, <a href="#Page_215">215</a></li> +<li>Washington, George, his farewell address in Philadelphia, <a href="#Page_9">9</a>; +<ul> +<li>at Stenton, <a href="#Page_30">30</a>;</li> +<li>at house No. 5442 Germantown Avenue, <a href="#Page_78">78</a>;</li> +<li>at Billmeyer house, <a href="#Page_99">99</a>;</li> +<li>statues of, <a href="#Page_204">204</a>, <a href="#Page_206">206</a>;</li> +<li>portrait of, <a href="#Page_206">206</a>;</li> +<li>associations of Congress Hall with, <a href="#Page_207">207</a>, <a href="#Page_208">208</a>;</li> +<li>at St. Peter's Church, <a href="#Page_222">222</a></li> +</ul> +</li> +<li>Water table, <a href="#Page_88">88</a></li> +<li>Watmough, Colonel James Horatio, <a href="#Page_25">25</a></li> +<li>Wayne, Captain Isaac, <a href="#Page_69">69</a></li> +<li>Waynesborough, <a href="#Page_69">69</a>; +<ul> +<li>windows of, <a href="#Page_136">136</a>;</li> +<li>blinds of, <a href="#Page_145">145</a></li> +</ul> +</li> +<li>Wentz family, <a href="#Page_25">25</a></li> +<li>West, Benjamin, <a href="#Page_206">206</a>, <a href="#Page_213">213</a></li> +<li>West, William, <a href="#Page_25">25</a></li> +<li>Wharton, Charles, <a href="#Page_45">45</a></li> +<li><a name="Wharton_Deborah" id="Wharton_Deborah"></a>Wharton, Deborah (Fisher), <a href="#Page_45">45</a>, <a href="#Page_46">46</a></li> +<li>Wharton, Francis Rawle, <a href="#Page_22">22</a></li> +<li>Wharton, Hannah, <a href="#Page_45">45</a></li> +<li>Wharton, Isaac, <a href="#Page_22">22</a></li> +<li>Wharton, Joseph, <a href="#Page_22">22</a>, <a href="#Page_45">45</a></li> +<li>Wharton, Robert, <a href="#Page_58">58</a></li> +<li>Wharton, William, <a href="#Page_45">45</a></li> +<li>Wharton house, <a href="#Page_42">42</a>, <a href="#Page_44">44-46</a>; +<ul> +<li>eight-panel door of, <a href="#Page_104">104</a>;</li> +<li>doorway of, <a href="#Page_113">113</a>;</li> +<li>windows of, <a href="#Page_135">135</a>, <a href="#Page_138">138</a>;</li> +<li>dormers of, <a href="#Page_141">141</a>;</li> +<li>shutters of, <a href="#Page_143">143</a>, <a href="#Page_145">145</a></li> +</ul> +</li> +<li>Whiskey Rebellion, the, <a href="#Page_93">93</a></li> +<li>Whitby Hall, windows of, <a href="#Page_137">137</a>, <a href="#Page_139">139</a>; +<ul> +<li>shutters of, <a href="#Page_143">143</a>;</li> +<li>Palladian window of, <a href="#Page_151">151</a>, <a href="#Page_158">158</a>;</li> +<li>hall and stairway of, <a href="#Page_158">158-160</a>, <a href="#Page_162">162-165</a>;</li> +<li>history of, <a href="#Page_160">160</a>, <a href="#Page_161">161</a>;</li> +<li>chimney-piece of, <a href="#Page_172">172</a>, <a href="#Page_173">173</a>;</li> +<li>interior wood finish of, <a href="#Page_185">185</a>, <a href="#Page_186">186</a>, <a href="#Page_188">188</a>, <a href="#Page_189">189</a>, <a href="#Page_191">191</a>;</li> +<li>round-headed windows of, <a href="#Page_193">193</a></li> +</ul> +</li> +<li>White, Bishop, <a href="#Page_220">220</a></li> +<li>White, Doctor, <a href="#Page_44">44</a></li> +<li>Whitefield, Bishop, <a href="#Page_213">213</a></li> +<li>"Widow Mackinett's Tavern", <a href="#Page_98">98</a></li> +<li>William IV, King, <a href="#Page_78">78</a></li> +<li>William Henry, Prince, <a href="#Page_78">78</a></li> +<li>Williams, Jonathan, <a href="#Page_76">76</a></li> +<li>Willing family, <a href="#Page_44">44</a></li> +<li>Wilson, Alexander, <a href="#Page_222">222</a></li> +<li>Wilson, James, <a href="#Page_221">221</a></li> +<li><a name="Window-casings" id="Window-casings"></a>Window-casings, <a href="#Page_24">24</a>, <a href="#Page_74">74</a>, <a href="#Page_94">94</a></li> +<li>Window embrasures, <a href="#Page_159">159</a>, <a href="#Page_188">188</a>, <a href="#Page_189">189</a>, <a href="#Page_200">200</a></li> +<li>Window frames, of Stenton, <a href="#Page_26">26</a>; +<ul> +<li>of city blocks, <a href="#Page_39">39</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>during the Colonial period, a perpetuation of the initial types, <a href="#Page_134">134</a>;</li> +<li>of heavy type, <a href="#Page_141">141</a>;</li> +<li>molded, <a href="#Page_149">149</a></li> +</ul> +</li> +<li>Window seats, <a href="#Page_24">24</a>, <a href="#Page_157">157</a>, <a href="#Page_188">188</a></li> +<li>Window sills, of Upsala, <a href="#Page_60">60</a>; +<ul> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of The Highlands, <a href="#Page_91">91</a>;</li> +<li>of Bartram House, <a href="#Page_94">94</a>;</li> +<li>stone, <a href="#Page_142">142</a>;</li> +<li>in Independence Hall, <a href="#Page_200">200</a></li> +</ul> +</li> +<li><a name="Windows" id="Windows"></a>Windows, <a href="#Page_19">19</a>; +<ul> +<li>of Hope Lodge, <a href="#Page_23">23</a>;</li> +<li>of Stenton, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>;</li> +<li>of the Girard house, <a href="#Page_31">31</a>;</li> +<li>of Port Royal House, <a href="#Page_35">35</a>;</li> +<li>of city blocks, <a href="#Page_39">39</a>, <a href="#Page_40">40</a>;</li> +<li>of Morris house, <a href="#Page_48">48</a>, <a href="#Page_49">49</a>;</li> +<li>of Livezey house, <a href="#Page_56">56</a>, <a href="#Page_57">57</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>;</li> +<li>of Grumblethorpe, <a href="#Page_61">61</a>, <a href="#Page_62">62</a>;</li> +<li>of The Woodlands, <a href="#Page_65">65</a>;</li> +<li>of Mount Pleasant, <a href="#Page_73">73</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>;</li> +<li>of Vernon, <a href="#Page_79">79</a>;</li> +<li>of Loudoun, <a href="#Page_81">81</a>;</li> +<li>of Solitude, <a href="#Page_83">83</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>;</li> +<li>of The Highlands, <a href="#Page_91">91</a>, <a href="#Page_92">92</a>;</li> +<li>of the Johnson house, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>;</li> +<li>of Green Tree Inn, <a href="#Page_97">97</a>;</li> +<li>of the Billmeyer house, <a href="#Page_99">99</a>;</li> +<li>during the Colonial period, a perpetuation of the initial types, <a href="#Page_134">134</a>;</li> +<li>treatment of, <a href="#Page_141">141</a>, <a href="#Page_142">142</a>;</li> +<li>of Independence Hall, <a href="#Page_199">199</a>;</li> +<li>of Congress Hall, <a href="#Page_208">208</a>;</li> +<li>of Carpenters' Hall, <a href="#Page_211">211</a>;</li> +<li>of Pennsylvania Hospital, <a href="#Page_215">215</a>, <a href="#Page_216">216</a>;</li> +<li>ten-paned, <a href="#Page_152">152</a>;</li> +<li>twelve-paned, <a href="#Page_57">57</a>, <a href="#Page_61">61</a>, <a href="#Page_79">79</a>, <a href="#Page_135">135</a>;</li> +<li>eighteen-paned, <a href="#Page_61">61</a>, <a href="#Page_135">135</a>;</li> +<li>twenty-four-paned, <a href="#Page_35">35</a>, <a href="#Page_77">77</a>, <a href="#Page_81">81</a>, <a href="#Page_135">135</a>, <a href="#Page_199">199</a>, <a href="#Page_209">209</a>, <a href="#Page_211">211</a>;</li> +<li>ranging, <a href="#Page_23">23</a>, <a href="#Page_27">27</a>, <a href="#Page_35">35</a>, <a href="#Page_48">48</a>, <a href="#Page_73">73</a>, <a href="#Page_81">81</a>, <a href="#Page_88">88</a>, <a href="#Page_95">95</a>, <a href="#Page_206">206</a>;</li> +<li>round-topped, <a href="#Page_35">35</a>, <a href="#Page_39">39</a>, <a href="#Page_65">65</a>, <a href="#Page_77">77</a>, <a href="#Page_88">88</a>, <a href="#Page_99">99</a>, <a href="#Page_148">148</a>, <a href="#Page_149">149</a>, <a href="#Page_208">208</a>, <a href="#Page_223">223</a>, <a href="#Page_224">224</a>;</li> +<li>square-headed, <a href="#Page_209">209</a>;</li> +<li>segmental-topped, <a href="#Page_61">61</a>, 97.</li> +<li><i>See</i> <span class="smcap"><a href="#Dormers">Dormers</a></span>, <span class="smcap"><a href="#Palladian">Palladian</a></span>, <span class="smcap"><a href="#Sashes">Sashes</a></span></li> +</ul> +</li> +<li>Wing steps, <a href="#Page_98">98</a>, <a href="#Page_114">114</a>, <a href="#Page_129">129</a></li> +<li>Wissahickon Creek, mill on, <a href="#Page_57">57-59</a></li> +<li>Wistar, Doctor Caspar, <a href="#Page_47">47</a>, <a href="#Page_72">72</a>, <a href="#Page_78">78</a></li> +<li>Wistar, Daniel, <a href="#Page_80">80</a></li> +<li>Wistar, John, <a href="#Page_80">80</a></li> +<li>Wistar, William, <a href="#Page_80">80</a></li> +<li>Wistar house, <a href="#Page_39">39</a>, <a href="#Page_46">46-48</a>; +<ul> +<li>balustrade of, <a href="#Page_127">127</a>;</li> +<li>windows of, <a href="#Page_137">137</a>, <a href="#Page_139">139</a>;</li> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>shutters of, <a href="#Page_143">143</a>, <a href="#Page_145">145</a></li> +</ul> +</li> +<li>Wistar Parties, <a href="#Page_47">47</a>, <a href="#Page_48">48</a></li> +<li><i>Wistaria</i>, <a href="#Page_47">47</a></li> +<li>Wister, Alexander W., <a href="#Page_64">64</a></li> +<li>Wister, Charles J., <a href="#Page_64">64</a>, <a href="#Page_71">71</a></li> +<li>Wister, Charles J., Jr., <a href="#Page_64">64</a></li> +<li>Wister, Daniel, <a href="#Page_63">63</a></li> +<li>Wister, John, <a href="#Page_62">62</a>, <a href="#Page_63">63</a>, <a href="#Page_78">78</a></li> +<li>Wister, Margaret, <a href="#Page_78">78</a></li> +<li>Wister, Owen, <a href="#Page_64">64</a></li> +<li>Wister, Sally, <a href="#Page_64">64</a></li> +<li>"Wister's Big House." <i>See</i> <span class="smcap"><a href="#Grumblethorpe">Grumblethorpe</a></span></li> +<li>Witherill house, dormers of, <a href="#Page_139">139</a>; +<ul> +<li>shutters of, <a href="#Page_145">145</a></li> +</ul> +</li> +<li>Wood, white-painted, houses of, <a href="#Page_17">17</a></li> +<li>Wood carvers, <a href="#Page_179">179</a></li> +<li>Wood finish. <i>See</i> <span class="smcap"><a href="#Interior">Interior</a></span></li> +<li>Woodford, description of, <a href="#Page_18">18-20</a>; +<ul> +<li>history of, <a href="#Page_20">20-22</a>;</li> +<li>door of, <a href="#Page_105">105</a>;</li> +<li>windows of, <a href="#Page_137">137</a>;</li> +<li>shutters of, <a href="#Page_143">143</a></li> +</ul> +</li> +<li>Woodlands, The, description of, <a href="#Page_64">64-66</a>; +<ul> +<li>history of, <a href="#Page_66">66-68</a>;</li> +<li>with neither outside shutters nor blinds, <a href="#Page_142">142</a>;</li> +<li><a name="Palladian" id="Palladian"></a>Palladian windows of, <a href="#Page_151">151</a>, <a href="#Page_152">152</a></li> +</ul> +</li> +<li>Woods, white-painted soft, the possibilities of, <a href="#Page_194">194</a></li> +<li>Woodwork brought from overseas, but later produced in the colonies, <a href="#Page_18">18</a>; +<ul> +<li>interior, of Woodford, <a href="#Page_20">20</a>;</li> +<li>of Hope Lodge, <a href="#Page_24">24</a>;</li> +<li>of Stenton, <a href="#Page_26">26</a>, <a href="#Page_156">156</a>;</li> +<li>of Blackwell house, <a href="#Page_42">42</a>, <a href="#Page_43">43</a>;</li> +<li>white-painted, in combination with ledge stone, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_66">66</a>;</li> +<li>of Upsala, <a href="#Page_60">60</a>;</li> +<li>of Grumblethorpe, <a href="#Page_62">62</a>, <a href="#Page_63">63</a>;</li> +<li>of Mount Pleasant, <a href="#Page_74">74</a>;</li> +<li>of house No. 5442 Germantown Avenue, <a href="#Page_77">77</a>, <a href="#Page_78">78</a>;</li> +<li>of Vernon, <a href="#Page_80">80</a>;</li> +<li>of Solitude, <a href="#Page_83">83</a>;</li> +<li>of Cliveden, <a href="#Page_88">88</a>;</li> +<li>of The Highlands, <a href="#Page_92">92</a>;</li> +<li>of the Billmeyer house, <a href="#Page_99">99</a>;</li> +<li>of house No. 701 South Seventh Street, <a href="#Page_110">110</a>;</li> +<li>suggesting Dutch influence, <a href="#Page_123">123</a>;</li> +<li>of Mount Vernon, <a href="#Page_174">174</a>;</li> +<li>of Christ Church, <a href="#Page_219">219</a></li> +</ul> +</li> +<li>"World's People", the, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_14">14</a></li> +<li>Wyck, <a href="#Page_70">70-72</a>; +<ul> +<li>door of, <a href="#Page_103">103</a>;</li> +<li>footscraper of, <a href="#Page_130">130</a>;</li> +<li>windows of, <a href="#Page_138">138</a>;</li> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>shutters of, <a href="#Page_143">143</a>, <a href="#Page_148">148</a></li> +</ul> +</li> +<li>Wynnestay, windows of, <a href="#Page_137">137</a>; +<ul> +<li>dormers of, <a href="#Page_140">140</a>;</li> +<li>shutters of, <a href="#Page_143">143</a>, <a href="#Page_144">144</a></li> +</ul> +</li> +</ul> + +<hr class="full" /> + + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Colonial Architecture of +Philadelphia, by Frank Cousins and Phil M. 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