The Inside of the House 1918 From Www Jgokey Com

8/12/2019 The Inside of the House 1918 From Www Jgokey Com

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r^racticaland^lrfisticSuggestions

TheHouse BeautifulPARK STREETBOSTON


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Presented to theLIBRARY of the

UNIVERSITY OF TORONTOby

DOUGLAS RICHARDSON


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INSIDE OF THE HOUSEPractical and artistic

suggestions

S E 1. E C T E D R E 1' R I N T S1 R M

House Reautiful

HOUSE BEAUTIFUL PUBLISHINGCOMPANY


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Staircase in Mr. Little's house as viewed from the living-room. The detail is well shown. Observe the twisted newel post andthe three different designs in the balusters. The wall papers are in characteristic harmony with the type.


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. . LITTLE HOLMETHE HOUSE WHICH THE ARCHITECT, MR. HARRY B. LITTLE, HAS BUILT FOR HIMSELFAT CONCORD, MASSACHUSETTS

By EDWARD G. REEDLITTLE

HOLME, Concord, is first and foremost thehouse of an architect for himself. It is unique amongmodern country houses in its design and unusual in its set-

ting. It stands on a high plateau in Concord well out from thecenter of the town, and not far from the banks of the historicAssabett. Instead of building in the broad open portion of theplateau, the architect has set it in a clearing made for the purposein the pine woods a most inviting, sunlit, green grass plat nestlingdown among the high pines, with an irregular wood edge of fernsand rhododendrons.The whole house, exteriorly and interiorly, is, in fact a studied andscholarly interpretation of the spirit and technique of the pre-colonialstyle done with most loving care for every detail of the old work.Yet the whole scheme much more ambitious than precedent af-fords in the period from which the inspiration was drawn is sofreely handled that there is no suggestions of archaic copyism ; it isjust a thoroughly modern country house of truly colonial aspect,with all the added charm and distinction that come from the manyquaint and severe touches of the very old style in which the archi-tects choose to work.The whole front is focused at the front door a very picturesqueold-time doorway, with its bull's-eye top light, its broken, curvedpediment, and large forged copper pineapple surmounting it.

The entrance to the house is into a square vestibule, from which abroad vaulted passage tunnels right through the massive centralchimney into the stair hall which runs off to the left at right anglesto the entrance, instead of the more usual colonial treatment ofhaving the stairs block one end of the hall. This allows a gardenentrance at the end of the hall directly opposite the front door,giving a charming vista out into the old-fashioned garden the mo-ment one enters the house. The garden entrance of broad Frenchdoors floods the staircase with light. The stairs are a rich exampleof an old colonial staircase, with a twisted newel post, balustersthat vary in three different designs on each tread, mahogany stairtreads, as well as handrail and wainscot cap. The hardware ofthe hall is interesting, and consists as does all that throughout thehouse, of quaint old brass or iron thumb latches, and handwroughtiron ' 'strap hinges. ' ' There are old black iron hinges running clearacross the front door, and an old brass box lock with a huge key.The living room is a large low room with white wainscots and cor-nice, with an all white fire breast, and the softest of old-fashionedgray striped papers on the wall. The hangings and upholstery areof soft dull green. Needless to say the furniture in this room asthroughout the house, fits in perfectly with the old-timeness' ' ofthe scheme. A sun-porch living-room leads off this living-roomthrough French doors.

The old secretary is to be observed as a very good piece of furniture.The legs of the table also and the chair are unusual.The hall toward the door a fine and free copy of the old doors which

were three panels wide.


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FOUR DOOMS BY SAMUEL McINTIRE

A doorway in the Pierce-Johonnot-Nichois house, Salem, built in 1800.A comparison of the doors on thispage is an interesting study in archi-tectural detail for which Mclntirehad an exquisite sensitiveness.

Inside of the front door of the Pierce-Johonnot-Nichols house in Salem,l.uilt in 1782. This fanlight is de-lightful, and with the fluted pilastersand the eight panels, has the generaleffect of an Adam feeling. In Feb-ruary. 1915. we showed the outsideof this door.

Samuel Mclntire designed nearly all of the besthouses in Salem from 1782 to 1811. To him isdue our heritage of classic workmanship still tobe seen in that town ; yet he never went abroad,and gained all he knew from books, and from theshipbuilders and carpenters of Salem. The free-dom with which he adapted the work of foreignmasters to native conditions may have been largelydue to his being almost entirely self-taught. Inan article on Mclntire by Walter A. Dyer in theFebruary, 1915, number of The House litauliful,Mr. Dyer says, In one sense Mclntire never he-came a great architect. His houses are mostlythe square, three-story mansions of the periodthat leave much to be desired in the way of graceand variety. His fame rests rather on the beautyof the embellishments of these houses theirdoorways, window frames, cornices, gate-posts,andtheir incomparable interior woodwork. Thewoodwork was almost invariably made of whitepine, abundant in New England and excellent forcarving.

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These details are of the firstdoor on this page. Noticethe charming variation be-tween the rosette in the cen-ter of the loop of carvedflowers and the convention-alized rosette in the cornice.

Doorway at Oak Hill, Peabody,built in 1800, one of Mclntire's finestexamples. The medallion of a basketof fruit and flowers in the plain spaceover the door is very lovely.

The Cook-Oliver house in Salem, inwhich is this doorway, was built in1799. This is, perhaps, Mclntire'smost famous house. Expense wasnot considered, and he placed heresome of his finest interior woodworkand carving.


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The furniture in this living-room is in keeping with the style of house, without heing affectedly correct, and iswell arranged in the room.

The paneling of the dining-room is especially good and follows precedent closely but not slavishly. Mahogany furniturehas an excellent foil in the white painted walls.


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The architect first saw the house when the snow was deep around it. I he corn barn which settled down behind the house as a laundry.

A HOUSE THAT GREW AT W N A L A N C E T, N. HA House Remodeled by a Woman for a Woman How it Marched up a Hilland Obligingly Broke in Two and Grew More 1 lomelike With Every Change

By LOIS L. 1IOWH, T 1 1 E ARCHITECT OF THE HOUSETho L was turned to follow the curve of the hill and

dropped ^ feet to follow the slope.

The house was moved from the side to the top ofthe knoll.

Plan of thehouse beforealteration.

The L was torn off and moved down some distance

The little house was built in the early years of thenineteenth century. Not in the best period, it hadno panelling nor beautiful details, but it retained thetypical New Kngland plan with a big chimney in themiddle. The stairs, however, instead of going upstraight against the chimney close to the front doorwere in the back corner and they led only to an un-finished attic where the rafters were round logs, someof them with the bark still on.

1 ts new owner found it and bought it in the summerbut the architect saw it first when the snow was deeparound it, so deep that it was scarcely possible to tellwhat the problems and possibilities of grading mighthe. Eventually, however, it was moved a few yardsfrom the side of the lit tie knoll on which it stood to thetop. By the next autumn it was a cosy place enoughfora bachelor maid and her girl friends. The Bache-lor Maid planned to have a model farm, so a cornbarn was built on the Intervale.

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I- * * J- 1 ^After the first

alteration.

The house and theplan in its final trans-formation. The Lhas grown and thekitchen is connectedwith the house by avery long pantry.


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On one side of the dining-room is a big fireplace, and the walls of that side are panelledfrom floor to ceiling. Heavy timbers were necessary to span the width and these arecased in and show as beams across the ceiling.

The side of the living-room that has a door and a group ofwindows opening on the covered piazza. A room that has a greatdeal of home-like charm.

And then she ceased to be a Bachelor Maid, and forseveral years the place was rented; but the time came whenit proved to be the best place possible for another youngbachelor girl to spend her summers in, and the place beganto grow.At first, it was only the garden which was enlarged.Then the corn barn solemnly climbed the hill and settleddown behind the house as a laundry. I hen one summer aweek of continuous rain showed that it was altogether toorestricted for guests and their attendant husbands inwet weather they were under foot And the three serv-ants from the city were cramped in the quarters whichhad done very well for the one general. So the architectcame again, and, this time, resorted to heroic measures.The L was torn off bodily and moved some distance fromthe house, and then turned to follow the crest of the hilland dropped about 3 feet to follow the slope. A newdining-room was built to connect the house and the L and,as this was bigger than any of the other rooms, its floorwas made on a lower level while its ceiling was kept at thatof the main house. It is entered by two broad steps at onecorner.The little writing-room has become the entrance hall,and the L has grown; indeed the whole house has grownand grown and the end is not yet

The little writing-room has become the en-trance hall; carriage company now comesthrough a garden with a low wall dividing itfrom a hollow in the hill.

A bit of the view that is seen from thecasement windows of the dining-room avista of a garden walk and, past the birchtrees, the distant mountains.

This bedroom for a child was also designed by women, the Misses Harlowand Howland of Boston. No child with a desk like this one could keep frombeing a prompt correspondent.

The peacocks in the cretonne are repeated in the decorations of the prettyfour-poster, and the wall paper is so delicately sprigged that it does notconflict with the cretonne.


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THE ENTRANCE HALL AND MORNING ROOM IN MR. SHAW'S APARTMENT HAVEPANELED WALLS, PAINTED IN FRENCH GRAY, WITH MANTEL-SHELF,FURNITURE, AND CONSOLE IN WALNUT.


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The dining-room walls are all plain Bedford stone from floor to ceiling. The side-board, table, chest, andchairs were designed for the room. The table is the long narrow English shape.

The fireplace is a modern one, carved on Gothic lines from Mr. Shaw's design in the same Bedford stone asthe walls. On the walls are five tapestries of Gothic or early Renaissance design.


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PLAGES FOR CLOTHES AND TOYS

A glimpse of the toy shelves in the nursery of Mrs. G. H. Len-thold of Deer Park, Washington.

The delightful frieze in the same nursery.

If one likes to stand while at work, the German plan for dress-ing the baby is very good. It provides a painted wooden chestabout thirty inches high with drawers and compartments to holdall the garments and toilet things.

On top is a thick soft pad covered with Turkish toweling onwhich the baby is laid to be dressed. A sliding shelf on oneend holds the toilet basket.

A well planned clothes-and dressing-closet for a child. Thedrawers may be used for wash dresses or bed linen. This chest, placed in the bathroom or nursery, is useful laterfor a child's bureau or for extra drawer space.


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No little head could bump itself very hard on this crib with its quilted This solves the problem of how to play on the beach without going nearand flowery pads. A homey chcrm characterizes this work. the water. Here are nine little permanent playmates for the lone child.

CHILDREN'S

Quilting designs fromThe Quilting Bee, Rye,New York.

OWN PAGEToys and furniture de-signed by Miss HelenSpeer.

This seesaw, with the circus elephant underneath instead of on top, can'tslip. Rompers manufacturers approve highly of these slide-down chutes.

One may buy patterns for these toys and this furniture, or they canbe bought knocked down, or entirely finished. A baby pen with Chinese counters that would afford endlessamusement, and a hobby-horse that looks as sportive as he is safe.


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A COMMUNITY TEA-HOUSEA SIMPLE CLUBHOUSE FOR WOMEN IN VILLAGES OR THE REAL COUNTRY

ONE SOLUTION OF THE PROBLEM OF HOW TO BRING NEW INTERESTS AND HUMAN CONTACT INTO THE LIFE OFTHE FARMER'S WIFEBY WALTER A. DYER

T:|HE roadside tea-house, quaint,charming, so artistic, per-fectly dear, and yielding agreater or less financial returnto its enterprising owner, has become afamiliar sight, at least in the East. It isan expression of twentieth century femin-ism, one of the ways in which women havediscovered that they could compete suc-cessfully with men in commercial life.Your college graduate or ex-school teacheror naturally gifted lady of penurious leis-ure builds a bungalow of cypress, stainedbrown or green, or renovates an old shin-gled cottage, and plants a crimson ramblerbeside the door. She furnishes it inexpen-sively with rag rugs, stained chairs andtables, table ferns and a plate-rail, and anobvious color scheme. She hangs out asign, sets the kettle over to boil, and waitsfor the passing automobile or the boredresident of the summer hotel. She alsoruns a gift shop, putting in a consignmentof tinted photographs, arts-and-craftsgoods, and novelties. If her muffins andtea and Sally Lunns and Waldorf saladare very good, and she has chosen a fortu-nate location, some one will come alongwith a camera some day and she will be

Here you may have your tea indoors or on the piazza

The large bay window on the piazza is inviting on stormy days, and by late summer the vines willhave spread over the timber-latticed roofwritten up for the woman's page, and willlive happily ever after.Now the kind of tea-house I am going totell about is different from that. It maylook something like the color-scheme kind

in fact, it frankly borrows all the popu-lar and profitable features it can but itis based on a different motive and lives fora different end. I mean a tea-house thatshall serve the needs of a rural community,furnishing at once a social center for theneighbors and an outlet for their daintierproducts. It would do many a farmer'swife a world of good if she had somewhereto go in the slack hour of the afternoonbesides the tiresome kitchens of her hard-workingneighbors, and her ambition wouldbe stirred to action by the opportunity toearn a little money.

It is the old economic problem of bring-ing the producer and consumer nearer to-gether, and of the social question of howto get urban and rural life into closer con-tact. The city's mouth waters for thecountry cooking, and cannot get it; Mrs.Lakeside would give $100 for a hand-madequilt such as Aunt Philena used to make.The automobile has brought these twoextremes nearer together, but has notquite bridged the gap. The occupants of


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the tonneau glance out admiringly at theold white farmhouse behind its big lilacbushes, and catch a whiff of incense fromthe kitchen stove, and whiz past neverdreaming that the cornmeal drop-cakes

apply definitely to the community institu-tion of which we have been speaking.The lady who started The Hanging ofthe Crane found a little old red house forsale in a good location at the side of a

BS& ^4-'^^ **Annual and perennial vines made this house attractive at once

that Mrs. Meekins is frying would taste ahundred times better lo them than thehotel luncheon they are headed for.The kind of tea-house I have in mindwould bridge this gap. Motorist, pedes-trian, cottager, and rocking-chair invalidwould find their way thither, or be arrestedby the swaying sign. Here they would findand pay a good price for the fruitcake and ginger bread and cookies anddoughnuts and rusk that have been famousat church suppers on the hill for a quarterof a century. A woman's exchange couldbe established on the usual lines, sellingon commission preserves, baked products,candy, rag rugs, and country needleworkof all kinds. The city would come to thecountry to buy, as is proper, and the coun-try would receive the stimulus of a fairreward for its labor and skill.Now I do not happen to know of ex-actly this sort of community tea-house,and doubt if my ideal exists, but thereis one tea-house which is near enough toit in character to serve as an illustra-tion and as evidence that the idea is notvisionary.The Hanging of the Crane is a privatelymanaged tea-house at Manchester, Mass.,but it has been operated largely on acooperative neighborhood basis. Thereare some features in its conduct which

much-traveled road. She cleaned up theold garden and turned it into a floweryretreat. She screened in a porch for use as

a tea-room in warm weather. The dining-room and living-room were thrown to-gether and the old fireplace restored tousefulness. Paint and wall-paper did therest.The walls of the main room were scrapedand tinted a pumpkin yellow. The stand-

ing trim was painted white and the floorsyellow. The furnishings are largely old-fashioned in character braided rag rugs,a mahogany tea table or two, rush-bot-tomed chairs, fn one corner was placed ashow-case. Two attractive patterns werechosen for the china, one showing a brightbluebird.The veranda and upstairs rooms were

also given a colonial touch. The kitchen,however, is distinctly modern, and madepractical by means of electric appliances.On the hill back of the house a simple,square summerhouse was erected, withscreened windows on four sides. Thisaccommodates four or live additionaltables. The entire cost of remodeling andfurnishing (very little new furniture wasbought) was less than S300, including thesummerhouse.The Hanging of the Crane was a successfrom the first as a tea-house. II made a

specialty of nut-bread and home-made icecream and cake, and on Saturday night,Boston baked beans and brown bread.But it has done more than that; it hasopened an outlet for the cookery and hand-icraft of a number of women in the neigh-borhood and presents an opportunity forthe people of town and country to meet.

A room that is inexpensive and homelike


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Qopyrlffhttd t'V Frank Cousins Art Co.The fresco of shell design in the dining-room of the Boston Women's City Club is probably equaled in few Boston houses.

The guests' lounge. The ancient brick ovens, crane, and other accessories of the kitchen have been preserved.


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In mass and detail heavier and more vigorous than the house beside which it is placed, this cottage designed by Derby andRobinson has enough character of its own to stand the close relation with the larger building.

In the cottage kitchen, flour and sugar in buckets attached inside the larger cupboard doors are swung out for use and atonce replaced out of the way. Glazed cupboards are handy to sink and stove.


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AN OLD FIREPLACE IN HINGHAMTHIS IS THE FIRST OF A SERIES OF PHOTOGRAPHS AND MEASURED DRAWINGS OF PANELING,

MANTELS, MOULDING, ETC., IN HOUSES BUILT A CENTURY OR MORE AGOHINGHAM is justly proud of its valuable traditions and its his-toric houses. From the years 1633 and 1634, when the firstsettlers made their homes in this little cove, its history has alwaysbeen more or less intimately connected with the history of ourcountry, at first, linked with the history of the other earlycolonies and since then not without important relations to thehistory of the commonwealth and the nation.Many of these historic houses have been well preserved to usby the pious care of the descendants of those who built themmore than two hundred years ago. And in many of these home-

of the builder rather than the result of studious efforts foreffects, all of which contribute to the beauty of the room.The simple mantel, composed chiefly of large boards, veryrestful in the absence of ornament and mouldings, a manteleasily reproduced and with equally good effect at small expensein many of our modern houses. In connection with the mantel,note the simple brick treatment of the long hearth, the propor-tions of the opening, the cement facing, the interest created inthe useful wood closet that originally was an oven. And note thepleasant absence of the wall board above the shelf which always

Photograph and drawing bv Edgar I). Parker ai.d Edgar T P. Walker.This old room maintains its charm in spite of the modern touches of an ugly electric fixture, radiator, and porcelain knobs instead of latches.

steads we find the present occupants are members of the oldfamily tree and that the house with its furnishings is a record ofover two centuries of unbroken family life. So we find amongthese families a true appreciation and a love for the beauties ofthe early colonial architecture and furniture. And the trueatmosphere of many of the quaint interiors is only marredby the additions brought about by the pres'ent-day needs ofcomfort.The picture shows a room not so old as many in the neighbor-

ing houses, but very interesting from the aesthetic point of view.We should note several features of design, the chance creations

makes an unpleasant change in surface and color in the back-ground of objects on the shelf.The doors are very typical but they are well worthy of studyin the excellent proportions of panels to each other and of rails tostiles. The relatively low ceiling is not so low as to give any onea feeling of oppression and it is in this very important measure-ment of ceiling height we find the room to be so well propor-tioned. The door closing on the top of the first step is character-istic of this work and may seem to many to be poor design. Butmany others of us are very fond of this feature, for there is a dis-tinct picturesqueness to it and a feeling even of mediaeval days.


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This inn, The NewEngland Pavern, was builtconsiderably more than acentury ago on the mainhigh road from Boston tothe Lakes by pioneers tothe Western Reserve, aminow finds itself in the vil-lage of Unionville, fortymiles from Cleveland. Itstands at the crossing offour roads, and the sameold signboard, with itscoach and four, hangingfrom the same hand-wrought iron support, thatwelcomed the tired way-farer in the stage coacnnow cheers the travelersby automobile.

When good roads andautomobiles brought newlife to this old inn, fortun-ately those who were in-terested in its restorationwere not interested chieflyin the commercial side ofthe enterprise. The re-modeling of the inn wasdone slowly under the su-pervision of one who hada real knowledge of the fit-ness of things and unusualdiscrimination. Not a lineof the fine old house waschanged. It stands to-dayihe same severely plainyellow-and-white colonialhouse of a century ago.

A NEW ENGLAND INN IN OHIOBY

ROSAMONDWHITEHUNTER

Acentraldoorleadsfrom the porch intothe parlor which isbright with gay chintzhangings and braidedrugs, gilt birdcages,and vases of freshflowers. The tall clockwas brought from Bos-ton to Unionville byox-wagon one hun-dred and thirty-eightyears ago by the briileof a pioneer. Thereare many handsomepieces of old mahog-any in the living-roomand in the otherrooms, rich with thecoloring which onlytime can give.

Not only has the at-tic of the inn yieldedup its treasures,spinet, beds, chairs,and tables, but thevillage people havegiven some of theirdearest personal pos-sessions. Ifthereweretwo cherished chairsin the family, the oldtavern received one.And then, to expressthe appreciation ofthe town as a whole,a handsome silverpunch-bowl wasbought by generalsubscription by thevillagers and senl toadorn the best roomof the Inn.


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SMALL-HOUSE DETAILSTypes of colonial interiors, showing diversity

of possible effects.

Corner cupboards are typical of old colo-dining-rooms. In most cases, they ex-to the ceiling ; when they do not, theyan excellent shelf for the larger pieces

old china or plate.

The color scheme of a room may center in the draperies.In this bedroom, the rug and two-tone paper afford a neu-tral background for the cretonne curtains.

This kitchenette, which opens directlyinto the living-room shown at the bottom ofthe page, has an arrangement of shelvesthat might be adapted for use in a small-house kitchen.

The living-room of thehouse in which is the dining-room in the opposite picture.The mantel was made to orderfor fifteen dollars. The fire-place facing is of concretepainted.

Admirable simplicity wasingeniously obtained in thisdining-room with paneling ofpainted plaster. The door isa cheap stock door turnedupside down to gain distinc-tion.

This hall is more architectural in char-than are any of the other rooms shownThe hall and adjoining rooms are

axis, that is, they present vistas.

A charmingly simple room in an old house on BeaconStreet, Boston. The Franklin stove somehow adds more tothe quaint antiquity of the room than would an open fire-place. The pine-tree twigs in the vase under the mirrorbecome part of what an artist would call a composition. This mirror, table, lamp, and chair areplaced in such relation to each other that

they make a very restful spot for the eye tolinger upon.


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The influence ofChi|>pendale in hisChinese period isshown in the lat-tice-like design ofthis detail of thebalustrade.

This flat-toppednewel post, com-pos, d of a circularcurve of the rail isa Logical and lovelyconclusion of thelong line of therail from the thirdstory

Stairway in the Pierce-Johonnot-Nichols house in Salem,Massachusetts, built by Samuel Mclntire in 1782. Thewindow at the first landing is very lovely. Windows ofthis type are called Palladian because they are character-istic of the work of Andrea Palladio, an Italian architectof the sixteenth century.

CENTURY-OLD STAIRWAYS WELL WORTH COPYINGThis stairway, and tin 1 ones on the opposite page, are all from north-

ern colonial houses of the last quarter of the eighteenth century, exceptone, which was built in 1805. They have a simplicity and elegance thatis an inspiration to any one about to build. It is, of course, very diffi-cult to make an exact reproduction of any part of a fine old house, butfine old houses, like all beautiful objects, are invaluable because of thefeeling of admiration and emulation they awaken in ihe beholder. Inthe case of the stairway on this page, for instance, we get an ideaof the gracefulness that is possible in the customary narrow stairwayrunning up one side of the customary narrow hall. If we imaginethis stairway as a line dropped from the side of the wall in the thirdstorv down to its final curve at the newel post, it helps us to visualize

This photograph gives an idea of the third floor and the charminghall sitting-room at the south.

The stairway at ihe second story, showing the gracefulturn on the landing.

with what firm and continuous suavity the three stories ofthe house are held together. Think of the stairway inyour new house as a continuing and ascending line andsee whether you do not begin to feel unexpected chancesfor beauty.

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Staircase, Cabot-Lee-Kilham house, Beverly, Mass., 1773. The boxedunderstair treatment is seldom used nowadays, but it may be madeeffective when the risers carry a continuation of the paneling.

The graceful turn in the staircase in Hon. David P. Waters' home inSalem, Mass., built by Mclntirr in 1805. The long sweeping curvesgive an effect of height and airiness that approaches fragility.

In the Salem house where this staircase is, Mclntire lived for manyyears. Built in 1770, but not by Mclntire. It is an excellent solu-tion of the difficult problem of a right-angled turn in a small compass.

A well-balanced stairway in a house at Jamaica Plain, Mass., built in1803. This landing is as successful in its way as the one on the otherpage, although here the turn is affected by angles, not by curves.

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ONE END OF THE LIVING-ROOM AND LIBRARY IN THE HOME OF MR. BERTRAMGROSVENOR GOODHUE IN NEW YORK CITY


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This library shows the influence of the Jacobean period. The books fill the long west wall. The furniture is English, andEnglish casement cloth is used at the casement windows which are made exactly like those in many English country houses.

The front door leads directly into the hall with no intervening vestibule. The first impression as we look around atgray-brown oak in panelled walls and carved stairway, dull red tiled floor, and dull yellow Chinese rugs, is of quiet dig-nity. The hall contains but two pieces of furniture: a straight carved chair and an inlaid cabinet.


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A SMALL PATIOB v G

HOUSE DESIGNED BY A WOMAN[: R T R U D E A P P L K T O N L U C K E Y

This house at I.a Jolla, California, was not onlydesigned by a woman, hut was also constructed, dec-orated and furnished under her supervision. It is builtaround a court, or patio as it is called in California,which is enclosed by the house on three sides.One must study the plan as well as the photographsto obtain a clear understanding of its attractivenessas, owing to the brilliant masses of flowers and shrubsin the patio, it is impossible to get any other exteriorview of the house than the one here shown.One great advantage of this patio arrangementis that all the rooms have cross ventilation, the living-room, one bedroom, and the sleeping-porch havingventilation on three sides and, by clever planning, allof the rooms have French drors opening on to thepatio. The frontage of the house is forty-one feet,the depth sixty-two feet and the patio is twenty-fourby twenty-five feet.From the liberal sized entrance porch with itssubstantial pergola, we enter the living-room, finishedin California redwood in its natural color a softreddish brown. The hangings are brown; the friezeand ceiling a light cream.Four French windows open from the dining-roomon to the patio and a charming view; in the oppositeside is a group of windows above the built-in buffet

The dining-room woodwork is in old ivory enameland the walls are tinted. The hardware and electriclight fixtures are hammered brass and the stencilledcurtains are a dull shade of yellow.From the living-room a small hallway leads to asleeping-porch bedroom, illustrated here. This room,with its private bathroom, large closet and built-indresser, forms a complete suite in itself. The living-room is heavily insulated so as to cut off all passage ofsound between these rooms. The woodwork isfinished in old ivory enamel and the walls are tinted alight shade.From the dining-ioom, a hallway leads to the threebedrooms and the bathroom. All these rooms arefinished in old ivory enamel. Two of the bedroomshave French doors opening on the patio and all havea generous number of windows. One of the roomsis fitted with a disappearing bed, half of which slidesunder the linen press in the bathroom, the other hallforming a couch in the room so that the room can beused as a den if desired.The charm of the exterior of this house is centeredaround the patio, but the other elevations are equallypleasing. The shingled walls are stained light gray, thewoodwork painted white, a combination of color thatmakes an excellent background for foliage and flowers.


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Placed close under trees on the edge of a clearing, asif it had sat down to rest in the shade.

The living-porch. The window at the right is in thebathroom, which is finished in tile-hoard.GUEST HOUSEA LITTLE SUMMER HOME OF WALL-BOARD AS COMPLETE AS IT JS SIMPLE

A neat and attractive small kitchen like this, tucked away under theslope of the roof was made possible by the use of wall-board. Openshelves serve as a closet.

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The panel strips of the wall-hoard are painted the same color as thepanels, thus making the paneling inconspicuous, with the result that theroom appears larger.

In the living-room the wall-board is used in wide panels and the roofconstruction is left in the rough.A living- and dining-porch with all the comforts of a larger house. Thecouches increase the chances for hospitality.


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The array of wedding presents on this sideboard gives the top a cluttered The same sideboard, its true dignity brought out by the central placing ofappearance, and the tray underneath mars the delicacy of the outline. the lacquered box, flanked by a pair each of decanters and candlesticks.

This sideboard top presents an example of objects arranged in balanced rela- A choice of objects selected with regard to the mass and outline of thetion to each other, but without regard to the mass and contour of sideboard. sideboard. The tray and candlesticks give height without heaviness.


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A most unusual and charming solution of the difficult prolilrm of theboxed-in staircase has been obtained by shortening the stair length to acouple of feet less than the level of the second floor.

A hospitable doorway which augments the entrance hall, being in itselfalmost a tiny room. The broad clapboards of the house and the twenty-four panes in the window add much to the apparent age of the house.

The furnishings of this house are much above the average. The tables and chairs in the living-room are based on good models and are restrainedcopies of these. The arrangement of easy-chairs and reading-table in a semi-circle at one side of the fireplace is unusual and inviting.


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This is a true small house, as may be seen by the plan, but there is, neitherinside nor outside, a sense of constriction.

Good small house detail in the interior trim, the mantel, and the simple,well-chosen furnishings.

WEE HOOSE, DR. G. H. HILLMAN'SRobert Sherlock of

Type : Wee Hoose is a two-and-a-half-story cottage built on old-fashioned farmhouse lines.Number of Rooms: Seven rooms and bath.Material : Outside Wide clapboards painted white with green slatted

shutters above stairs and white wooden ones below. Shingle roof. Thefloor of the porch is cement and the posts stucco. These are undesirableas to type of house, but on account of durability it was advisable to usethem. Interior - The trim was especially designed for this type of cot-tage and was more economical than the usual mill-stock both in initialcost and the subsequent expenditure of time necessary to keep it clean.AH the trim is absolutely plain with the exception of a few mouldingsused on the mantelpiece.The first-floor flooring is of oak; the second is of maple.

Decoration : The woodwork throughout is painted a soft cream color.The sidcwalls are papered with oatmeal paper in soft tones of gray andbuff. Bath and serving-room are painted a light yellow.

Ilarilii'are: Black iron. The latches were found in stock, but all hingeplates and the entire equipment for front door were hand hammered byan ironworker in Plainfield. There are three kinds of hinges used : Hand L. Ace of Spades, and Strap.Ural: The house is heated by a hot-air furnace; a boiler in the cellarconnected with the furnace supplies an abundance of hot water. Insummer, the water is heated by a gas heater attached to the boiler.A gas range only is used for cooking in the kitchen.

First-floor plan.

A let-in china closet of the simplest design. Notice the rounded moulding atthe bottom of the base-board, and the extreme plainness of the door-casing.

An attractive use is here made of a easement window on the southside of the upper hallway. The balustrade is in excellent keeping.


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COTTAGE, PLAINFIELD, MEW JERSEYNew York, Architect

Cost: Including extras such as papering and painting, picket and wirefences, electric fixtures, hardware, and window shades, the house costapproximately $5000.Some of the features of the cottage are : An enclosed stairway withentrance as near the front door as possible. Wooden pegs for wrapsare used in this entrance. A few of these pegs came out of an old Rev-olutionary farmhouse on Green Brook Road, and we used these as apattern for others which we had made.A let-in cupboard for old china in the dining-room.A linen closet built in compartments with front of drawers which letdown by means of chains. This arrangement has proved a great conveni-ence ill sorting linen. There is also a coat-closet off the living-room.Some eighteen or twenty shelves were built in the cottage, those inbedrooms and living-room being used for books, while the one underthe southern casement window in the upper hall is used for plants.The window sashes in living- and dining-rooms are divided two-thirdsof the way up like the windows in the old Wayside Inn at Sudbury,Massachusetts. The whole house is set low. there being only one stepfrom the ground to the porch, and when trees, shrubs, and vines areplanted, it will present a very attractthe cottage but six months, very littline. Pink rambler roses will be trEnglish ivy has been planted at the btilation of the cottage is unusually g.

ve appearance. Having lived inhas been accomplished in thisined on the several lattices, andsc of the porch pillars. The ven-

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Second-floor plan.

The rear of the house, showing the French windows in the living-room, oneend of the kitchen entry, and an adorable collie.

A corner of the living-room beside the front door. The bookshelves aremost inexpensive, yet how good-looking

The porch opens directly into the living-room, but is in itself bothan entry and an outdoor living-room.In this bedroom, shelves are again used advantageously. The H-and-L

hinges and the latch give distinction to this plainest of doors.


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This dining-room is very simple, almost severe, in its architecture. Observe how the rich Grinling-Gibbons-like carvingand the furniture stand out by contrast. Tone and color are lost in the photograph.

It is unfortunate that the black and white of the photograph can give but litle idea of the harmonious richness of this room.The color values are distorted, and the colors themselves, of course, in the furniture and rugs, in the tapestries and ceiling(painted by Mr. Robert S. Chase), are entirely lost.


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An example of the free and sure use together of details which are not of the same period or even the same place ororigin. The mantel and over mirror are after the manner of the Brothers Adam of England, while the screen andsettees are of the French school. The severe architectural lines of the Adam pieces are contrasted with the curvesof the French work.

The sharp contrast between furnishings and walls apparent in this picture is due to the great amount of light in the roomwhen the photograph was taken. The viewpoint crowds the furniture against forced backgrounds, but the pieces can beexamined individually with much benefit.


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Massachusetts. Work dates about 1700.Drawing and photograph by Edgar T. P. Walker and Edgar b. Parker


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Documents

The Inside of the House 1918 From Www Jgokey Com