Fig. 7
The water-closet problem has received a great deal of attention. A few years ago they were quite complicated, there being levers and pipes, pans, springs and weights, to a degree of complexity which caused a great deal of trouble. There has since been a return to first principles and great simplicity. The water-closet of to-day is nothing more or less than a large bowl connected by means of an “S” trap four inches in diameter with the soil pipe, and provided with means of flushing with large volumes of water. Such a closet is known as the “washout closet.” In other closets there is an intermediate plunger-valve separatingthe hopper from the trap. The plunger-valve is defined by its name. It is a large stopper which plunges into and closes up the opening to the trap by means of its own weight when released. That which makes one closet different from another has to do more with means of flushing than anything else. By flushing is meant the pouring into and distribution of water in the hopper. The most popular closets, those which have given the most satisfaction, are “washout” closets, made entirely of white earthenware, not alone the bowl, but the trap and connecting neck. Closets are best flushed from an independent tank, which is placed about seven feet above the closet and connects with it by means of 1¼-inch pipe. The height gives it a strong flush of water, which cleanses it thoroughly.
In the past it has been usual to conceal the earthenware or iron body of the closet. It is best to leave it entirely open around the sides, that the entire apparatus may be exposed. Sometimes it is necessary to support the flap and seat by legs, though the modern closets are arranged so that all of the woodwork may be secured to the upper part of the hopper or the wall. There should be the solid flap covering to the wooden seat with the opening in it, both of which should be hinged, so as to allow them to be thrown back. It is convenient to use the water-closet as a slop hopper. In order to do this the seat should be hinged, so that it may be thrown back out of the way.
One frequently hears it said by those who exercise their authority over household matters that they do not allow anything to be put into the water-closet except that which is naturally intended for it; meaning that they do not allow the slop water to be put into it. There is no reason in this. The closet that cannot be used for this purpose cannot, with safety,be allowed in the house. The use of the water-closet as a slop sink is not only legitimate but desirable. It flushes the drain.
There is a movement toward simplicity in general plumbing apparatus. At the time the water-closets were in the complicated state mentioned, everything pertaining to plumbing was in the same general condition. It was thought necessary to fill a house with a wilderness of pipes and traps to have it safe or satisfactory. The very complexity of the arrangement made it not only unsafe but expensive to maintain.
We have all heard a great deal about the expense of maintaining a plumbing plant, if it may be so called. There is no reason why there should be constant repairs and expense. It is pleasant to know that additional expense is not necessary to secure immunity from trouble. The idea of simplicity in arrangement, general excellence in the fixtures, material, and labor, which go to form the completed work, has to be borne in mind. The arrangement of the plumbing apparatus has to be planned with the same care and thoughtfulness as the other parts of the house.
It should be remembered that if the pipes are placed in a position where the temperature is liable to fall below thirty-two degrees the water in the pipes will freeze. Thus it is suggested that all pipes should be on an inside wall,—if possible, next to the kitchen flue,—and that there be here arranged an especial pipe duct of wood to ventilate the kitchen, and, at the same time, keep the pipes from freezing by means of the warm air which will pass through it. This duct should be covered on the face with a wide board, which can be readily removed by taking out a few screws. Thus the pipes may be exposed at any time desirable.
If the hot-water boiler in the kitchen is surrounded by anenclosure which has an opening in the bottom, and which connects from above with the pipe duct previously described, there will be a current of warm air passing upward through the pipe duct as long as there is warm water in the boiler. The water in the boiler will be warm long after everything else is cold. This will insure safety from freezing when other helps fail.
The cistern water is supplied to the bath-room, and to the hot-water reservoir, by means of a tank placed in the attic, or at least above the highest fixture. It sometimes happens that the supply pipe from the tank above the attic floor freezes. All this may be prevented by enclosing the tank, and the pipe which connects with it, with a large box or canvas covering which is six or eight inches larger than the tank. This confines the warm air from the duct mentioned, so that as long as there is heat it will always be in this enclosure.
The outside drain, which connects with the vault or sewer, is, in some instances, trapped previous to its entrance to the sewer or vault. In such cases, this trap should have a connection with the outer air, and on the side of the trap towards the house. Sometimes this outer-air connection is made into the water spout from the roof; but this is not proper, for the reason that the sewer gas, or the gas from the vault, is almost certain to destroy the spout. Again, this spout may come out near a dormer, or may pass near a window, and in either case may contaminate the air in the house. It is better that this ventilating connection should be in the yard, at some distance from the house, or, better yet, that there should be a long iron pipe extending well above the ground. It should be understood that this vent has no direct connection with the sewer, but merely with the soil pipe and drain back of the trap; with that part of it which is nearest to, and in, the house.
Sometimes it is necessary to run the down spouts into the sewer connection; in such a case one should be certain that the down-spout openings are not near the dormers, and that they have no connection whatever with the cistern. It is common to have a switch or cut-off in the down spout, so that the latter may be connected either with the cistern or sewer. This is very bad practice. While it is connected with the sewer or with the drain pipe, the down spout is contaminated with all the foulness of the air of the drain. On its being connected with the cistern, the water is poisoned.
Immunity from sewer gas in the house is largely dependent upon the flushing and ventilation of the drain and the soil pipe. In the case of a drain which is trapped as described, there is an air connection through the vent before the trap; then the soil pipe which is in the house should continue upward through the roof. Thus there is a fresh air inlet through the drain, and upward through the soil pipe of the house. Such a connection prevents the possibility of siphoning the traps, as it gives an outward air connection. The water passing through the drain or soil pipe can draw its supply of air from the upward soil vent, rather than through the traps which contain water. When there is no upward vent of the soil or drain, the water in the traps which connect therewith will be drawn out by the passage of water through the drain where fixtures are used.
There are those who maintain that there should be no trap in the yard or adjacent to the house, but that there should be a straight run from the soil pipe to the sewer or vault, and upward through the roof and above the house. It is good practice to use the trap as described for sewer connections, but not for open vault connections.
A grease sink is frequently placed in the drain to interceptthe passage of grease into the vault. It is so placed and connected that only the water from the kitchen sink, or other fixtures where the water contains grease, may enter it. It is made of brick, and is usually of six or eight barrels capacity. A four-inch pipe connects it with the kitchen waste, and if the grease sink is placed adjacent to the main drain, there can be a similar connection between it and the main drain. It should be a siphon connection, so that the sink will become nearly full before it discharges. When it discharges through the siphon the water will go out with a rush and leave the grease in the sink. This makes an intermittent discharge into the main drain, which flushes or cleanses it thoroughly and is much better than a constant small flow of water. This grease sink must be cleaned from time to time. Small cast-iron grease sinks are sometimes placed under kitchen sinks in very large dwellings or hotels.
Nothing particular need be said in regard to wash-stands more than has been said, excepting, possibly, that the drain should be trapped, ventilated, and connected with the soil pipe; also that there should be a lead safe or safety pan on the floor under the wash-stand when they are enclosed; it is preferable that they should remain unenclosed. It has been common to connect this safe with the soil pipe. It is only intended that it should be useful in cases of accidental overflow; but, notwithstanding the fact that there be a trap in the safe waste or drain, it would be empty most of the time, because of the evaporation of the water. It is proper to make direct connection with the cellar or kitchen sink.
The bath-tub should have the same-sized drain connection as the wash-stand; that is, one and one-half inch in diameter, trapped. The overflows from both the wash-standand tub should be flushed with hot water quite frequently, to avoid the soap smells which are so common to bath-rooms. It often happens that those who have bath-rooms in their houses imagine that they smell sewer gas, when it is nothing more or less than the smell of rancid soap.
HEAT AND VENTILATION.—COMMON HEATING ARRANGEMENTS.—PRESENT METHODS GENERALLY UNSATISFACTORY.—IDEAL CONDITIONS.—PROPER AMOUNT OF MOISTURE RARELY ATTAINED.—A FURNACE DEFINED.—METHODS OF REACHING BEST RESULTS.—SUPPLY OF PROPER AMOUNT OF MOISTURE.—REMOVAL OF FOUL AIR.—SUPPLYING FRESH AIR WITH PROPER MOISTURE FROM STOVES.—STEAM AND HOT WATER HEATING.—DIRECT AND INDIRECT RADIATION.—LOW-COST HEATING APPARATUS.
HEAT AND VENTILATION.—COMMON HEATING ARRANGEMENTS.—PRESENT METHODS GENERALLY UNSATISFACTORY.—IDEAL CONDITIONS.—PROPER AMOUNT OF MOISTURE RARELY ATTAINED.—A FURNACE DEFINED.—METHODS OF REACHING BEST RESULTS.—SUPPLY OF PROPER AMOUNT OF MOISTURE.—REMOVAL OF FOUL AIR.—SUPPLYING FRESH AIR WITH PROPER MOISTURE FROM STOVES.—STEAM AND HOT WATER HEATING.—DIRECT AND INDIRECT RADIATION.—LOW-COST HEATING APPARATUS.
It is only within a short time that the heating and ventilation of buildings of any kind have been in any measure satisfactory. This applies only to the largest buildings; the heating and ventilating of smaller structures are still in an unsatisfactory condition. Most dwelling-houses are heated with stoves, which, as now arranged, are not successful. The same air is heated over and over again. Fresh air in the proper quantities or from the proper source is not supplied to the interior of the building. Grates are very well in their way in that they take large quantities of air from the room. Thus far they ventilate. The supply of air is necessarily irregular, unless special means are provided.
Furnaces are used for heating a very large number of houses. While they are satisfactory in some respects, they are deficient in others. The same thing may be said of steam, hot-water, or other heating apparatus.
As the statement has been made that heating systems in general, as applied to dwelling-houses, are unsatisfactory, it may be well to state the fault, and what is to be desired. It is notthe purpose to consider this question chemically, or from a highly scientific standpoint; there is no occasion for it. It is well to bear in mind that we are considering the heating and ventilating of a house during cold weather, and not its ventilation during the summer, when natural means are to be relied upon. Then it may be asked, What is to be done? Primarily the air should be at the proper temperature at all times; it should be in its pure state, as found on the outside of the building, and not contaminated with any of the gases of combustion. It should be supplied with its proper equivalent of moisture at the temperature at which we find it in the room. As it becomes impure from natural causes, there should be some means of effecting its withdrawal.
These are the ideal conditions. How far do they exist in practice? The temperature is ordinarily high enough. The air of the room is apt to be contaminated by the gases of combustion, and vitiated by breathing and otherwise. Rarely indeed does it contain its proper equivalent of moisture; it is dry and parched. Now that we know the conditions in their ideal state and as they exist in fact, we will consider in detail what may be done to bring about more satisfactory results. If the heating apparatus be a furnace, it should be constructed of steel or wrought-iron plate, the joints thoroughly riveted and calked; or, if of other material, it should certainly be gas-tight. Every precaution should be taken to prevent the passage of the air of combustion from the furnace to the warm-air chambers and from thence to the rooms above. The furnace is nothing more or less than a large stove with various radiating arrangements, surrounded by an iron or brick enclosure, with a supply of fresh air from the outside, and with connecting tin pipes to the rooms above. It is important that the inner parts, the fire-pot, theradiating surface, etc., be thoroughly well built and gas-tight, to prevent the heated air from becoming contaminated by the gases of combustion. The supply of outer air should be ample. It should be so arranged that it can never be entirely cut off. The furnace should be of sufficient capacity so that means of reducing the outer air supply should not be necessary. However, if such arrangements are made, they should be limited.
The proper equivalent of moisture should be given to the air at the temperature at which it reaches the room. It may be said that there is a water-pan connected with every furnace, that will do everything necessary in supplying moisture. This is a mistake. So far as I know, the furnace or other heating apparatus for dwellings has not been constructed which is provided with a proper evaporating apparatus. The pan is set in the side of the furnace, with an opening to the outside into which water may be poured. It is small, and has very little evaporating surface on the inside. Oftentimes the joints at the outside are so poorly made that the cold air from the cellar may be drawn in over the water in the pan, and in that way prevent its proper evaporation. Winter air heated to a summer temperature is dry and parched, whereas natural summer air contains the proper amount of moisture. The outer air during the winter time has its proper equivalent of moisture for the winter temperature, which is a much smaller amount than would belong to it at a higher temperature. Therefore when we take winter air into the furnace or other heating apparatus, raise it to a summer temperature, and carry it into a room, we have a very dry air, which seeks its equivalent of moisture from the occupants of the room, from the furniture, carpets, walls, ceiling, and everything in it. The air will not take additional moisture unless that moisture be supplied after it has reached a highertemperature. For instance, if a spray or a series of wet blankets be arranged in the cold-air duct, before the air gets to the furnace, the air will not take the moisture from that spray or from the damp blankets. The moisture must be supplied after the air is heated. Where the water-pan is set on the side of the furnace, and where there is a supply of air through the pan from the cellar, as there frequently is, evaporation is naturally retarded by the cold air, as indicated. Again, if this pan be never so well protected, it is small, the proper amount of evaporating surface is not presented. An evaporating pan or other device should be placed above the fire-pot and should occupy a large proportion of the area of the heating chamber. The supply of water should not be dependent upon some one’s attention. It should be constant by means of a ball-cock or otherwise. It should run into or drip into a shallow pan, or should be supplied to sheets of felt or blanket so that the air will come in contact with the moist surfaces, at the temperature at which it is to go into the room. Thus it has the proper amount of moisture which belongs to it at that temperature. In this way we have winter air from the outside going into the room at a summer temperature and with a summer equivalent of moisture; that is, we have summer air in the winter time. People sometimes undertake to get around this by putting water-pans in the registers, but they are rarely ample. They are neglected, or they interfere with the supply of warm air, and are abandoned.
Where a furnace is already in a house, or where it is not possible to make elaborate arrangements for providing the air with moisture, there is a very simple makeshift which is quite effective. It consists in suspending in the registers in the floor small water receptacles—a quart bucket answers every purpose—in which is placed a broad strip of linen. This clothshould go to the bottom of the receptacle and be long enough to hang over and below it for several inches. When the bucket is filled with water this piece of cloth acts as a siphon, and carries the water, a drop at a time, into the furnace-pipe, where it is converted into steam. A piece of old table-linen is the best material to use, for the reason that it carries the water fast enough, that the heat from the furnace does not dry it out before it can drop into the pipe; otherwise the cloth becomes dry at the end, and the siphonage ceases. For the same reason it should be broad,—about twelve inches. Where a moderate heat is carried through the furnace-pipe, three quarts of water may be evaporated in this way in twenty-four hours from each bucket. A bucket of the size mentioned does not in any way interfere with the passage of heat.
The next point for consideration is the means of getting the foul, contaminated air to the outside. One way is through the use of grates. Another is by means of ducts in the wall, opening near the floor, which draw the foul air from the room to the outside. These should consist of heated flues, with connecting registers in the ceiling and floor, which may be open when necessary. Under any circumstances, the grate is best. Sometimes the flue may be heated by a supply of warm air from the furnace, or by a steam-pipe in case steam is used for heating the house. In natural-gas regions, the supply of additional heat in a flue from a furnace or by a jet would be a small matter.
We have mentioned heating by stoves, grates, and furnaces. The same principles which apply to the furnishing of fresh air to a furnace may be applied to a stove. The fact is, they never have been. A stove should be made, and will be made some day, that is surrounded on the outside by a second jacket, the space between being connected with the outer air by means of atin tube to the under side of the stove. The supply of cold air could be so arranged as to be shut off when there was no heat in the stove. The warm air would pass out at the top of the jacket. On top of the stove could be placed an evaporating pan, and the supply of moisture come therefrom. In connection with the stove-pipe, which should be jacketed, a second ventilating flue, starting from the floor and having an opening both above and below, could be arranged, and in that way the supply of fresh air and withdrawal of impure air could be accomplished.
Next we may speak of steam and hot-water heating. So far as a change of air and the ventilation of the room are concerned, heating by direct radiation, that is, by radiators placed in the room, is no better than stove heating. It may be that the air is not so severely parched by the extreme heat, also the escape of steam may contribute somewhat to the moisture of the air; but the escape of steam is not agreeable, and is not allowed to exist to any great extent;—its odor is not always pleasant. Certainly the addition of moisture to the air by this means would be a mere makeshift and unsatisfactory.
Hot-water coils act the same as steam radiators in that they heat the same air over and over again, and are no better than stoves, so far as the provision for fresh air, at proper temperature and humidity, is concerned.
A steam or hot-water apparatus, with indirect radiation, is superior to furnace heat as ordinarily provided. The means of supplying moisture to an indirect steam apparatus, as ordinarily constructed, are not convenient. There is a radiator for each hot-air connection above, that is, a radiator for each register, with a distinct and direct supply of outer air thereto. Sometimes there are two registers connecting with a single radiator. But under any circumstances the radiators are somewhat separated,having steam or water connection with the boiler at the proper point. Steam apparatus for public buildings has been constructed where the radiators have been bunched, that is, put into a single chamber, the air passing through the chamber containing the radiators, where it is heated to the proper temperature, and the moisture afterwards supplied before it enters the room. Where this arrangement is used, there must be conductors, tin or otherwise, from the chamber to the register, as in the case of a furnace. Again, it will be found that the supply of air will not be uniform through all of the openings; for instance, the register that is farthest removed from the warm-air chamber may fail to act. In this event, auxiliary radiators may be placed under that register, and the operation of the heating apparatus greatly facilitated thereby. This plan is superior to a furnace, and can be applied to hot-water or steam apparatus in dwellings. The reason that it is superior to a furnace is that the supply of heat is more uniform. It does not require the constant firing or attention that is necessary in the case of a hot-air furnace. It may be known that the temperature does not change with the pressure of steam or in the same proportion.
There are inexpensive automatic arrangements in connection with furnaces and steam apparatus, which control the dampers and keep the steam pressure measurably uniform, as long as there is fuel of sufficient quantity in the fire-pot. The hot-water apparatus is more uniform in its operation than steam, and for that reason more satisfactory.
A furnace plant is the most inexpensive apparatus that may be used for general heating; the steam apparatus is next higher as to first cost, though no more expensive in amount of fuel used. The hot-water apparatus costs more than steam, and is somewhat more economical in the cost of maintenance. Itis probable that a house of moderate size can be warmed all over at a less cost, as far as fuel is concerned, by a furnace or a steam or hot-water heating apparatus than by stoves and grates. However, grates are generally used in addition to these for the purpose of comfort and appearance, and for ventilating. Under such circumstances, they consume very little fuel.
HEATING DEVICES AS WE FIND THEM.—FURNACE ESTIMATES.—COMBINATION HOT AIR AND HOT WATER.—DISH-WARMING ARRANGEMENTS.—HOW TO GET A GOOD HEATING APPARATUS.
HEATING DEVICES AS WE FIND THEM.—FURNACE ESTIMATES.—COMBINATION HOT AIR AND HOT WATER.—DISH-WARMING ARRANGEMENTS.—HOW TO GET A GOOD HEATING APPARATUS.
For the present, people who build must take things as they find them, and use heating and ventilating apparatus as regularly manufactured. Experiments are uncertain. The theory of the proper heating and ventilating of a house as set forth in previous chapter is correct. The fulfilment of the ideas in dwelling-house heating remains to be practically worked out. It is not the business of the architect, or the housewife, or the owner of the house, to work out these mechanical details. It will be done in time by competent mechanical experts.
In the estimates subsequently given, the furnace is the only means considered for general heating. However, this does not indicate a prejudice in favor of that particular method. The furnace is considered and figured upon as the ordinary method of heating houses of moderate cost. It is the least expensive plant to be used for general heating. Indirect radiation from hot water or steam is to be preferred to a furnace. A combination of a hot-air furnace with hot water, or steam, is used with fair success. In this case, a hot-water coil is placed in an ordinary furnace, which connects with hot-water radiators in a conservatory or other room for the purpose of contributing a uniform degree of heat to that room. The water supply is a tank, located well above the level of the radiators, and connecting through an inlet pipe with the coil in the furnace. The propermeans of supplying this tank with water is through a ball-cock or float-cock, the float of which opens the valve when the water gets low in the tank. Thus the supply is as constant as the source. A hot-water radiator of this kind may be used in connection with a device for warming dishes or keeping food warm. The heat is gentle, uniform, and constant. This is a general advantage of all hot-water heating.
Aside from the automatic arrangements for controlling the steam or water pressure in the heating apparatus, and thus measurably controlling the temperature in the building, other more positive automatic arrangements are provided which undertake to maintain any fixed temperature. These are proprietary devices, patented and advertised.
Complaints are made of the general inefficiency of everything under the sun: hence, furnaces and other heating apparatus come in for their share. An architect is sometimes asked how he would heat a certain building. He answers, “Hot water, steam, or furnace.”—“Oh, I wouldn’t have steam. My uncle had a steam plant in his house, and they nearly froze to death all last winter; and they burned over a ton of coal a week.” The same things are said, and truly, of every kind of heating apparatus made, when we consider them in general classes. General complaints of a similar nature are made of everything. In regard to the steam plant or hot-water apparatus, or anything else of which this thing may have been said, one may first acknowledge its truthfulness, and then consider what it all means. Something is at fault. It may be that the whole design of the apparatus is faulty. The design may be right, and the construction bad. Everything else may be right, but the apparatus too small; or there may be some little defect which has to do with the placing of the apparatus in the house. Sometimes,when everything is in good form, the apparatus does not receive proper attention: hence trouble.
It may be asked how one is to get a good heating apparatus for a dwelling-house. The first thing to be determined is, the particular kind to be used: whether hot-water, steam, or hot-air furnace. There are many manufacturers of the various apparatus, who are regularly in the business. To these may be submitted plans of the building, and a request for estimates and suggestions. It is the experience of an architect that one who is putting money regularly in the manufacture or production of anything will not waste his energies for a great length of time on a bad thing, if he knows it. The evidence that an establishment has been putting up good furnaces or other heating apparatus is long-continued business success. If the owner of a house writes to an old-established, wealthy concern, and sends his plans, he is as certain to get a reliable proposition as he can be of anything. A local agent of an establishment of this kind may misrepresent, unintentionally or otherwise. The surest way is to go to headquarters. The local agent does not always know exactly what should be done. A competent architect can settle all these matters for an owner. However, if an architect says there are only one or two furnaces or heating apparatus which are all right, he is either ignorant or dishonest. There are many different kinds which will give fair satisfaction.
The idea in this chapter is to take things as we find them, and suggest what may be done. The theories outlined in the previous chapter may be correct, but they do not amount to anything to a man who is building to-day. The only purpose of this chapter is to suggest to those who are building that they go to a first-class house, pay a fair price, and get the best possible apparatus regularly in the market.
THE HOUSE AND ITS BEAUTY.—ARTISTIC SURROUNDINGS.—BEAUTY MORE A MATTER OF INTELLIGENCE THAN MONEY.—VESTIBULE DECORATIONS.—BEAUTY IN THE RECEPTION-HALL.—MANTELS AND GRATES.—FRET-WORK AND PORTIÈRES.—SPINDLE WORK.—SIMPLE FORMS OF GOOD DECORATION.—WOOD-CARVING.—DOOR AND WINDOW CASINGS.—A CONSERVATORY.—STAINED GLASS.—A CABINET ON THE MANTEL.—TINTED PLASTERING.—FRESCOING.—SAFETY IN THE SELECTION OF COLORS.—AN ATTRACTIVE SITTING-ROOM.—THE PARLOR.—A RECEPTION-ROOM.—PARLOR HISTORY.—THE IDEAL PARLOR.—THE LIBRARY.—A PLACE OF QUIET AND REST.—LIBRARY FURNISHINGS.—THE DINING-ROOM.—SOCIAL RELATIONS OF THE DINING-ROOM.—DINING-ROOM DECORATIONS.—CONSERVATORY AND DINING-ROOM.—A WOOD CEILING.—BEAUTY IN BEDROOMS.—QUIET AND LIGHT.
THE HOUSE AND ITS BEAUTY.—ARTISTIC SURROUNDINGS.—BEAUTY MORE A MATTER OF INTELLIGENCE THAN MONEY.—VESTIBULE DECORATIONS.—BEAUTY IN THE RECEPTION-HALL.—MANTELS AND GRATES.—FRET-WORK AND PORTIÈRES.—SPINDLE WORK.—SIMPLE FORMS OF GOOD DECORATION.—WOOD-CARVING.—DOOR AND WINDOW CASINGS.—A CONSERVATORY.—STAINED GLASS.—A CABINET ON THE MANTEL.—TINTED PLASTERING.—FRESCOING.—SAFETY IN THE SELECTION OF COLORS.—AN ATTRACTIVE SITTING-ROOM.—THE PARLOR.—A RECEPTION-ROOM.—PARLOR HISTORY.—THE IDEAL PARLOR.—THE LIBRARY.—A PLACE OF QUIET AND REST.—LIBRARY FURNISHINGS.—THE DINING-ROOM.—SOCIAL RELATIONS OF THE DINING-ROOM.—DINING-ROOM DECORATIONS.—CONSERVATORY AND DINING-ROOM.—A WOOD CEILING.—BEAUTY IN BEDROOMS.—QUIET AND LIGHT.
The journey through the house is hardly complete until we abandon the material view, and consider it from the standpoint of beauty. As is said in another connection, the architect does not do his full duty in making a house a model of convenience and utility. The housekeeper always looks toward a beautiful home, something that will be recognized for its beauty and elegance. A house that is beautiful and attractive gives pleasure to all who see it, as well as to the occupants. A beautiful, artistic house is a source of education to the occupants. A porch with clumsy columns, rude mouldings, heavy ceiling, coarse details of all kinds, cannot but affect one’s living. One that is fine in detail, generous in size, decorated in artistic spirit, must of necessity not alone contribute to the comfort of thosewho live in the house, but serve to lift them from that which is common and ordinary. People may be surrounded by that which is beautiful and artistic, and for a time fail to realize its true excellence, or they may be surrounded with that which is homely and crude without knowing the full measure of its ugliness. The time must come, however, when the truth will be realized to a certain extent. If it is in the direction of the appreciation of what is beautiful, it must necessarily bring about a higher state of mind. No man can walk across a front porch, time after time, and take hold of a beautiful door, without being affected by it. For this reason the vestibule, the front door, and all that belongs to it, should be designed in a thoughtful spirit, with the idea that it is the first of all things that will impress those who enter the house. There may not be much money to put into this door, but what there is may as well bring something beautiful as something ugly. The same money that will make an ugly detail will make a beautiful, artistic one. If the glass of this door must be inexpensive, let it be the ordinary cathedral glass. Instead of being brilliant in color, select a soft, mild tint,—a light amber or a straw color. If there are divisions in the door so that a number of sheets may be used, two tints at most are all that are necessary. It is best that they should be quiet in tone. If money is more abundant, and an elaborate stained-glass design may be had, put the work in the hands of an artist, one who is well known, and the result cannot but be satisfactory. As to the door itself, nothing can be nicer than natural wood, properly finished. The detail of the design should be refined; there should be an avoidance of all that is clumsy and heavy. The spirit of the interior may be stamped upon this door. Where one cannot encompass the expense of an artistically designed glass for the door or vestibule opening, a very pretty effect may be secured by the use of a plain sheet of plate-glass; or, if desired, a slight additional expense will give glass with bevelled edges. Sometimes this bevelled glass is in small squares, with leaded joints. This gives a very simple and rich effect from either side.
As one opens this door and steps into the vestibule, there may come to his sight a beautiful mantel and grate-fire in the reception-hall beyond. This is particularly beautiful when shown through the folds of a tapestry curtain which separates the vestibule from the reception-hall. Sometimes this vestibule is arranged so that there is a small window at one side of it. Nothing can be nicer than to have this filled with glass, of the same general design as that of the door. The hooks for wraps should be of polished brass, secured to a natural-wood strip. An umbrella-stand of the same material is attractive. The floor is best of hard wood, all but covered with a heavy rug. This is a pleasant place to stop a moment, with a more beautiful view beyond.
A reception-hall is, from an architectural standpoint, the easiest room in the house to handle; that is, it can easily be made to look well. This is because of its connection with the vestibule, the stairway, the grate, often a window-seat, the large openings into the other rooms, and the portières which go with them. All these things combine well to make a pretty room. Stairways, as now designed, are much more beautiful than those made a few years ago. Then it was a habit to start at one end of the hall and continue to the second floor in a single run, with winders only at the upper end, to change the direction of the movement. Now it is common to have at least two landings in each run; oftentimes there will be only two or three steps, then a landing, from which steps lead to another near the top. At thebeginning of the stairway there are the newel posts, and at each landing a corner post. This arrangement frequently admits of the placing of a seat along one side of the outer part of the lower landing. If not that, possibly one along the side of the stairway, below the run of steps which starts from the lower landing. The space between the railing and the steps is usually occupied by turned balusters, though there are many forms of filling and decorating this space. Sometimes it is of turned spindle-work, scroll-work, fret-work, and squares or panels, arranged in different forms.
It is not unusual to have stained-glass windows at each landing. These windows are not necessarily large, and are usually hung on hinges. Sometimes a small bay-window projection is made from one or both of these landings. In them may be placed seats, and in this way add beauty and convenience to the room. It is quite usual to cover the reception-hall with rugs rather than carpets. The hard-wood floor idea probably had its origin in the reception-hall. If it ever takes its departure it will be first from this room. If a hard-wood floor is not largely covered with rugs it requires a great deal of labor.
The mantel in the reception-hall should be of wood. It is pleasant to have the larger part of the entire setting made of tile. These tiles are now made in most beautiful designs and colorings. Beautiful figured designs may be had, if not for the entire facing, for certain parts. It is not uncommon that only a narrow margin of wood-work borders the sides of a mantel of this kind. The shelf and cabinet above may be as ornamental as desired. No treatment of wood-work can add to the beauty of a large surface of tile facing. In some instances, no shelf is provided; simply a bevelled facing, with a margin of woodwork, not over an inch wide, to cover the joint where the tilingcomes in contact with the plaster. The hearth should be large. The grate border is best of brass.
The walls of the reception-hall may have a gray plaster finish, or be tinted or papered, as desired. The picture moulding may come pretty well down from the ceiling; certainly not higher than the tops of the doors. The part below may be tinted in one color, and the upper, in another. The picture moulding should always be of the same kind of wood as the finish, and not gilded or treated in any other highly artificial manner.
The openings into other rooms, even where sliding or hinged doors are used, are frequently filled a short distance from their top with what is popularly called fret-work. It may be fret-work, pure and simple, or spindle-work, or simply scroll-work. It is a very pleasing form of ornamentation. The curtains come below. In one of the plans furnished, the entire vestibule is made up of turned work, which, with a curtain, is the only separation from the main hall. Sometimes arches are decorated in the same manner, and the space between the circle and frame is filled with these ornamental forms. A very simple way of making screens is by the use of thin quartered oak-strips, woven into basket patterns of ornamental form.
Only one general design of door and window casings is shown in this book. There is no limit to the ornamental forms which may be used in decorating casings of any kind. During recent years, many ladies have used their energy and ability in the direction of wood-carving, and, under competent instruction, have done good work. For the most part, the patterns are in low relief. The designs are frequently conventionalized, foliated patterns. In the smaller communities it is hardly possible to get good carving through ordinary channels, for the reason thatthere is not a sufficient amount of this kind of work to be done to justify a high grade of talent in occupying so unprofitable a field. It is unfortunately true, however, that very few workmen who can carve at all, but have an idea that they do this kind of work exceedingly well. No matter how crude their efforts may be, there is no lack of self-appreciation. They profess to be able to do that of which they are entirely ignorant. It is best to be content with the simple mechanical forms of interior wood-decoration, unless there are those of known and recognized ability, who are capable of executing the more artistic patterns.
Door and window casings are made much narrower and less complex than was the custom several years ago.
The sitting-room of the lower floor is more clearly defined by the term “living-room.” It is a room with much more wall space than the reception-hall. It usually contains a grate and mantel; has a large window to the front, and one on the side. It is very nice if one of these windows can be arranged in the form of a bay, with or without a window-seat. In the latter case, it may serve the purpose of a conservatory in the winter and a window-seat in summer. The use of large quantities of stained glass in a sitting-room is objectionable. It is very well to have a certain amount of it in the upper sash of some of the windows. If the colors are mild, the effect upon the atmosphere of the room is pleasant indeed—the light coming through the soft amber or straw tints adds a mellowness and richness to the light of the room, which is opposed to the colder effects of light which comes through white glass. The mantel of the sitting-room may contain a large number of compartments in the form of small shelves, brackets, or cabinets, in which may be placed bric-à-brac of various forms. A little cabinet on eachside of a mantel, with a high door, is a very pretty feature. A mirror between these cabinets gives a pleasing effect. This mantel, like the one in the reception-room, should be of wood with tile hearth and facings.
If this room is plastered in a gray finish, the walls may be tinted in fresco colors, and, if desired, certain parts of it ornamented by stencilling or otherwise. Unless this ornamental work is done by an artist of recognized ability, it should be of the simplest character. One or two simple lines, or a series of short dashes, is much better than scrawling figures drawn by an untrained hand. The ordinary fresco done by the foreign artist is the ugliest, most ungraceful work possible. In the larger cities, there are usually a few artists who do very beautiful work, but the ordinary, cheap, conventional fresco stuff is barbarous. Plain tinted walls are preferable to such glaring monstrosities. There is not much risk, if one is careful in the selection of colors; the part above the picture moulding may be tinted differently from that below. There are very few people but feel themselves competent to select colors for the interior or exterior of a house. The fact is, there are very few who can do it with any assurance of success. It is well for those who have no special training in this line to pursue a safe plan in the selection of tints for the walls and ceilings. This may be done by choosing different shades of the same color for use in the room. Say one begins with a terra-cotta body for the part below the picture mould. That above the moulding may be a lighter terra-cotta with a tendency to a buff. Then the ceiling may be lighter still, or, to be entirely safe under almost any circumstances, a gray with a leaning towards the color of the wall. Other colors may be selected in the same way. Very light, vivid blues have frequently been selected for ceilings, presumably because of the supposed resemblance to the sky. It is certainly an illogical but by no means uncommon thought. Soft, undecided grays are much pleasanter to those of quiet tastes. There may be variations in it according to the character of the wall decorations and surroundings. If one without special knowledge wishes something more ambitious, he should consult some one of acknowledged ability in this particular line. One cannot afford to try experiments. Extremely beautiful wall decorations are to be had in wall-paperings, and, while rather expensive, are entirely satisfactory if carefully selected.
Very little more may be said about the sitting-room, excepting to call to mind that a great deal depends upon the fittings and furnishings of the room, which, however, should not be glaring or rich. The quality of everything may be of the finest and best, yet this room should essentially be quieter in tone than the reception-hall or parlor, or even dining-room, which are not in constant use. Anything which is rich and in any way approaches the gorgeous is wearisome, and directly opposed to the idea of a sitting-room.
The parlor may be merely a reception-room,—a room where a lady may receive her callers in the afternoon, or the more formal calls of ladies and gentlemen in the evening, or it may be one room in addition to the others in the lower part of the house. It may be the room which adds capacity to the lower floor during times of general entertaining. In some cases, particularly where the parlor is merely used as a reception-room, it need not be large. In such a case it is merely a place separated from the sitting-room, and in which to go for the purpose of receiving friends in a room somewhat removed from the slight confusion which may legitimately belong to a sitting-room. The parlor is made distinctive in its appearance from the sitting-room by its furnishings. It is not usual to have any great difference in the design of the wood-work in the different rooms of the lower floor. Generally speaking, the doors are of the same design, and likewise the casings, base, etc. The parlor belongs particularly to the society life of the occupants of the house. It is not generally a family room. It is removed from the ordinary home life except in so far as the general social conditions draw all together. The parlor, in its connection with the living-rooms of the house, and the house itself, is entirely legitimate. There is a good deal of sneering at the old parlor idea. This feeling has its origin in the memory of the parlors of a few years ago,—those which contained the one Brussels carpet, covered with red and green flowers, furnished with black hair-cloth furniture, chairs arranged around the wall in military style, a sofa—stiff of back and commanding an attitude—in a most conspicuous position; walls covered with coarse-figured, gilt paper, and rendered more offensive by cheap, family portraits in oil, and elaborately framed chromos.
The parlor of to-day is still a formal room; it does not greatly differ from the older one in idea; it is the execution of the idea which has changed. There is a greater refinement in all the details; there is an artistic spirit which pervades everything. There is harmony of color, quietness in tone. The pictures are of a different character. The furniture is graceful and comfortable. It is rarely separated from the other part of the house. The doors leading into it are nearly always open. Oftentimes there are only portières of tapestry or lace to separate this room from the others which lead to it. It is a room which is made necessary by the social life of the time.
The ideal parlor is a long room,—a large room. It is longin proportion to its width. Sometimes there is an archway near the middle, which suggests the division of the room into two parts. There is a mirror at the end, and, lending dignity to the room, there is the hall or library at one side. By its size, its arrangement, its dignity, it is inspiring to a congenial company. This is the ideal parlor, and the one of which the vulgarly furnished parlor of a few years ago was a corruption. The ideal parlor is shown in its completest original form in some of the old mansions of the East and South. Some of the old Virginia and Maryland houses carry out this idea in the completest way. In Natchez, Miss., are houses built long before the war, and designed by the French architects, which contain parlors of splendid proportions and most artistic details. These were designed in the purest classic architecture. The ceilings were high, the paintings rich. All this is somewhat removed from the common idea of a parlor as carried out at this time. However, it is a pleasant thing to look back upon, or, when the opportunity and means are at hand, a proper thing to enjoy in the reality.
The library, as now understood, is, in the ordinary house, a room for books, papers, and magazines, in which the members of the family may gather, who have use for that which it contains. It should be a room which may be isolated from the other parts of the house; a room in which one may study or read or write, and have the quiet which belongs to such occupations. A room which may be used as a passage from one part of the house to another cannot be dignified by the name of library. In such a room there must be quiet. There are very few homes to which such a room would not be a material and practical addition. There are times when nearly every one desires the quiet and freedom from interruption which a room of this kind affords.
It need not be a large room, but should contain all of the paraphernalia of work: a desk, conveniently arranged, bookshelves which are readily accessible, possibly portfolios arranged along the walls, drawers with proper compartments, cases for circulars and catalogues, and other “places for things.” The nicest thing about book-cases is the books. Ornamental glass doors and rich trappings add nothing to the beauty of the library. People who make large use of books do not care to have them protected by glass cases. The other furnishings and fittings of a library should be quiet in tone, the chairs easy but not rich, the carpet of a neutral color, the wall decorations preferably without figured outlines, the pictures small and quiet. Sliding doors between the library and any other room of the house are not to be considered. Close-fitting doors on hinges are proper. They exclude the sound. Sliding doors permit the ready passage of sound, for the reason that they are more or less open at top, bottom, middle, and sides. A low ceiling in a library adds to the quiet and restful effect. One may have a low ceiling in a library, even if they are higher in other rooms, by studding down from above,—that is, putting in a false ceiling. The expense is light indeed, and by such means additional protection from the sounds above may be afforded.
The dining-room, in many houses, is the room in which the entire family is gathered, perhaps for the only time during the day. In this sense it is an assembly room. There is in this busy country a growing respect for the social value of the dining-room. In the family meetings at the table, there may be an interchange of experiences that does not occur at other times, for the reason that there is no opportunity for it. After the meals the members of the family go to their various occupations, and probably do not come together until another meal.These facts may be considered in the planning of a dining-room.
We have thought of this room before in its mechanical sense; we have looked at it through housekeeping eyes. We have now to consider its artistic and social features. We look at it as one of the family rooms. It has its shape or proportion suggested to it from the table. It is oblong. The light coming into it should be ample, but subdued in tone. It is pleasant, as one enters a dining-room, to come into full view of a sideboard which is decorated with that which belongs to this room in a utilitarian way—its china, cut glass, and beautiful linen, than which nothing can be more attractive.
It is a pleasant thing to have a conservatory attached to one side or at a corner of the dining-room. The odor of flowers or plants may not be agreeable constantly in a sitting-room. The periodical occupation of the dining-room makes this pleasant rather than otherwise. Most of the plans which are shown will admit of the placing of a conservatory in connection with the dining-room in the manner indicated.
The old English dining-room was large in its general proportions, and heavy and rich as to its details; it was so large and impressive that there was an offshoot which took form in a breakfast-room. In our homes at this time we have the compromise. Our habits of living do not demand the breakfast-room: all come to breakfast together, and the requirement is the same as for other meals.
Where one wishes to have a wood ceiling panelled or with decorated beams, the dining-room, or the hall connecting with it, may be chosen as the proper place to be treated in this way. Where expense is not a great object, it is agreeable to have a large part of the walls finished in wood. A wood finishone-half to two-thirds the height of the wall, and a ceiling of wood above, with the intervening space finished in rough, tinted plaster, gives a very pleasing effect. Projecting from the top of the wood wall-finish may be a little shelf extending, say, five inches beyond the wall. It may have a simple moulded edge. In the top may be cut grooves; on the under edge may be arranged, at regular intervals, cup hooks, which may be used in part for suspending china, or, upon certain occasions, as a means of securing floral decorations—say, a little train of ivy or smilax. On the upper part of the shelf are placed pieces of china. This shelf may be placed in any dining-room; if not around the entire room, between two windows, or between the chimney breast and the adjacent wall. Six feet from the floor is a good height. If it is not overloaded, or if the idea is not generally overworked, the effect will be very satisfactory.
The coloring of a dining-room may be a little heavier and richer than that of the other rooms. A very pretty feature which maybe introduced in a room of this kind is a china-closet, which opens into the dining-room as well as into the china-room adjoining. The dining-room side of the china-closet should be glazed with clear glass above its lower section, and the china-room or back side of the china-closet should be glazed with cathedral glass of a semi-transparent character. There are doors on hinges on each side. The drawers in the lower part, if provided, open from both sides. If doors are used they should be arranged in the same way, so that the lower shelves may be approached from both dining-room and china-room. The glass door on the dining-room side should not come down to the shelf at the top of the lower section, but should be arranged to leave an open space, as is indicated in the chapter on kitchens and pantries. However, the doors on the china-room side ofthis closet should come down, so as to cut off communication between dining-room and china-room at will. This space between the upper and lower section of the china-closet gives space in which to set a tray, and, by opening a door on the back, it acts as a slide between the china-room and dining-room. This arrangement is not only very beautiful, but very useful. See china-closet planFig. 5, page 46.
The conservatory mentioned does not need to be in conventional conservatory form, which usually has cheap glazing and often common wood-work, but may be a bay-window with more than an ordinary amount of glass, preferably plate.
The chambers and bedrooms, in their ideal form of arrangement, have an abundance of light and sun, ample means for ventilation, and a greater air of restfulness and airiness than the rooms below. The carpets are in lighter tints, the walls more nearly white, the windows not so heavily draped, the pictures and frames of a lighter character, the chairs not so heavy as those of the other rooms. From a chamber it is sometimes desirable to have a bay window projecting from side or front. It adds to the availability of the other floor space, affords additional light and ventilation. Nothing can be nicer than a grate fire in a bedroom. It should be surrounded with a wood mantel, with tile facing and hearth. Above the mantel it is useful to have a short plate-glass mirror. A dressing-case takes its proper place on the side wall between two windows, or in a corner with a window in each wall adjacent to it. Bedrooms are, for the most part, lighted with brackets rather than central lights. When attainable, a small dressing-room adds to the attractiveness of a chamber.
In some houses there may be an alcove, a bay window, a window-seat, a conservatory, or something of this kind, fromevery principal room. These are features which add to the beauty and attractiveness of the house. While all of these things are not possible in every home, some one or two of them may be attainable. In mentioning the various details which go to make the beauty of a house, it is in mind that all these features can be taken into account in but a very small proportion of all the houses that are built, yet some one or more of them may be used in every house, and thereby add to its attractiveness.
EXTERNAL AND INTERNAL DESIGN.—AN OLD TOPIC BEFORE THE PEOPLE.—THE ARCHITECTURAL STUDENT’S DREAM.—A BEAUTIFUL HOME THE HOUSEKEEPER’S AMBITION.—IT COSTS NO MORE TO HAVE A HOUSE BEAUTIFUL THAN UGLY.—ARCHITECTURAL EDUCATION.—CHARLES EASTLAKE’S BOOK.—VULGAR ARCHITECTURAL REVIVALS.—THE GROWTH OF THE ARTISTIC IDEA.—BEAUTY A MATTER OF REFINEMENT.
EXTERNAL AND INTERNAL DESIGN.—AN OLD TOPIC BEFORE THE PEOPLE.—THE ARCHITECTURAL STUDENT’S DREAM.—A BEAUTIFUL HOME THE HOUSEKEEPER’S AMBITION.—IT COSTS NO MORE TO HAVE A HOUSE BEAUTIFUL THAN UGLY.—ARCHITECTURAL EDUCATION.—CHARLES EASTLAKE’S BOOK.—VULGAR ARCHITECTURAL REVIVALS.—THE GROWTH OF THE ARTISTIC IDEA.—BEAUTY A MATTER OF REFINEMENT.
It often happens when one gives especial attention to a particular branch of a subject his neglect in other lines is measured by the depth of his attention to the particular branch. Matters which have to do with the utilitarian features of house-building are considered in this work much more fully in the text, than has the appearance of the buildings. It is desired that this fact will not lead any one to believe that matters relating to the appearance of the exterior have been neglected. Domestic architecture is an old topic before the people. It is old in what has been said in regard to the appearance of the buildings. The subject, as a science to the architect, is new when considered from the standpoint of convenience. The architectural student’s dream is not of kitchens, pantries, closets, convenient and economical arrangements of floor space, but is principally of large public buildings, libraries, court-houses, and cathedrals. When he descends to dwelling-houses, it is of something unique, or odd,—something that is pretty or rich. When it relates to details, it is hallways that are peculiar in their beauty, parlors and sitting-rooms that are full of odd conceits. There hasbeen a tendency toward strange things during recent years. Matters of this kind have fed the fancy of many architects. The housekeeper has been neglected.
Nothing attracts more attention than a beautiful house. It is a pleasure to every one. It is as important to have a house beautiful as it is that it should be convenient. The same education and thoughtfulness that will enable an architect to design a convenient house will make it beautiful. No one can be conscientious in the consideration of the comfort of the housekeeper and neglect the smallest detail leading to the beauty of the house. The housekeeper lives in the hope of having a beautiful home. It has been the purpose, in writing this book, to bear all this in mind, and to add the element of convenience to what has been said and done by others toward making beautiful houses.
It costs no more to have a house beautiful than to have it ugly. Beauty, like convenience, is largely a matter of thoughtfulness and education. The only excuse for ugliness in house-building is ignorance. The student of architecture has had a great deal done for him. And, in considering that which has to do with appearance, he has only to accept the advantages of the best architectural schools and offices. Without these he cannot expect to succeed. To be a designer of beautiful houses, one must have had the same special training and advantages that are necessary for success in other lines of professional work. A physician must know the history of his profession, aside from the more formal knowledge which leads him through his practice. It is the same way with the student of architecture. The successful designer of a small cottage will do better from having a knowledge of the history of early architecture. Such a knowledge is indispensable, in order to reach the best results. Onewho has made a study of Greek architecture is much better equipped to design a beautiful low-cost cottage, of four or five rooms, than one who has not availed himself of these advantages. He will make a better house for the same money. He will do better work with simpler means. To take another illustration: We may suppose that an architect has a porch to design, and that the owner of the house does not have a great deal of money to put in it. There are four turned columns, a cornice, with a rafter finish, and underneath, a space in which may be inserted a small band of inexpensive scroll-work. A knowledge of the earlier architecture comes to his assistance in a wonderful way. For the turning on the columns the architect may select that from a column of the early English Gothic architecture of the fourteenth century. These are simple profiles, which can be turned at no greater cost, if the drawing is furnished, than some crude, modern invention of the turner or an uneducated designer. For the jig or scroll saw work, he can arrange figures from some of the earlier ornamental forms of the same period, and by drawing them full size the scroll-sawyer can reproduce a beautiful design, which has a history, with no more labor than he would give some corrupted design which has filtered through the minds of careless house-builders. For his rafter feet, this designer will have no difficulty in recalling some simple form which has had a refined development. This same line of procedure can be followed in all details of house-building, and not add one dollar to the cost of the structure. At the same time it brings about most beautiful results,—the results of successful experience.
It may be said again that it takes no more money to make a beautiful detail—one which has been the development of experience and refinement—than it does something which isclumsy and coarse. It requires, however, a knowledge of what has been done,—a knowledge of the history of design. It requires the faculty of using intelligently the results of the past, not merely as they originally existed, but in their adaptation to the wants and conditions of the present.
Several years ago Mr. Charles Eastlake wrote a book entitled “Hints on Household Taste.” The book accomplished a great deal, by merely leading people to think. To this day there are a great many architectural features which, in the builder’s parlance, go under the name of “Eastlake” designs. There are so-called Eastlake doors, Eastlake frames, etc. In truth, Mr. Eastlake had little to say about architecture in a distinctive sense, and many evil things have been perpetrated in his name. The best thing that Mr. Eastlake did was to teach people that the furniture and other things which they had around them could be beautiful and not expensive. That it was not necessary to have a chair or a piece of wood-work loaded down with something called ornament, in order to be beautiful. After this people lost confidence in the furniture manufacturer, and did not depend solely on the price of his wares as a measure of their elegance or attractiveness. This was the sole work of Charles Eastlake, with the masses of the people. He was a missionary in his way. A man of no particular knowledge in regard to architecture or design, yet one who was the means of doing a great deal for architecture. He taught people to look for beauty in simple things.
After a time came a certain something in domestic architecture which was designated as the “Queen-Anne” style. We all know what it is, yet it is difficult to describe. The veritable Queen-Anne architecture meant something; the “Queen-Anne” architecture of a few years ago meant anything—particularly something that was pointed, erratic, and unusual. It, however, did a good work. It enabled the architects to get out of the old beaten paths. A great many beautiful houses were built, which, by the public, were said to be in this style. The name “Queen Anne” was the vehicle for the passage from an old conservatism, which had to do only with the commonplace, to something which was fresh and attractive. In this way a great many beautiful houses were built during this so-called Queen-Anne revival.
More recently there has been a movement toward the revival of the old colonial architecture—a style that was developed by a class of educated builders among the earlier settlers of this country. Their knowledge was particularly of classic architecture of the period of the Italian renaissance. A great many strange and unusual things are being perpetrated in the name of old colonial architecture at this time. At the same time, a great deal that is beautiful and refined is being built in this style. In the work of the very recent period which has to do with this architecture, one may find a great deal of encouragement. It shows a decided re-action from the extravagant crudeness of the so-called Queen-Anne architecture, and in the end we will reach something that is rational and beautiful.
Thus it is to be seen that, in whatever lines architecture is moving, we shall find good work; that it is not so much the style that it is named, as the resources of the designer: resources which have to do with his education, and his disposition to select that which is fine and beautiful—the sense which leads him to discriminate.