Three Acres—Front ViewThree Acres—Front View
Like many of the farmhouses in eastern Massachusetts, it had that peculiar beauty whichconsisted largely in its simple and straightforward solution of the problems at hand. It was not the creation of a master architect but of ordinary builders and craftsmen following the traditions of their fathers, varied by the restrictions of local material and newer requirements. It is this rugged and sturdy simplicity that gives to it an enduring charm; it was the very lack of a set style that gave to the remodeling of it an unfailing zest, increased by the very difficulty of the experiment that might result in a woeful failure or a great success. In dealing with houses such as this, it is impossible for the architect to rely on any formula or book of rules to direct him in a correct restoration. It requires a much deeper study and an understanding of the problems that confronted the builder in erecting the structure and the conditions under which he worked. It is then that the spirit of the old house will be manifest, and its adaptation to modern requirements will be but the thought of former years revised to meet present needs.
Three Acres—Side ViewThree Acres—Side View
There are few buildings that can claim a more sympathetic handling in their restoration than this early, pre-Georgian farmhouse, which is called Three Acres. The excellent line of thewide, gabled roof, broken by a succession of outbuildings, forms an unusually attractive picture, with the weather-stained shingles softened against a background of oak and pine trees. The house now faces away from the main road and fronts upon a wooded slope that falls sharply down to the shores of a picturesque little pond. This is partly hidden by dense woods that form a background and a windbreak for the house. Formerly the public road went along here within a few yards of the front of the house, but it has been abandoned for the broader highway in the rear, and only the vaguest traces of it remain to-day.
The building was a two-story, shingled structure with an uncompromising squareness about it. The wide, gable roof sloped down to the stud of the first floor, giving but little room in the chambers above. It was of the central chimney type. In the rear, a small, gable-roofed ell had been added, and later still a flat-roofed shed at right angles to the ell, or parallel to the main house, was built. In still a third addition, a well was incorporated in the rear, under a continuation of the roof of the shed, and another small outhouse in an extension to the side. This seeming conglomeration of roofs in reality made a rather interestingand graceful play of line that lifted the little house from commonplaceness.
It was found to be in such good condition on the exterior that little repairing was needed, but several alterations were made, adding both to the character of the building and the comfort of the occupants. The original front door opened very abruptly upon the stairs, leaving only enough hall space to open the door. This was remedied by the addition of a small, flat-roofed bay at the front, increasing the space in the hall by just that much. The old door with its bull's-eyes was used in the new position. The step before it was protected under the same roof, supported on two, small, square posts and a trellis at the sides, giving somewhat the effect of an old-time Colonial porch and serving not only the material purpose of adding room to the interior but of relieving the abrupt and uninteresting severity of the front lines. In the second story, unusually successful dormers were cut in both the back and front pitch of the roof. The plan of these dormers deserves especial study, as each group is in reality composed of three separate dormers, enlarging three rooms in the interior, but confined under the one flat roof. Note, too, how each end of the dormerextends beyond the middle portion, and how the shape of the windows accents the design.
A new entrance was cut at the side toward the lane, and a screened veranda added, with a flat roof corresponding to that at the front. Several new windows were made necessary by the rearrangements in the interior, but they were placed with careful regard to the exterior proportion and balance. The glass used in the old windows when the house was bought was all the full size of the sashes, doubtless having been put there by some recent owner and seeming quite out of harmony with the details of the house; consequently they were replaced with small panes, twenty-four to a window, and the new windows were all of the casement type.
The interior of the house with its ugly paint and paper, presented a rather hopeless appearance, that only a vivid imagination and an unwavering enthusiasm could have transformed into the attractive home that it is to-day. Beginning at the front, the cramped little hall was enlarged as has already been explained. This made a trifle more stair room, and the first seven steps reaching to the little landing were rebuilt with lower risers and broader treads that made ascent to the second floor a less arduous matter.
On the left of the hall was the living-room, on the right a bedroom, and in the rear of the house the room originally designed for the kitchen; in each of these was a fireplace opening out of the one central chimney.
The first step in the restoration consisted of tearing off the many layers of hideous wall-paper, removing the plaster where it was crumbling, and scraping the woodwork free from its dingy paint. In these operations a number of unexpected discoveries were made concerning the fine old paneling and great, hand-hewn beams that had been entirely covered up.
A Corner of the Living RoomA Corner of the Living Room
The only change made in the plan of this floor was in the corner beyond the living-room and at the end of the kitchen. This was originally divided into a tiny chamber opening from the living-room, and a pantry off the kitchen. These were thrown into one, and the openings to living-room and kitchen enlarged. The former bedroom window was changed to a door leading on to the screened veranda, and an attractive group of three casement windows replaced the one in the rear wall, overlooking the charming vista of winding lane and old apple-trees and meadows beyond. This little apartment has been treatedas a sort of anteroom or really a wing of the living-room, and wall finish, paint, and furnishings all harmonize.
The Living RoomThe Living Room
In the living-room the fireplace holds the center of attention. It is faced with queer old Spanish tiles inserted at intervals in plain cement, the rich colorings of which give a quaintly exotic air to the fine white woodwork. The moldings about the frame and over the mantel are unusually fine for this type of house; the support of the heavy mantel shelf and the carved dentils in the ceiling cornice are especially interesting. At the right of the fireplace is a cupboard with an upper and lower door, in the old-time fashion; the upper one has small, square, mullioned panes of glass which disclose some attractive pieces of old china and silver.
The Dining RoomThe Dining Room
In the kitchen, which was turned into the dining-room, the old fireplace had been bricked up to receive a stovepipe, and the woodwork had been plastered over and papered. The fireplace was opened up to its original size, large enough to accommodate a six-foot log, and in refacing it, the old, blackened, fire-burned bricks were used with delightful effect. The paneling about it is very simple, but the proportions are interesting, andthe quaint, double-panel cupboards on each side lend the whole an insistent charm. The two, great, hand-hewn beams in the ceiling have been left exposed, and the fact that they have settled a little on their supports, sagging toward one end, only adds to the effect, just as the unevenness of a hand-drawn line is more beautiful than the accuracy of one ruled.
These three rooms opening so closely into each other have been treated so that there is a harmonious and striking vista from every point. The walls are covered with a soft, creamy gray, and the hangings of Russian crash are of the same tone. The color is supplied in fireplaces, rugs, books, pictures, and such ornaments. In the dining-room, there has been a slight accent of blue and rose in rug and table runner and candle-shades. In the living-room the deep green of the upholstery carries the strongest note. The characteristically old-time furniture, with a pleasant mingling of Dutch and English and American motifs of the eighteenth century, has been arranged with studied care to preserve the possibilities of the open vistas from room to room.
The entrance hall completes a delightful picture from the living-room; the soft gray colors of alovely Japanese paper blend strikingly with tiny curtains of a wonderfully fresh old blue at the casement windows. The rag carpet carries this same blue up the white stairs to the second floor.
The rooms on the right of the lower hallway have been kept nearly in their original state with the addition of fresh paint and attractive papers. They form a small suite of a study and bedroom, seeming quite apart from the rest of the house.
On the second floor, a refreshing simplicity has been observed in the bedrooms. The dormers that have been cut in the roof add not only to their comfort but provide charming little bays and alcoves, giving unexpected opportunities for interesting furnishings. Quaint, old-time papers and hangings and coverlets on the four-poster beds, matched in rugs and cushions and candle-shades, contrast gaily with the spotless white paint. Considerable ingenuity has been necessary in planning this floor, as the original rooms were so tiny and space so very limited under the long slopes of the roof. The dormers gave the much needed increase in the size of the chambers, and part of the rear one was converted into the bathroom.
In the ell and shed at the rear of the house, perhaps the most interesting feature of all is situated. A step lower than the dining-room and reached through swinging French doors of glass, is the little kitchen which has been fitted up in a most compact way. An additional window has been cut at the side to provide both light and air, and an outside door gives access to the small court on the far side of the house between the main building and the rear shed. This has been turned into a miniature old-fashioned garden, where it is pleasant to sit among the flowers.
Back of the kitchen is the laundry and an old well, which has been drained and is now used as a cooling cellar, and the wire basket containing meats and milk and butter is drawn up and down on the old crank. Beyond this, the old wood and coal shed has been transformed into the studio. Here Mrs. Shaw designs all her beautiful jewelry work at the long work-table across the rear under the four long windows. Opening from it is a tiny little apartment used as an office, and here at a quaint desk, the designs for the metal work are sketched out, and the correspondence connected with the business end transacted.
In the adaptation of the outbuildings to the special and unusual requirements of the owner, an excellent example is given to others who have individual hobbies such as this to accommodate. But throughout the building the needs and the personality of the owner have been as carefully if not as ostensibly expressed. There has been no thought of comfort or of service sacrificed in the effort to revive the atmosphere of the past, but rather has that very simplicity and straight-forwardness been utilized to banish all that might complicate entire convenience. The personality of the owner has been interwoven into every detail, and shows nowhere more strongly than in the preservation of all the delightful vagaries and unevenness of hand work played upon and mellowed by time.
The prospective house owner generally has little or no idea of how to go about designing his own home. If he chances to see some other house that strikes his fancy, he realizes that it approaches, at least in part, what he has in mind. How to accomplish his desire, however, he has no definite knowledge. He hesitates to call in an architect who is a stranger to him and knows nothing of his needs and habits and preferences; he fears that an attempt to combine his own ideas with those of the architect will result unsatisfactorily to both of them. To such a man as this, the remodeled farmhouse comes as a boon. From the old house he is able to determine what type his home will be; no matter how battered and worn it is to start with, he can get some impression of the possible room space and arrangement by studying other old interiors and their relation to each other. That is one of the reasons why the movement sweeping through the country to-day has becomeso extensive. It gives a substantial foundation upon which to develop an artistic home under one's own supervision.
When a man purchases a weather-beaten farmhouse, it is evident that he is up against a real problem in remodeling, and the task demands plenty of time and a wide-awake, ingenious brain. If he consults his friends and neighbors across the way, doubtless their opinions differ so materially from his own that the result is worse than if he had solved the questions in his own way. We all have ideals, but it is not always easy to express them; they need to be developed in order to be made practical and require thought and diligent research if they are to be concretely embodied in the altered home. Paper and pencil are good friends at this stage of the game, and even a rough sketch drawn carelessly on the back of an old envelope, as an idea occurs, gives subject matter for larger schemes and more realistic results.
Few people who are planning to spend the summer months in a new house realize how much their comfort depends upon light and space. It would be foolish for you to buy an old farmhouse and make the rooms small and cramped in size. You would lose a great part of the advantageof coming to the country to live, the pleasure of being as nearly out of doors as possible. Most of the old houses were cut up into small rooms, for, owing to the limited heating facilities in olden days, large rooms would have been freezing in winter; accordingly one or two bedrooms were invariably crowded into the first floor to receive the warmth from the kitchen. But it is almost always possible to tear out the partitions between some of the rooms and make them into one large apartment which can be used for living purposes. This can usually be done without weakening the structure; the floor above will be found to rest upon a great beam, or a new girder can be put across.
If the stud is low, do not change it, or you will spoil the whole atmosphere of the place. A low stud and large rooms are good developments, so try to achieve them when you are making over the house. Have plenty of windows; in the old days, many windows meant a cold house in the winter, but if the farmhouse is to be used only as a summer home, the cooler the better. If for a winter residence also, modern systems of heating will counteract the difficulty. Windows of the long French type are especially desirable; theyare more adapted to the requirements of country life, as they admit abundant light and air and are entirely in keeping with the style of the farmhouse.
The house should represent a unit; the porch should be planned so that it leads into the living-room, and by throwing open the windows, will seem to become part of a large airy room. The dining-room should either be part of the living-room or open conveniently near. The service quarters must immediately adjoin the dining-room. If there is other space on the floor which cannot be used to increase the comfort of the two main rooms, well and good; it may then be devoted to whatever purpose you desire. But when the removal of partitions will make a place more pleasant to live in, it is always wise to make such a change.
We know that there are few of these old houses that have not been cut up and divided; but the conditions which made that necessary in the earlier days have been changed, and for a simple country house one large living and dining-room is far better than divisions which shut out light and air. Many people look at these propositions from a limited view-point and do not stop to consider the complete idea. We all learnfrom houses that we visit what is right and what is wrong to do. If we look deeper into the subject and go farther afield, we find it pays to carefully develop the plan before commencing to rebuild. The requirements of elaborate modes of life, liveried servants and much entertaining, demand, of course, many apartments; reception-room and drawing-room, library and den seem essential in the house plan, but for those who come to the country to simplify existence, these are not needed. In remodeling your house, let three things be uppermost in your mind: convenience, comfort, and light; if you follow these, you will not go far astray.
Even a very small house need not be devoid of these qualities. It may be very tiny and yet most attractive and complete in every detail. With careful thought and a broad conception of the whole, it is quite possible to make a place where it is a pleasure to visit and where even the casual guest realizes the application of small and interesting details in making a harmonious whole.
Do not let your mind wander from the fact that the interior is of as much importance, and even more, than the exterior, for it is there that we live much of the time during the season, and it shouldtherefore be harmonious and in good taste. The development of one room for common family use, and the elimination of the shut-up parlor for company, have brought about an atmosphere of simplicity that goes to make a perfect and livable house.
The Robert Spencer House on Cape CodThe Robert Spencer House on Cape Cod
This one-room idea has been charmingly carried out in a small house that has been remodeled for a summer home by Mr. Robert Spencer of New York and South Yarmouth. It is most attractively situated, standing far back from the road, with a background of pine trees that give a picturesque touch to the little cottage. Originally it stood on the opposite side of the bay, on the shores of Cape Cod at South Dennis, Massachusetts. Its possibilities seemed to the present owner worth developing, and he had it "flecked" and brought over the water to its present site. This was not a hard task to accomplish, as the timbers were stanch and in a good state of preservation.
The Robert Spencer House—Front ViewThe Robert Spencer House—Front View
It was a typical fisherman's cottage, with a wide gable roof sloping down to the first story and four small rooms about a central chimney. To meet the needs of the new owner, it required considerable enlargement. A two-story buildingwas added at the rear and side, meeting the main house only along the corner. Little attempt was made to have the two harmonize, for not only are the roof lines of widely different types, but the frame of one is of white clapboarding and of the other weathered shingle. At the angle where they join, the roof of the old building has been raised to accommodate the higher stud in the new, thus making a break in it near the ridge.
Two dormers have been cut in the main roof to give extra room in the second floor; these are flat-roofed and well spaced, with two windows occupying the entire front of each. A porch has been added across the whole front of the house and half of it is roofed over. This breaks with the slope of the main roof, but follows that of the dormers. A detail which adds much to the appearance of the exterior is the simple, square-posted fence that surrounds the porch and encloses a quaint little garden in the square formed by the angle of the two buildings. This same detail has been adopted at the side of the porch roof in an effective way. This fence, and the clapboards and trim of the house, are white, and the shutters and shingles are green.
Two Views of the Living RoomTwo Views of the Living Room
The front door opens immediately into the livingand dining-room which occupies the whole right side of the house and opens at the rear on to a grassy terrace. A triple window has been cut along the side to allow ample light and air. Small panes are used in these windows, and the French doors have glass of corresponding size. The feature of this room is the fine old fireplace at the center of the inside wall. It is very simple, with slight attempt at ornamentation, but the proportions are good, and the lines rather unusual. Over the fireplace is an old cupboard that used to be called a "nightcap closet" from the hospitable bottle which was kept there to be passed around among the men just before retiring. At the left is a cupboard with upper and lower doors; in the panels of the former, panes of glass have been inserted. This end of the room has been treated as the living-room and the opposite end as the dining-room. The woodwork is all white, and the roughly finished plaster is tinted a deep cream.
Straight stairs lead to the second story along the wall at the dining end of the room. Here, about the walls, a wide molding has been carried over doors and windows, which serves as a plate-rail for numerous interesting old family platesand jugs. Beneath it, in several places, shelves have been bracketed to the wall to hold other pieces of china. The glass door at the end opens on to the terrace, and the paneled door beside it communicates with the kitchen and servants' quarters in the addition.
The furnishings in this room admirably accord with the building in both age and simplicity. The older furniture has been supplemented with modern pieces of straightest and most unpretentious line and character. Clocks, mirrors, pictures, andirons, and fire-set are family heirlooms. The coverings on the floor are large and plain rag carpets; at the windows are simple muslin curtains, with overhangings of Colonial chintz in soft colors harmonizing with the cheerful and sunny atmosphere of the room.
At the left of this room, occupying the other side of the house, are two bedrooms. One of them is the children's own room and has been furnished very attractively; fresh white tables and chairs harmonize with the older mahogany pieces and lend an air of distinctive charm to the apartment.
The Attic ChambersThe Attic Chambers
The space up-stairs is divided into large and small rooms under the eaves. The slope of the roof allows room for many built-in drawers andclosets, and every inch has been utilized. The white paint and the simple white furniture arranged with a care and precision that is worthy of emulation contribute to make the effect of these rooms light and airy and inviting. The Japanese crêpe or gay cretonne curtains at the windows add just the necessary touch of color.
The lighting fixtures in the house demand especial notice, as it is so difficult a matter to attain a distinction in them when a house has not been wired but must depend upon older methods of illumination than electricity or gas. A number of simple candle brackets attaching to the wall have been purchased, and these are placed symmetrically in pairs, balancing each other on either side of a fireplace or mirror or window. The candlesticks for shelf or table have been arranged with equal precision, and some are given all the more importance by attractive hand-made shades. An occasional simple, square, candle lantern hangs from the ceiling to contribute to the effect. The table and reading lamps have been chosen with equal success.
In planning the remodeling of a farmhouse, has it ever occurred to you how much of the appearance of the exterior depends upon the architecture of verandas and porches? Not only must we give much thought to the alteration of the lines of the house which may be required by the interior plan, but we must be equally careful when it comes to the addition of entirely exterior features.
Modern country life demands plenty of veranda room and, whenever possible, sleeping-porches. One does not go to the country to sit indoors, even if the windows are all thrown open. There is nothing that will so materially improve the health as outdoor life; tired and jaded nerves are soon restored by use of a sleeping-porch, where the fresh air can soothe and induce restful slumber. In the early days, the porch or veranda did not exist; it may be supposed that our pioneer ancestors were too busy to enjoy anyleisurely hours out of doors; at least, they made no provision in connection with their houses for such relaxation.
As the details of the exterior became more elaborate, the entrance porch was developed with free-standing columns. In time, this assumed greater importance, especially in the south, where columns the height of the whole building supported a roof across its entire front. In the north, the veranda was less frequently used, but there is occasional authority for both the front and the less pretentious back piazza. It is one of the additions which are imperative in remodeling the house, however, and it becomes something of a problem because there is no more definite authority for it.
If there is to be simply an entrance porch, offering a bit of shelter at the front door for stranger or friend, it may have much precedent in the porches of Georgian houses. In planning this, take into consideration that it should be an index of what one will find in the interior; it should be the keynote, as it were, of the entire house. Here we may have the same details and the same proportions as in the cornice of the roof, or the fireplace within. We find many porches thatare sadly out of keeping with the rest of the house and seem very carelessly designed. It is far better to have none at all than one which is insignificant and out of scale; yet it must not be more elaborate than the house itself and tend to dwarf the main structure. Few people realize how important this feature is and how necessary that it should be a satisfactory adjunct to the architecture of the whole. It is almost the first thing we notice as we approach the house. Whether it is well placed and rightly proportioned, whether it has a proper overhang, good roof lines, and adequately supported cornice, affects to a very great extent the style and character of the house.
There were a great many different types of porch in the Georgian houses: the simple hood with a high-backed settle on either side that was commonly used at a side entrance; the gable-roofed and flat-roofed, square porch and circular, open and partly enclosed, with round and oval windows at the sides, were all developed to high perfection. The simple, Doric column, plain or fluted, with corresponding pilasters or three-fourths round against the house, was used on many of the porches; but the Ionic and Corinthiancapitals are more elaborate than is appropriate for the simplicity of a farmhouse. From the infinite number of models which can be found, it should be a comparatively easy matter to construct an entrance porch, utilizing the details found in the house.
A veranda demands somewhat different manner of procedure. First it is necessary to decide where it shall be put. Where will it receive the best air and the least sun? It must, presumably, open from or adjacent to the living-room and yet be so placed that its roof will not cut off too much light. If the house is uncomfortably near the highway or neighbors, the matter of privacy cannot be neglected, and a thought may well be given to the outlook from the piazza. Let it enjoy any advantage of a fine view or a picturesque garden that may be compatible with its other requirements. Thus it may be at the front, at either or both sides, or in the rear. At the side of the ordinary, gable-roofed house, the roof of the veranda should as a rule be flat. If it is possible to continue the roof line of the house to include that of the porch, by all means let it be done; the unbroken sweep will usually be found excellent. At some angles it may seem too longand severe; then it is often possible to put a slight "kick" in it, especially if there is anything of the Dutch type about the building.
The floor of the porch in farmhouses should be low; it may be on a level with that of the house, or a step below it. It is well to let the underpinning be a continuation of that of the house, and it may then be covered with brick or tile, or the conventional boards. The columns or posts which support the roof are a stumbling block for many remodelers. These should closely copy the entrance porch, if there is one; even if it be no more than a flat semblance of a pilaster about the frame of the door, it will supply the correct motive. Lacking this, there will undoubtedly be some detail in the interior which can be magnified to the right proportion for the exterior,—the upright of a mantel or the frame of a door. For a house which can boast no such source of suggestion, a straight, square post with a simple molding would be the solution. The cornice should follow the detail of the entrance door or the house cornice; and it is effective and increases the apparent unity to repeat the decoration of the one on the other.
The rails and balusters of old houses wereextremely simple and should be kept so in the remodeling. In the very early examples, the balusters were square and spaced far apart; later both square and turned balusters were used, and they were spaced twice their width. The design for these can often be taken from the stairs in the interior of the house. It is the modern tendency to use no railing about verandas, particularly when they are low or when they are screened in. Some of the flat-roofed type had a railing around the roof, and an open-air porch was thus made for the second story.
Sometimes this porch can be utilized as a sleeping-porch on the second floor. This feature, while of course entirely foreign to the farmhouse, has become as much a necessity in many families as the open-air living-room, and it is therefore logical to introduce it where possible to do so without destroying the lines of the building. It is better, however, to do without it than to add it in such a way that it will seem an afterthought and not really incorporated in the structure. Often it can be placed in a wide dormer cut in the slope of the roof; sometimes the roof line can be extended over the roof of the sleeping-porch, or again it may be merely a room with the wallslargely cut away. Each remodeler will have his own problem in connection with this, and by ingenuity and careful study must work it out to his own satisfaction. Remember always that the integral simplicity of the building must not be disturbed, and that whether it be sleeping-porch, veranda, or entrance portico, it must seem always a part of the original building, as if it were the conception of the master craftsman who erected the first timbers.
The Davenport Brown HouseThe Davenport Brown House
Most gratifying results along this line are shown in an old farmhouse at Medfield, Massachusetts, which was built in 1755. Like many other old houses, this had fallen into decay and stood neglected and unoccupied by the side of the road while the extensive grounds lay unkempt and desolate. But Mr. Davenport Brown recognized in it a house that could be made to serve most acceptably as the foundation of his summer home.
It is of the Georgian type, built with the hall and straight flight of stairs as the axis. There are two main chimneys opening into four fireplaces on the first floor. A service wing has been added at the left, parallel with the main building, and half its width. Back of that, an ell of equal size extends at right angles. Both of these are twostoried, but the upper stud is somewhat lower than in the main building, thus allowing it to retain its predominance in the design.
The main part is given further importance by the dignified entrance porch. Two three-fourths round and two free-standing, fluted, Doric columns are used, supporting a cornice and a gabled roof, the details of which repeat those in the cornice of the house. A rather unusual type of scalloped dentation lends additional interest. The frame about the door is arched over, and there are side lights and an overhead fanlight in a simple style that carries out the Colonial tradition.
The HallwayThe Hallway
The hall leads past the stairs and through an open doorway to the rear of the house, where there is another entrance, repeating the design of the front one. This is some distance from the rear wall of the house, and consequently there is a small, arched-over portico formed within the lines of the building. The walls of this are paneled, and on each side is a built-in seat. The floor is tiled, and the woodwork painted white.
At each end of the main part of the building is a flat-roofed veranda carrying out the details of the entrance porch in column and cornice. Thesame dentil ornamentation that appears on the cornice of the house is used here in smaller size, as on the entrance porch. Around the edges of the flat roofs, boxes filled with blooming plants and vines form an original and most attractive method of softening the sharp lines and finish of the house. The veranda on the right side overlooking the wide lawns and gardens is used largely as the outdoor living-room and is screened in. The spacing of the bars and framework of the screening is well proportioned and adds not a little to the decoration. The floor of the veranda is edged with brick and paved in the center with square tiles which slope toward a drain at one side. This wing of the living-room has been comfortably furnished with canvas hammocks and Chinese grass chairs and stools, and even a sand-box for the children finds room here.
In the central hall, the details carry out the character of the old period carefully. There is a white unpaneled wainscot carved around the walls and up the stairs, with a similar treatment in the second-floor hall. The stairs are wide, with white risers and mahogany treads, and the hand-rail is mahogany supported on white, turned balusters and a mahogany newel post. Theupper walls are papered in a gray landscape paper, and the furnishings consist of a pair of Sheraton card tables.
The Sun-Parlor or Out-door NurseryThe Sun-Parlor or Out-door Nursery
The LibraryThe Library
At the right of the hall, the two rooms have been combined into a living-room by cutting double arches on either side of the fireplaces which open from the back and front of the chimney. The furnishings are especially interesting here, as there are a number of rare and beautiful pieces. The mantel mirror over the front fireplace is a fine example of American workmanship. The mahogany frame divides its length into three sections, and it is ornamented with carved and gilded husk festoons; the scroll top is surmounted with a gilt spread eagle. In front of the fire there is a beautiful little Sheraton fire-screen. Chairs and tables are equally interesting; there is an old "comb-back" chair and an upholstered "Martha Washington" chair, as well as more modern easy chairs and davenports. The upholstery and curtains are of small-patterned, Colonial fabrics that carry out the spirit of the room. In the back part of this room, a large double window has been cut, looking out over the gardens and the grounds. Underneath it is a most attractive window-seat suggestive of an old-time settle, andon each side low book-shelves extend around the whole end of the room.
The dining-room is situated at the left of the hallway. The fireplace and paneling hold the attention in this room. The woodwork is very simple but well proportioned, and on either side of the mantel are narrow, built-in, china closets with small, leaded, diamond panes in both upper and lower parts of the door and even in a transom over it. The walls above the unpaneled wainscot are painted white and divided into simple, large panels with narrow moldings. The furniture in this room is suggestive of the early part of the nineteenth century, with the exception of the Queen Anne type of chair. Over the heavy and massive sideboard is a long gilt mirror of the Empire "banister" type; between the two side windows is a gilt, convex girandole with three branching candlesticks on each side. On the mantel is a fine example of a Willard shelf clock, and on each side of it are tall mahogany candlesticks with the old-fashioned wind glasses. The over-curtains at the windows are a soft rose damask; they hang from gilded cornices and are caught back on gilded rosettes,—the style of draping which is carried out in all the main rooms of the house.
The Service WingThe Service Wing
The service wing opens from the left of the dining-room, and the den, which is back of it, with a fireplace on the opposite side of the same chimney, is reached from the rear of the hall.
The NurseryThe Nursery
At the head of the stairs at the right, one enters the bright and sunny nursery. Here the fireplace is very simple and has no over-mantel. The woodwork is white, and a broad molding divides the upper part of the wall. Below is a quaint paper picturing Mother Goose scenes which the children never tire of studying. The furniture is mainly white, and the little chairs and tables in child's size are decorated in peasant fashion with painted flowers and lines of color.
Two of the ChambersTwo of the Chambers
There are two other bedrooms in the main part of the house and each has an open fireplace. The furnishings are simple and old-fashioned in character, retaining the Colonial atmosphere admirably. In one room there is a Field bedstead of English make, dating about 1780, showing reeded posts and a curved canopy top. The chairs and the little night stand at the side of the bed are in close harmony with the period of its design. In the other chamber are twin beds which are modern reproductions of four-posters, but other furnishings retain the distinctive atmosphere of age.Over one bureau there is a fine mirror with the Georgian eagle ornamentation; in keeping with it are the old fireside wing chair and a side chair of Sheraton type.
The most interesting bedroom, perhaps, is in the wing of the house, where Hannah Adams, the first American authoress, was born. This is reached by a cross hall which leads from the main one, and gives access to baths and rear stairs and another tiny bedroom. Although the old fireplace has been remodeled, the aspect of the room is much the same as when the house was built. The woodwork here is all dark, and the hand-hewn rafters and cross beams are exposed in the ceiling. An unusual wall-paper in black and gay colors forms an interesting background for the four-poster and other old furnishings. An old batten door with a quaint little window in the center strip leads from this room to the chambers in the service ell.
Much of the house has been restored under the direction of the architect, Mr. John Pickering Putnam of Boston, and to him the credit for its successful remodeling must be largely given. The planning and laying out of the grounds about the house, however, are the work of the owner,who has spared no pains to make a harmonious setting for his home.
Between the house and the road is a row of great overshadowing elms that make a delightful setting for the red and white of the house. The drive sweeps around these trees to the stable on the left and is separated from the house and the lawns by white palings in a simple Colonial pattern, having fine, carved posts surmounted by balls. The fence stops at either side of the front to allow wide space for a heavy embankment of conifers. Somewhat back of this fence, along the whole length of the lawn, is a second lower one, with posts of the same height. This marks the boundary of the wide lawn and forms a charming background for an old-fashioned hardy border that extends all the way to a swimming-pool and pergolas at the far end. Immediately behind the house is the flower garden, from which all the blossoms used to decorate the house are cut; this is screened by a white trellis and pergola, carrying out some of the details of the entrance porches and verandas.
A very interesting feature in an old farmhouse is the fireplace, which varies in size with the age of the house; the oldest ones are large, with cavernous mouths, since they were the only means of heating the house. These are capable of holding a ten-foot log, for it must be remembered that at that period of our country's history the woods grew at the very door.
A few of these old fireplaces are found to-day, principally in the old kitchens or living-rooms, although occasionally we see an old house which has them in almost every room. There is a great variety in their design as well as size, some being very simple and framed in wood, while others show tiling; occasionally we find elaborate carving, but this is in the better class building rather than in the simple little farmhouse. These details denote the different periods and also the wealth of the former owner.
With the introduction of stoves, many fireplaceswere bricked in to accommodate an air-tight stove which gave more heat and saved fuel. One unaccustomed to the features of an old farmhouse would infer a lack of fireplaces. The removal of brick and mortar, however, reveals the large, cavernous hearth which was often three feet deep and sometimes showed a second bricking in, to make it smaller. Often in the narrowing of the fireplace, tiles are used, generally Dutch, which are blue and white in coloring. Occasionally in opening up these fireplaces, one comes across rare old andirons that were considered of too little value to be removed; old cranes and kettles are also found, of the type common in the days of our early ancestors.
It must be remembered that the chimneys of these old houses were often six feet square and had many fireplaces opening from them. It was the central feature of the house, around which the rooms were built. The earliest chimneys were daubed in clay, and in the masonry oak timbers were often used. In remodeling a house many people tear down these old chimneys for the space which may be converted into closet use and alcoves, making a smaller chimney do service.
In the olden times, when the first chimneyswere erected, they were so carefully built that they were less liable to smoke than the smaller ones, so that it is better to let the old one remain if possible. Brick was generally used in the construction, although sometimes we find stone. It was not the finished brick of to-day but rough and unfaced. This was not true, however, of those which formed a part of cargoes from abroad, more especially those brought from Holland. The use of stone was not popular, as it was apt to chip when brought in contact with the heat; this is also true of the hearthstones, where the flagging became rough and most unsatisfactory.
The fireback was a feature of some of the old fireplaces. The earliest of these made in our country were cast in Saugus, Massachusetts, and some were most elaborate in design. Often coats-of-arms and initials were worked out in their construction. In addition to the brick and stone, soapstone facings were sometimes shown, but seldom do we come across good carving.
The crane was a feature of the fireplace, and on it were hung the pothooks from which depended the iron and brass pots in which food was cooked. In one side of the bricks, just at the left of thefireplace, was often a large brick oven with an iron door, and here on baking days roaring wood fires were kindled to heat the bricks before the weekly baking was placed within. Examination of these old ovens will be very apt to reveal the age of the house.
In the remodeling it is well to leave the fireplaces much as they stand, with the exception of bricking them in, for the old ones allowed too much air to come down the chimney, and at the present high price of wood, we are not able to indulge in the ten-foot logs that were in evidence in our grandmothers' time.
A house with many fireplaces that stands back from the winding country road on the border line between Medfield and Walpole in Massachusetts was chosen for a summer home by Charles E. Inches. It is shaded now as it was long ago by large, old elms whose widespreading branches seem to add a note of hospitality to this most attractive estate. Possibly there are better examples of the restored farmhouse than this one found at Medfield, but it is very picturesque, not only in type but in surroundings. It stands near a turn of the road, where it was erected, in 1652, situated in a sheltered glen and protected from cold winds.