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Full text of "House and Garden's book of houses : containing over three hundred illustrations of large and small houses and plans, service quarters and garages, and such necessary architectural detail as doorways, fireplaces, windows, floors, walls, ceilings, closets, stairs, chimneys, etc."

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We dream of a castle in Spain, hut we build a cottage in the country. And therein lie the interest and the pic- 
turesqueness and the abiding charm of a small house. It is a realization in parvo of big things. It is an adequate 
satisfying of our desires for a home in which to express personality and develop a life and shelter the next genera- 
tion. Most of /imerican life centers about and is concerned "with the small house, with the men and women who have 
realized in the actuality of brick and mortar and shingle, in the reality of shadowed lawns and quiet garden paths, the 
big dreams for which America stands. Patterson & Dula, Architects 





BOOK of houses 

Containing Over Three Hundred Illustrations of 
Large and Small Houses and Plans, Service Quarters 
and Garages, and Such Necessary Architectural 
Detail as Doorways, Fireplaces, tFindows, Floors, 

Walls, Ceilings, Closets, Stairs, Chimneys, etc. 

Edited by 


Editor of House & Garden 







The House & Garden Books 

House 6? Garden’s 
Book of Houses 

House Garden’s House Garden’s 

Book of Interiors Book of Gardens 

Copy r i fill t September 1919 by 
(^>nde Nast & Co. 

Second Print ing Janunry 1920 
Third Printing July 1920 


Things the Small House Stands For 2 

Patterson & Dula, Architects 

A House by the Side of the Street 6 

Dwight J. Baum, Architect 

Foreword 7 

"PoejM for the Dedication of a Home” 8 

Don Marquis 

Inviting Entrances to the House , o 

Old and New Doors 10 

Windows That Give Character to a Faqaie 11 

A \’ariety of Chimneys 12 

Exterior Lattice That Enlivens Walls. 13 

The Touch of Wrought Iron 14 

Closets for Every Room IS 

Fireplaces and Their Decoration 16 

Types of St.airs 18 

Doors Inside the House IQ 

The Molded Plaster Ceiling 20 

Open Beams on Walls .and Ceilings 21 

The Delicacy of a Free Standing Stairs 22 

John Russell Pope, Architect 

Six Types of Wall Finish 23 

Tile, Brick, Wood and Cement Floors 24 

Windows from the Inside 26 

White as a Color for Houses 28 

Aymar Embury II, Architect 

Visualizing the New House 29 

The Residence of C. C. Mullaly, Philipse Manor, N. Y 30 

Dwight J. Baum, Architect 

The Residence of Mrs. A. W. Sage, Middleburg, Va 31 

The Residence of J. M. Townsend, Mill Neck, L, 1 32 

IT. Lawrence Bottomley, Architect 

\ House for Tw'o in the Southern Style 33 

Julius Gregory, Architect 

.An Italian House for the Country’ 34 

Randolph H. Almiroty, Architect 

The Things That Goldsmith Forgot 36 

John Russell Pope, Architect 

.An Italian Country House 37 

Richard Henry Dana, Jr., Architect 

The Residence of M. S. Mannes, New Rochelle, N. Y 38 

Albro & Lindeberg, Architects 

■A Small House for Three 39 

Harry IF. Knowlton, Architect 

The Residence of Frank D. Potter, Rye, N. Y 40 

Lewis Colt Albro, Architect 

The Residence of F. A. Nelson, Architect, Montclair, N. J 41 

The Residence of Robert L. Wood, Chestnut Hill, Pa 42 

John L. Graham, Jr., Architect 

California Bungalows 44 

Two Livable Sm.all Houses 46 

The Residence of J. McWilliaais, Jr., Pas.adena, Cal.. 47 

Reginald D. Johnson, Architect 

Small Country Houses 48 

Kenneth IF. Dalzell, Architect 

.A Commodious Dutch Colonial Home 49 

Dwight J. Baum, .Architect * 

Two Small Houses East and West SO 

.A Cottage and a Lesser Country House SI 

•A Cottage at Rye, N. Y S2 

Lewis Colt .Albro, Architect 

The Home of F. O. Zenke, Fieldston, N. Y S3 

Dwight J. Baum, Architect 

.A Bow Dutch Country House S4 

.Aymar Embury II, Architect 

The Residence of H. Norton, Oyster Bay, L. I S5 

Peabody, Wilson & Brown, .Architects 

.An .Architectural Epigraai S6 

Bloodgood Tuttle, Architect 

.A Small Clapboard Suburban House S7 

William T. Marchant, Architect 

.A Dutch Colonial House for a Small Family S9 

Frank J. Forster, Architect 

The Residence of Howard Chapman, .Architect, Stamford, Ct 60 

.A French Chateau for an American Suburb 61 

Eugene J. Lang, Architect 

Mr. George Rule’s Home at Great Neck, L, 1 62 

.Aymar Embury II, Architect 

The Half-Ti.mbered House in the Suburbs • 63 

IF. Stanwood Phillips, Architect 

The Gajibrel-Roofed House 64 

Aymar Embury II, Architect 

.A Suburban Home in the Italian Manner 63 

IF. R. Bajari, Architect 

.A Standard for Architectural Detail 66 

Lewis Colt Albro, Architect 

.A Livable Suburban Home 67 

Looker & Marsh, Architects 

The Residence of Robert Haskins, Richmond, Va 68 

IF. Duncan Lee, Architect 

The Residence of F. I. Kent, Scarsdale, N. Y 69 

Patterson & Dula, Architects 

The Sunlight Makes It So 70 

Charles I. Berg, Architect 

.An English Cottage in Kentucky 71 

IF. E. Gore, Architect 

The Residence of Henry R. Swartley, Jr., Esq., Great Neck, L. 1 72 

Bates & Howe, Architects 

The Hoaie of Frank M. Simpson, Little Falls, N. Y 73 

Dwight J. Baum, Architect 

The .Approach to the House 74 

Goodwin, Bullard & Woolsey, Architects 

Stucco and Weather'ed Oak 73 

.4. J. Bodker, Architect 

Half Timber and Stucco 76 

E. J . Kahn, Architect 

.A Gambrel Roof Type 77 

.Adden & Parker, Architects 

.A Norman-English Farmholtse 78 

Julius Gregory, Architect 

.A New England Design in Brick 80 

C. F. Townsend, Architect 

.A Livable House in Rochester, N. Y 82 

C. R. Newkirk, Architect 

The Home of Louis J. Sny'der. Rye, N. Y 83 

.Aymar Embury II, Architect 

.A Colonial Plan in White Shingles 84 

Charles C. May, Architect 

The Home of E. C. Thiers, Pasadena, Cal 86 

Reginald D. Johnson, Architect 

.A Small Colonial Country House 88 

Morris & Erskine, Architects 

.A Simple Design in Stucco 89 

IF. Lawrence Bottomley, Architect 

.A Rest House of Mrs. Payne Whitney’, Manhasset, L. 1 90 

J. H. PhilLps, Architect 

The Joseph E. Brush House, Fieldston, N. Y. 92 

Dwight J. Baum, .Architect 

The Residence of .Allan Lehman, Tarrytown, N. A' 94 

John Russell Pope, Architect 

The Residence of D. Barnes, Manhasset, L. 1 96 

Peabody, Wilson & Brown, Architects 

.A Seashore Holtse at South Dartmouth, Mass Qg 

Harry B. Russell, Architect 

.A Remodeled Pennsylvania Farmhouse,.- 100 

Duhring, Okie & Ziegler, .Architects 

Four Country Houses 102 

//. T. Lindeberg, Architect 

.A Touch of Italy in New A^ork 104 

Benjamin W'istar Morris, .Architect 

Two Small Garages 103 

Frank J. Forster, Architect 

Garages Outside and In the House 106 

.A Servants' Blhlding and Garage 108 

Dwight J. Baum, Architect 

The Garage in Relation to the House lOQ 

.Addresses of .Architects and Decorators iio 


House & Garden’s 


Next to a house by the side of the road comes a house by the side 
of the street — a house set close to where men pass and repass on 
their various occasions. Here is one — the residence of Arthur F. 
Elliot, Esq., at Fieldston, New York City — which stands close to 
the lot line, with only a narrow grass strip and a privet hedge 
separating it. Walls are of cream stucco, trim of chestnut stained 

brown and the window frames and sash are painted different 
shades of brown to give color variation. Three shades of brown 
shingles comprise the roof. Blinds are pale bluish green with black 
strap hinges. The brick corbelling around the windows is of 
different shades of red, the joints matching the stucco in color. 

Dwight James Baum was the architect of the house 

Book of Houses 



T he pages of this book fall into three 
groups: the architectural details that are 
used inside and out the house; the houses them- 
selves with their plans, and some with interior 
views; and finally the service quarters and 
garages, etc., with their respective plans. 

This grouping is logical. The architectural 
beauty of a house is the sum total of its details 
— the sum total of its windows and doors and 
roofs and chimneys and ceilings and stairs and 
floors. To use these successfully one must 
study them in relation to their surroundings, 
and in these pages the surroundings are shown. 

The complete houses are chosen for their 
livable qualities, their adaptability to the 
different parts of the country, and for the 
variety of their architectural treatments, 
sizes and costs. Garage and service quar- 
ters, which are essential adjuncts to the 
modem house, complete the volume’s illus- 
trations. On the last page the names and 
addresses of the architects who have con- 
tributed to this book are given, to facili- 
tate direct communication. 

These illustrations represent the work 
of over eighty architects in all parts of 
the United States. They are men who 
have striven to stimulate the movement in 
which all forward-looking Americans must 
Ije interested — better homes. 

I X the acquiring of a house there are 
three steps. First you must decide 
whether you want to live in your own or 
some other person’s house, whether you 
want to be a tenant or an owner. Second, 
if you decide to build, you must have a 
fairly definite idea of the sort of house 
you want. Thirdly, you must build it on 
honest lines that conform to the principles 
of good architecture as the age and com- 
munity demand. 

Each of these steps plays a very vital 
part in that rather hazy ideal which we 
are pleased to call .America. tenant 
nation is a discontented nation. Russia 
was an empire of tenants, and when the 
iron band of Tsardom was broken, the 
country dissolved into chaos. France stood 
firm during the war because her people 
own their own land and houses. England 
must go through the toils of readjustment 
because her tenantr}* is largely out of pro- 
portion to her body of home owners. The 
solidarity of .American ideals depends ver\- 
much upon the increase in the number of 
people owning their ovn homes. 

There is a movement on foot to induce 

Americans to accomplish this and it is thriving 
because more and more people see that owning 
one’s own home is the basis of good citizen- 
ship. Our malcontents merely rent flats. The 
backbone of a nation is its everyday people 
who own their everyday homes and live their 
everyday lives and do their everyday work. 
Owning a home is the beginning of being re- 
spectable. It starts, or should start, a perma- 
nent foundation for the family. 

Reams have been written on the decay of 
home life in America. In turn, the bicycle, the 
narrow skirt, the motor, the movies and 
Georgette crepe waists have borne the brunt 




Don’t deceive your architect as to what you can 
really afford to spend. 

Don’t be afraid to spend a few dollars for pre- 
liminary information. It is usually money well spent. 

Don’t think you can build for what your friends 
did five years ago. Both labor and materials have 
gone up since then. 

Don’t expect solid gold door-knobs when the al- 
lowance for all the hardware is only fifty dollars. 

Don’t try to make your upstairs twice as big as 
your downstairs. 

Don’t change your mind as to what you want after 
it is half built. 

Don’t give the builder his final payment until the 
job is completely finished. 

Don’t assume that the lowest bidder will always 
be the most satisfactory. 

Don’t expect the architect to do his work for 
nothing. Even architects are subject to temptation. 

Don’t think, either, that he knows nothing about 
building houses. He has probably built more of them 
than you have. 

And above all, don’t expect to get something for 
nothing. It can’t be done, especially when the other 
man knows the game better than you do. 

of the blame. In each successive generation 
the real issue is dodged. Home life decays 
when houses decay. 

Home life is just as permanent as the house 
that it graces. In the age when men built 
homes that would last, they cultivated a home 
life that would last as long and longer. Houses 
built of shoddy materials, thrown together for 
a short ten years’ existence — these are the 
marks of decay. The builder is not entirely 
to blame, nor is the architect nor the state of 
the market. Lasting materials aplenty are 
available, good architects are readily found, 
nor is the honest builder a rara avis. The fault 
lies with the man who first dreams of the 
house. The fault lies with his plans for 
living; whether the house is to last or not. 

There is still another angle to the prob- 
lem. A house may be honestly built, it 
may be a home of noble ideals, and yet 
fail in an important part of its mission. 
For every house is a part of the com- 
munity, and the mission of every house is 
to enhance, by its contribution, the fin? 
appearance of that community. Bad 
architecture, eccentric architecture, play 
the same havoc in a town that the bad 
repute or objectionable eccentricity of one 
person will play in a family circle. 

Houses are like people. Each has 
definite expressions of character, or, as 
Ruskin put it, “All good architecture is 
the expression of life and character.” 
Houses as well as people should confonn 
to what their environment and age con- 
sider to be good taste. An Arizona ranch 
house, suitalfle in design to the Arizona 
environment, would be an esthetic and 
architectural crime on Commonwealth 
-Avenue, Boston, and the Colonial fami- 
house, harmonious with a Philadelphia 
suburb, would be an eyesore on the limit- 
less plains of North Dakota. 

That is where the architect enters upon 
his work. 

''~r^HE value of employing an architect 
X is not generally understood. People 
somehow think that an architect is an un- 
necessary middleman between themselves 
and the building of their homes, an expense 
that can readily be eliminated from the 
budget. No mistake is more lamentable. 
Pleasing, livable houses may, conceivably, 
be built without the services of an architect, 
but they succeed more by chance than by 
good management. There is scarcely a sub- 
urb in America todav but blushes for its 


House & Garden’s 

monstrosities directly traceable to well-inten- 
tioned folk who thought they could get along 
without an architect. Employing an architect 
should be the first step toward building a house. 

The layman may dream his house — usually 
a hazy sort of dream about something cute in 
the Dutch Colonial line, but the architect defi- 
nitely dreams its execution. The layman may 
know what kind of house he wants, but the 
architect tells him how to build it. 

Some day an architect will write his con- 
fessions. Then the lay mind will be able to 
grasp what manner of man it is who can find 
a point in space and say with certainty that 
yonder, where only birds circle and dip, shall 
men walk; who can dissolve a chaotic pile of 
stone and brick and cement and shingle into 
a habitation; who can reduce visions to paper 
and from that paper build a house. The archi- 
tect is the lone son of the arts whose feet are 
fimily rooted on earth. With the 
nonchalance of an acrobat he jug- 
gles in one hand such mundane mat- 
ters as stress and strain and water- 
proofing and grillage, while with the 
other he cry'stallizes dreams into sky- 
lines. Were it not for these seem- 
ing contradictions, the architect could 
readily be understood. 

The architect must be a practical 
man. He must be a good house- 
keeper, something of a lawyer and 
engineer, he must know real estate 
values and insurance in addition to 
being a good business man. He must 
understand the fundamentals of sani- 
tation for his professional qualifica- 
tions, as well as being a fair plumb- 
er, steam-fitter and electrician, a 
good painter, an excellent carpenter 
and a mason, and know something 
about plastering, marble and tile set- 
ting, and should work fourteen hours 
a day. That means a liberal educa- 
tion, obtained at an early age if a man 
expects to live long enough to prac- 
tice it in time to make a living. On 
the whole, his remuneration is not 
high compared with the number of 
unproductive years spent in acquiring this 
theoretical and practical knowledge. 

A nother stumbling block in the way of 
. building is the matter of costs. 

A great many f>eople still nurse the fond 
dream that a good ten-room house with all 
modern improvements, built of lasting mate- 
rials and designed with individuality, can be 
run up for a mere .'p5,000. Plenty of us still 
think of building in terms of Centennial Year 
prices. We are aj)t to forget that prices have 
soared — but that wages have soared also. 

If a man has a definite figure beyond which 
he dare not pass, then he must accept what he 
can get for that sum. Put if his purse allows 
liim even the slightest margin, he should insist 
on getting the most modern improvements and 
the best work. In either case his architect will 
save him the waste and expense that ]>o(jr buy- 
ing and bad workmanship incur. .Many good 
~*eople, to ref)eat, can't understand this until 
(he roof begins to leak, or the floors to sag, or 
the jjlaster crack, or the paint peel off, or tlie 
heater fail to heat — then they begin to realize 
that what they thought a saving was, in reality, 
a dead loss. 

It is wiser to go in debt for a well-built 
house than to jday safe on a flimsy, jerry-built 
structure that won’t last ten years. 

Consider a home a permanent investment 
capable of paying interest all the days of your 

life. If you can’t build a home on that basis, 
then something is the matter with your earning 

I N addition to the leakage caused by bad 
designing and bad materials there is the 
waste of space in the average small American 
house. If yoii figure that a house is an in- 
vestment of capital, doesn’t it seem unwise to 
have that investment working only part of the 
time? Did it ever occur to you that, in the 
small house at least, there are some rooms 
which could be eliminated ? 

There is no place in the modern home for 
rooms that are not used, just as there is no 
place in the modern room for furniture which 
does not serve to increase the comfort and con- 
venience of the bod}" or quicken the pulse at 
the sight of good line and color. The modern 
house should be 100 per cent complete, ful- 

filling and sufficient. No room should exist 
that does not play a definite role in the daily 
life of the household. When it ceases to serve 
that end, it should be made over for some 
other purpose. 

We have already eliminated the parlor of 
our parents’ days — the parlor that was opened 
onl}’ for funerals and weddings and when the 
minister came to call — and have created in its 
stead tlie living room, a 24-hour a day con- 
tribution to the home life. 

In many households the dining room could 
be eliminated. The dining room works about 
two hours a day — the rest of the time it is 
occupying s]iace that might Ije used for other 
purposes. Unless one has a large family whicli 
requires a separate room for eating, or one can 
afford a large house with its attendant ritual 
of formal meals, then the dining room should 
be eliminated. Instead of a separate dining 
room, make the living room larger and eat in 
one corner of it. 

The same rule aj)plies to the uj)stairs of a 
house. Once on a day peo])le were wedded 
to the idea of a large liedroom. 'I'oday the 
movement for sleeping out of doors is on the 
increase. Consequently the bedroom per se 
need not be large, the sjnice that it used to 
occupy can be given over to a dressing room or 
boudoir or a more comfortable bath or more 
closets. 'I'liese commonsense re<iuirements de- 
serve the forethought of pros])ective builders. 

T his effort to simplify home life has been 
quickened by the scarcity of servants, and 
the invention of labor-saving equipment which 
eliminates the servant entirely or cuts down 
the number of them employed. Before build- 
ing a house a man should study these equip- 
ments closely. Run down the gamut of elec- 
trical refinements that save time and labor. 
Look into the matter of laundry chutes and 
collapsible ironing boards and vacuum clean- 
ers. Each of these should be provided for 
before the house is built. The money wasted 
on poor building or rooms not used will more 
than repay the expense of installation and 
maintenance. Here again the architect’s 
knowledge of current supplies and new in- 
ventions will be an invaluable aid to the 

Eirst and last, a house is built to live in — 
not a part of the house but the whole house. 

The man and woman who live in it 
should be- its masters, not its slaves. 
Modem equipment well installed and 
good building materials well used 
are the ultimate judges of which you 
will be after the house is built. 

In addition to employing an ar- 
chitect the man who builds should 
acquaint himself mth the materials 
that go into his house. He should 
understand the kinds of brick or 
stucco or lathing used for his walls. 
He should know why walls need an 
air space. The woodwork in his 
house should be selected only after 
he has acquainted himself with the 
kinds of woods and their decorative 
values. He should become ac- 
quainted with the various heating 
systems and help select the one best 
suited for his t>"pe of house and 

The good architect welcomes the 
intelligent cooperation of his client. 
If more architects had it, their work 
would be far simpler. As matters 
stand to-day, the women of Ameri- 
ca direct the spending — even in 
building — and the men foot the 
bills. The architect has to deal with the 
women folk and the women, in the majority 
of cases, cannot be e.xpected to have the same 
sort of technical interest in building mate- 
rials that they exercise in the choice of their 
gowns or the purchase of their foodstuffs. In 
short, the men have been putting the respon- 
sibility up to their wives, and the wives have 
been pestering the architects, in turn, with all 
manner of well-intentioned but devastating 
whims. If you doubt this, ask any architect. 

I T is only fair that the average American 
should know more about architecture and 
building — fair to the architects, fair to the 
builders and fair to himself. He will get bet- 
ter values and more genuine satisfaction. His 
interest will be sincere and fruitful. He will 
find that his interest — in the subtle fashion 
that SLicli interest has — can change a liouse to 
a liome whilst it is ljuilding. And of the vari- 
ous kinds of satisfaction in this old world 
none is greater or more lasting. 

d'he adventure of making a home is a real 
adventure. It has a glamor and an e.xcitement 
and an ecstasy of its own ; and it brings its own 
rare measure of contentment and pride and 
satisfaction. It is an adventure open to all. 

To the quickening of that romance and to 
the consummation of that satisfaction the 
]>ages of this book are dedicated — to the ap- 
preciation and attainment of better homes. 

Poem for the Dedication of a Home 

These stones are not a hearth until they know 
The red and kindly miracle of flame. 

Nor this house Home until love makes it so. 

Houses, for good report., or didnous fame. 

Take on the aspect of their tenants’ minds; 

The thoughts that seemed deep hidden in the brain 
Shall shine forth from the very eaves and blinds: 

Joy, sorrow, service, sacrifice and pain! 

No portals may bar sorrow out nor dread. 

And these expectant, empty rooms await 
The sold new born, the body newly dead. 

Rapture and grief, and all the gifts of Fate. . . . 

But when a hundred human years have gone. 

Here on this south and sunward-looking slope, 

God grant this homely fortress fronts the dawn 
With still unconquered kindliness and hope! 

— Don Marquis. 

Book of Houses 



The entrance 
should crystallize 
the architechire. 
In the residence of 
H. P. Vaughan at 
Sherborn, Mass., 
the architecture is 
Cape Town Dutch, 
and the doorwav 
typifies it. G. P. 
Fernald, architect 

Another of the 
doors in the 
Vaughan residence 
is cut in the old 
Dutch fashion and 
lighted by a square 
panel above, giv- 
ing the door an 
unusual interest of 
line and decora- 
tion. Shield panels 
add to the effect 

For a Dutch Co- 
lonial type the 
Germantown hood 
and settles form the 
most pleasing and 
simple entrance 

A hooded entrance 
lends protection to 
the door of the 
home of G. A. 
Blake, Esq., 
Charles City, Iowa 

The broken pedi- 
ment is a type 
often used suc- 
cessfully with a 
Colonial entrance 
porch. From the 
residence of W. B. 
J o h n s o n. Esq., 
Charles City, Iowa 

An overhang forms 
the porch roof in 
the residence of G. 
R. Morris, Charles 
City, Iowa, the 
entrance coming at 
one corner ub a 
flight of brick steps 

{Left) The half-timbered house 
can have a separate entrance 
porch, as in the residence of 
Mrs. C. P. Orvis at Scarsdale, 
A, 1'. J. A. Bodker, architect 

‘Right-. Tudor brick arches 
with a whitewashed brick ves- 
tibule form tlw entrance to the 
home of Gardner Steel, Esq., in 
Pittsburg, Pa. Loui-. Stevens 
was the architect of the house 

-"t 'V' 


House & Garden’s 

.1 splendid study in contrasts is found in 
the residence of Harry Harrison, Esq., at 
,St. Davids. It opens on a wide circling 
drive and is flanked with evergreens sil- 
houetted against whitewashed walls 


Philadelphia is recognized as an 
architectural center both of the past 
and present. The Germantown hood 
on this residence, for exampl i, is a 
distinguishing detail of Colonul Phil- 
adelphia architecture. A distinctive 
note is given by the stone jars 

A trellised gate repeats the curve of the 
entrance hood. Boxwood borders the 
front iawn. The terrace and walls are 
of red brick relieved by trellises 

The fan light window, plain panel door and 
semi-circular door step of brick were first 
found at Stenton and are now copied in 
modern ivorks. Philip Dyre was the archi- 
tect of this house 

Lights over the door and on the sides 
give the Colonial entrance an interesting 
silhouette from within. The top panes 
are known as fan lights or sunbursts 

Book of Houses 



to a 


This unusual stairs 
window repeats the 
general character of 
the door below and 
abundantly lights the 
hall. Frederick J. 

Sterner, architect 

The overdoor window 
and two story bay are 
especially distinctive 
types in the English 
house to the right. 
. 4 . Winter Rose, archi- 

Casement windows 
add interest to a fa- 
cade. In this residence 
they are placed in the 
sleeping porch. Robert 
R. M c G 0 0 d w i n , 

The stone Tudor stairs 
window in this home 
is in keeping with the 
dignified entrance of 
that period. C. A. 
Valentine was the 

Arched dormer win- 
dows, casements and 
double sash are all 
used successfully in 
this Colonial design. 
AT ur phy & Dana , 

An arched panel sunk 
in above a window 
will give it distinction 
and add variety to a 
facade. Heacock &■ 
B'okanson were the 

In a long dormer a row of casetnent wuidows can 
be effectively used. The sun room windows here 
are unusual. J. U'. O’Connor, architect 


House & Garden’s 

An unusual location for the chim- 
ney is in the angle of the wall, 
where, as here, it can crop out 
against the contrasting stucco. 
From a house in England de- 
signed by Geoffry Luca, architect 


A Cluster of twisted chimneys 
such as this, in the residence of 
George Marshall Allen, Esq., 
at Convent, N. J is an em- 
phatic point of focus on the 
sky line of the house. Charles 
I. Berg, architect 

A very unusual design is found in 
this stack of an English country 
house — very broad at the base, 
with a slate collar and widely 
separated chimneys diagonal with 
reference to the house line 

The stepped chimneys of Ber- 
muda are unusual and grow 
in size with the annual coat of 
whitewash given these houses 

A stack rising out of the val- 
ley of the eaves is an interest- 
ing architectural expression. 
Its form is in keeping with 
the simplicity of the faqade. 
Edmund B. Gilchrist was the 

1 1 

Book of 







a garden background and en- 
closure for the service yard lattice 
is excellent. The design shoidd be 
carefully chosen and worked out 

Tying up with the wood 
trim, the lattice that cov- 
ers the pillars of this 
porch has pleasing deco- 
rative value. From the 
residence of M. J. Cur- 
ran, Esq., Phillips Beach, 
Mass. Peare & Quiner 
were the architects 

Placed around' the en- 
trance, lattice both adds a 
decorative note and serves 
the utilitarian purpose of 
carrying vines that will 
eventually cover it. The 
residence oi Dr. S. Sco- 
field. Douglaston, L. 1. 
R. C. Edwards, architect 

For formal grouping with 
a window the lattice 
shoidd be of a special 
design which carries out 
consistently the period or 
decorative note of the 
architecture of the house 

In a less public spot the 
lattice decoration for the 
window need not be so 
formal, as shown in the 
photograph below. Both 
examples are taken from 
the Curran residence 


House & Garden’s 





A delicate tracery of 
wrought iron forms the 
balconies over the en- 
trance of the Frank A. 
Hine residence at Glen 
Cove, L. I. Walker & 
Gillette, architects 

Book of Houses 


If not used, a halhvay can be 
blocked up with book shelves, 
making a cosy reading corner. 
On the other side can be a 
clothes closet 

One end of this double closet 
holds laundry hamper and 
bathroom supplies, while the 
other is fitted with shelves for 
linen and blankets 

The doors of the bedroom 
closet can have long mirrors 
to afford a complete view. 
The walls can be covered with 
the fabric used for curtains 

A special closet for 
tools, a closet big 
enough to work in, 
is the dream of 
every handy man 
about the house 

The built-in ward- 
robe should be sup- 
plied with plenty of 
shelves and clothes 
poles. Mirrors can 
be either inside or 
outside the doors 

The end of the bed- 
room chimney 
breast usually af- 
fords space for a 
small boot, linen or 
book closet 






House & Garden’s 

An indented panelhig forms the 
shelf and overmantel in the living 
room of the residence of J.S. Halle, 
Esq., at Tarrytown, N . Y . 
Cupboards are concealed behind. 
Taylor & Levi, architects. Amy 
Sominers, decorator 

The old flower picture is a favorite for over- 
mantels. Add to it a pair of tole vases, little 
figurines and a strip of old velvet to break the 
mantel line. Lee Porter, decorator 

A painting hung flat against the wall is the sim- 
plest decoration. Care should be exercised in 
selecting a suitable canvas and arranging the 
mantel ornaments. Lee Porter, decorator 

The living room fireplace in the residence of 
Frederick Dana Marsh, Esq., at New Rochelle, 
N. V., is surmounted by a carved gilt mirror 
and antique columns. H. G. Morse, architect 

In a man’s room a cupboard has been built in 
the overmantel paneling to serve as gun closet. 
Cups and mounted trophies are used for decora- 
tions. The architect was Robeson Lea Perot 


Book of Houses 


There is an atmosphere of privacy 
about a fireplace in a fog. In this 
residence — the Dobyne House at 
Beverly Farms, Mass. — the din- 
ing room fireplace is set off hi a 
corner by itself. The mantel stone 
is carved with family coats of 
arms and above that is a plain 
panel to be filled some day with a 
painting, flanked by carved panels 
and narrow closets 

A living room fireplace of dig- 
nity and distinction has stone 
sides and a heavy oak carved 
mantel. Inset bookcases range on 
cither side. The furniture group- 
ing leaves an open space before 
the hearth. Color is given this 
room by the Chinese panels be- 
tween bookcases, and the plaster 
beamed ceiling which is painted 
blue, red and white 

The unusual blending of 
brick and cement and the 
little niche high up by the 
ceiling give this bedroom 
fireplace interesting indi- 
viduality. A rag mat lies 
before th‘> hearth. The chair 
covering is of green. F. Pat- 
terson Smith, architect 

1 ^ — — 


Jy -rj 

: ^ f 



House & Garden’s 


An excellent example of a whorl 
newel — a small turned newel en- 
circled by a whorl of spindles — is 
found in “Whitby Hall,” Philadelph-a 

Modern turned spindles of good line 
are used on the stairs at “Cogshill,” 
the Philadelphia home of Jessie Wil- 
cox Smith. E. B. Gilchrist, architect 

A stair panel in wrought iron, after 
the French ISth Century mode, exe- 
cuted by Samuel Yellin, is shown in 
the center above 

The substantial characteristics of late 
17th Century spindles and newels are 
found in the hall at “Heale House,” 
Salisbury, England 

Squnn spindles and newels with mahogany hand-rails and cap 
constitute a good modern usage. E. B. Gilchrist, architect 

.Arcaded English Renaissance spindles and newels, in the home of 
J. B. Townsend, Esq., Bryn Maivr, Pa. Eyre & Mcllvaine, architects 


Book of Houses 

In modem repro- 
duct i o n s of the 
classical doorway 
the frame is often 
painted on? color 
and the door an- 
other. Delano & 
Aldrich, architects 

In the C olonia 
houses of New En- 
gland ih? classical 
interior door was a 
sine qua non. It 
was beautifully pro- 
portioned and 

A succession of wide doorways, each with its distinctive frame, affords a pleas- 
ing vista, hi this, the New York residence of A. G. Paine, Jr., the wide door- 
ways add to the openness of the room scheme. C. P. H. Gilbert, architect 


In the New York residence of 
Stewart Walker, the architect, an 
old cupboard has been introduced 
for a doorway, a novel and dis- 
tinctive treatment 

The interior door is capable of 
carrying much decorative detail. 
In this doorway of an Englhh 
residence a decorative panel is in- 
troduced over the lintel 

Wall ornaments may 
lake the shape of 
molded plaster 
swags and drops, as 
in this example of 
early 18 iA Century 
work found at this 
London residence 

A combination of 
molded niches , 
flower swags and 
ceiling ornament 
characteristic of 
early Wth Century 
work, dignifies this 
English hallway 

A molded plaster frieze, pilasters and ceiling enrichinent enter into the deco- 
rative composition of this mid-lSth Century dining room. Sir Ernest New' 

ton, architect 

A i ■ nter ceiling decoration of 
great delicacy found in the Powel 
House, o Colonial Philadelphia 


Another of the molded plaster 
ceiling decorations which are 
found in the old Powel House at 

Book of Houses 






Hand-adzed open beams 
have a quality of pleas- 
ing crudness that makes 
their use acceptable for 
cotmlry houses. Pea- 
body, Wilson & Brown, 

To the left we have a 
bedroom in an English 
cottage where open 
rafters and beams give 
the ceiling an unusual 
character. A. N. Pren- 
tice, architect 

The minstrel’s gallery 
of this fnodern home is 
used for a writing cor- 
ner. Its position and 
beamed treatment 
make it unusual. Henry 
G. Morse, architect 

An open timbered ceil- 
ing establishes antiquity 
and picturesqueness. The 
stairs in this living room 
are built on heavy sup- 
porting beams in character 
with the other construc- 
tion. Bloodgood Tuttle, 

The room above is a copy 
of one in England. To 
maintain the exact spirit 
of the original the hard- 
ware and timbers were 
hand-wrought and the trim 
and plaster applied un- 
evenly. John P. Benson, 




One of the best modern examples of a free standing stairs that we have in America is to be found in 
the residence of R. L. Bacon, Esq., at Westbury, L. /. It is attached to the main construction only at 
top and bottom. While rigid, it is also delicate. The wrought iron balustrade is painted dull 
black and the rosettes are touched with burnished gold. The architect was John Russell Pope 

Book of Houses 

Even in the most formal rooms 
of classical design the plaster 
tinted wall forms a fitting back- 
ground for the furniture. The 
molded frieze and niches with 
their wrought iron consoles in 
this dining-room add to its char- 
acter. Delano & Aldrich, archi- 

Mark out the plaster wall with 
moldings, and you have a paneled 
wall. If desired the wall can first 
be covered with canvas. After 
that painting produces any de- 
sired effect. The walls to the 
right are peacock blue with gold 
moldings. Mrs. Emott Buel, dec- 

Remembering that the wall is the 
background of the room, one 
should choose its finish according 
to the furniture to be used. In 
the room below oak furniture is 
placed against rough cast walls. 
The ceiling has open beams. 

Albert J. Bodker, architect 

One of the most satisfactory wall 
finishes is dignified wood panel- 
ing. The color of the paint will 
decide the tone of the room. In 
this dining-room a pale green 
tint is used effectively with the 
Hepplewhite furniture and simple 
fireplace. Harry Redferji, archi- 




Wood stained and oiled makes an 
elegant background, especially if 
the wood is well chosen and 
placed in regard to its grain. It 
serves in the hallway below to 
give character to the Italian fur- 
niture grouped before it. Lee 
Porter was the decorator 


House & Garden’s 

Where one desires jormalHy, as in this 
Adam dining-room, the floor should be oj 
marble. A substitute jor this expeyisive 
treatment would be tiling or even checked 
linoleum oj a high grade. In less formal 
rooms the floor could be painted to simu- 
late tiles. Howard Major, architect 

Brick laid in white bond makes a pleasant 
and permanent flooring jor the porch, sun 
room or terrace. Tile might also be used 
or tile inserts with brick. Here the red 
oj the bricks contrasts with the white- 
washed walls and green shutters. Charles 
Willing, architect 

A I’ery unusual floor treatment jor a timbered 
room consists in using hand-adzed planks smoothed 
doivn. Henry G. Morse, architect 


Book of Houses 


The parquet floor is justly popular because it is 
serviceable, permanent and adds interest to a room. 
Bloodgood Tuttle, architect 


The floor in the living-room above con- 
sists of wide boards pegged down. It is 
smoothed, oiled and polished so that the 
rich grain of the wood is brought out. 
The ceiling beams are hand-adzed and the 
walls rough plaster. Bowen Bancroft 
Smith, architect 

It is a fallacy that paved floors are neces- 
sarily cold, cheerless and uncomfortable. 
One can use rugs to suit the taste. The 
floor has a satisfying solidity, and is easily 
cleaned. The floor in the room below is 
paved with biscuit colored quarries. 

George Howe, architect 


House dr Garden’s 


Leaded casement windows odd finish to this hrench doors and windows are fitted for 

dining room. Cross & Cross, architects interior passages and exterior entrances 


The Colonial window and its Arched triple windows will 

decorative trim has a simplicity lighten the sun porch. Kenneth 

worth copying Murchison, architect 

A cottage room is enhanced 
ivith small pane windows. 
F. Sterner, architect 

Rounded arched windows 
suit the stairs. E. B. Gil- 
christ, architect 




Plans, Interiors, Service Quarters and Garages 
and a Note on Visualizing the New House 


House & Garden’s 





Not o?ily because it is just as durable as other colors, 
but because it is more pleasing and more usejul, white 
is the best for country houses. It accents the house 
in the landscape. It reflects the sunlight so that its 
shadows are all the more shadowy. It forms a per- 

fect background for vines and shrubs and adjacent 
trees to silhouette against. And it imparts a clean, 
fresh air so desirable for the home. If you doubt it, 
study this portico of the F. P. King residence at 
Tarrytown, N. Y. Aymar Embury II. architect 

Book of Houses 



The home of N. C. Rinek. 

Easton, Pa., was inspired by 
a Cotswold design. Plans 
were obtained from the 
English architect 

T he evolution of the house 
plan is marked by several 
stages, each of which is more 
complicated and more finished 
than the one before. 

First the architect may draw 
the roughest sort of sketch during 
tlie client's first visit, when the 
general idea of the house is dis- 

Next he makes the preliminary 
drawing. These may be in pen- 
cil, water color or pen and ink, 
and will picture the house as it 
should appear when finished. No 
dimensions are given — these are merely pic- 
tures for the owner to study. 

Then, if the owner has accepted the pre- 
liminaries, there come the working drawings, 
finished blue prints, that show 34” scale plans 
and elevations, 34" or scale details and 

in some cases full size details. With these the 
builders can go ahead. 

These sets of drawings might, at first, seem 
adequate, and yet many owners are not able to 
grasp in full detail all that the plans hold. It 
is no small knfck to visualize the completed 
house from even the most finished of pre- 
liminary drawings and scale plans. One must 
think in three dimensions. Consequently, the 
model can be built. 

Now a model is a luxur}-. Find a man who 
has a model of his prospective house, and you 

find one who can afford to pay for such grati- 
fications. And yet, no owner can really afford 
to miss the details that model can give, unless 
he is willing to risk ultimate disappointment. 
Building a house should be such an event in a 
man's life that he will miss no opportunit}- to 
make that house approximate perfection. The 
model helps him do this. It is the finished 
house greatly reduced. Placed in a setting 
that approximates his own, he can study con- 
tour, lights and shades, ]>roportions of wings 
and the arrangement of windows. 

Models can be made simple or elaljorate, 
with paper walls and roofs or finished in ma- 
terials that faithfully simulate Iwick and tim- 
ber, stucco and slate. The model may even lie 
made in sections; a section to a floor, so that 
the disposition of the room and the location of 

From the plans and eleva- 
vations the model was built. 
.4 study of these two pic- 
tures shows the value of a 

the doors and windows studied. 
These depend on how much the 
owner wants to pay. 

Working with a model as a 
basis he can also plan the outline 
of his landscaping, study the 
massing of shrubbenx measure 
the proportion of the lawns and 
drying }’ards, walks and drives. 

The new house may, in reality, 
be an old one that the owner 
])lans to restore or remodel. In 
this case, no architectural model 
is necessary, althougli it is just 
as necessary that he should visu- 
alize the finished place before the work, is 

The restoration of old houses to their erst- 
while glory is the most intere.sting task the 
owner can set himself, es]iecially if he finds a 
Colonial or Georgian house of good design 
and workmanship. Here he should strive to 
maintain the original atmosphere, keeping to 
style and detail in any additions or modern 
improvements. .A. Spanish idiosyncrasy will 
ruin a Colonial house and Italian touches on 
a Georgian are an aliomination. 

Remodeling an old is (juite a different 
matter liecause tlie original architecture may lie 
atrocious — alleged Queen .Anne or (luestionable 
Rural Gothic. Here the old arcliitecture must 
be hidden beneath the new, and the new can lie 
almost anv stvle one chooses. 


House &. Garden’s 








On one side of the ground floor are 
the dining room and service section; 
on the other, the living room with 
Us flanking porches and fireplace at 
one end. Four bedrooms and two 
baths are above, besides the maid's 

An unusual architectural feature no- 
ticeable at the rear is the manner m 
which the larger dormer has been 
brought forward so that it blends 
into the main line of the house, thus 
greatly increasing the bedroom space 


The house is of Dutch 
Colonial influence, clap- 
boarded, comfortably loiv 
to the ground and with red 
bricked porches and door- 
step. It is white, with blu- 
ish-green blinds and red 
tile chimney caps 

The entrance is sharply 
accented by its peaked * 
gable within which the 
space is occupied by a 
bathroom. A box of gerani- 
ums and trailing foliage 
plants crowns the door 
frame, adding a touch of 

Book of Houses 


The furnishings of the 
house are consistent with 
the exterior. Here in the 
bedroom, for example, are 
cream colored walls, hand- 
blocked chintz curtains, 
hooked rugs, an old four- 
poster with valance and 
tester and a lovely old silk 
patchwork quilt 

On the dining room walls 
is a quaint gold and green 
paper with a design of 
urns. The rug is green 
and the furniture, which is 
painted mahogany color, 
has simple gold decora- 
tions. Old brass candle- 
sticks and green tole vases 
on the mantel complete the 
Colonial schem‘> 


At Middlehurg, Piedmont J^alley, 

To the old farmhouse the owner added a wing. Other- 
wise it is as it was at the beginning. The walls are 
field stone, with a roof of dark gray. The deep porch 
and galleries are characteristic of Southern architectiire 


House & Garden’s 

An effective planting of honey- 
suckle and box adds to the 
atmosphere of intimacy and 
simplicity of the entrance. 
Shingles form a fitting back- 

It is a careful study of the 
Long Island farmhouse. The 
shingles are whitewashed, 
shutters blue-green, chimneys 
white with black caps 

Mahogany and oak furniture 
are combined in the living 
room. An overdoor panel by 
Rosina E. Sherwood, and an 
overmantel by Wilfred D. 

Glehn give color notes 

Jr., Esq. 





Book of Houses 


Being the Residence of F. C. Malcolm, Esq., at Pelham, N. Y. 
of Which the Architect Was Julius Gregory 

I T is a distinct problem to create a livable 
small house. 

By a small house we mean one that has suf- 
ficient accommodations for two and a servant, 
or two and a child and a servant. 

By livable we mean a house that you can 
live in and still maintain your self-respect. 

There are hosts of small houses scattered over 
the country, but it cannot be said of all of them 
that they are livable according to this canon. 
Yet the more people appreciate the relation be- 
tween good architecture, good decoration and 
good living, the quicker will they demand that 
small houses be designed and furnished with 
the same care and professional skill that is lav- 
ished on large houses. 

A case in point is the small house shown on 
this page. The aim of the architect was to give 
to it the character and dignity found in some 
of the old Southern Colonial types of architec- 
ture. This has been accomplished by simple 
materials used in a natural way. 

The scheme of a two-story porch follows the 
Southern Colonial precedent. Further Col- 
onial details are the broad chimney furnishing 
fireplaces on two floors, the quarter-circle win- 
dows on each side the chimney, the small paired 
windows throughout, with pierced shutters, 
and the distinctly Colonial type of entrance 
door with side and fan lights. The materials 
used were white clapboard on the side and 
matched boarding on the front. The chimney 
is brick whitewashed, the surface being broken 
half way up with a wrought iron device and 
the cap pronounced with a triple row of un- 
painted brick. 

The Plan 

Inside, the plan is simple. There is the 
usual house-depth central hallway with living 
room on one side and dining room on the other, 
both letting out on the front terrace, which has 
a brick floor, through French doors. The sun 
porch is so located that it is connected with 

Southern Colonial in character, the exterior is a com- 
bination of simple materials used in a natural way. 
Clapboard walls are painted white, chimney white- 
washed and blinds painted green 

the pantry, through the kitchen, and can be 
used for a dining porch. 

Stairs leading to the second floor have a sim- 
ple iron rail and open on a narrow hall that 
gives access to the four bedrooms. These four 
bedrooms are served by two baths. There is a 
plenitude of closet space. On the third floor 
are sufficient accommodations for a maid — a 
bedroom and bath — and large storage spaces. 

While there is nothing unusual about this 
plan, it is livable, compact and provides a 
maximum of comfort and accommodations. 
Rooms are well lighted and well ventilated. 
They furnish a background against which the 
occupants by the exercise of discriminating taste 
can create rooms of interest and distinction. 

The first 
floor plan is 
simple and 
with livable 
space assign- 
ed to each 

On the sec- 
ond floor are 
four b e d- 
rooms, two 
baths and a 
plenitude of 
well placed 


House & Garden’s 

.h the house is built 
0)1 a sloping grade, the 
garage is under the 
kitchen. The window 
arrangement on this 
facade is irregular hut 
interesting. The bal- 
cony of the stairs land- 
ing can be seen and the 
window of the break- 
fast room with i/i 
window box 



KANDOU’H II. .AI.MIRlirV, .Irclnu-a 

The porch is in- 
corporated in the 
structure itself 
and carried out 
on each side. 
The roofs of 
these end sec- 
tions are natural 
cedar lattice 
which, in time, 
will be covered 
with vines 

Looking down 
the terrace you 
see the brick 
pavenient, the 
solid doors to 
the arched 
French win- 
dows and the 
heavy decora- 
tive brackets 
of the gallery. 
Potted plants 
range down the 
terrace edge 

Book of Houses 


T he walls are 
light , pinkish 
gray stucco and 
the roof is of 
slate. On this 
side long win- 
dows open on 
a brick paved 
terrace from 
which steps 
,give approach 
to the garden. 
At each end is 
a covered porch 
with arched 
o penings . A 
'gallery with a 
wrought iron 
railing runs 
along the level 
of the second 

.1 simple arrangement is found on the first floor — house-depth hall with 
living room on one side and dining and breakfast room on the other. 
Kitchen and service rooms are separate. There are plenty of closets 

On the second floor are four master bedrooms, two of them opening 
on the gallery. Four baths are provided. Servants’ chambers and 
hall are separate, securing privacy. The stairs wind interestingly 


House & Garden’s 


Wheyi Oliver Goldsmith wrote that he loved everything old — old 
fnemh., old times, old manners, old hooks, old wine — he unaccount- 
fibly forgot to mention old houses. The dwellings and the actual 
haunts of his old friends must have included among them some of 
those happy Tudor creations which still remain as beautiful wit- 


nesses to the vitality, freshness and pride of the village mason and 
carpenter. It is in the naive spirit of that period that the Resi- 
dence of Allan S. Lehman, Esq., at Tarrytown, N. Y., has been 
built. This entrance motive is reminiscent of that time of fine 
craftsmen and noble residences. John Russell Pope, architect 

Book of Houses 


The architecture is simple and dignified, carrying out the general Italian feeling. The wings house garage and service quarters. It 

is a compact house, readily heated and easily run 

Eliminating unused 
rooms, the first floor con- 
sists of a smart entrance 
hall, a graceful little 
stairs, a large living-room 
with a small study on one 
side and an octagonal 
dining-room on the other 

Upstairs the plans call for 
three bedrooms, each 
large and well aired, 
opening onto iron bal- 
conies. A dressing and 
bathroom is provided for 
each, with a little sewing- 
room looking over the 


DANA, Jr., Architect 


House & Garden’s 


ALBRO & LINDEBERG, Architects 

An unusual color scheme has been used on the sun porch — heliotrope, 
dull black and French gray. The bench hiding the radiator is 
upholstered in gray and black linen. The curtains are glazed chintz 

The servants’ quarters are connected with the garage, chauffeur's 
and gardener’s apartments by an enclosed courtyard. There are 
jour rooms on the jirst floor and seven, with a sleeping porch, 

estate. It is white clapboard with green shingles and blinds, 
awnings are in jield green and white. A rough chimney adds a 




f Houses 


One end 
of the 
in a per- 
ed porch 



= m 

walls and 
eaves give 
effects o f 

The architecture fol- 
lows the lines of a 
New England farm- 




upstairs there are, in addition to the master’s suite of bedroom and The downstairs plan shows a house-depUi hall and wide living 

dressing alcove, two chambers and a bath. It is a house designed room, with good-sized dining room and kitchen, after the Colonial 

for a family of three Hat'ry W. KnowUon, architect 


House & Garden’s 

The street side 
shows the pic- 
turesque skyline, 
the broad wall 
surfaces and the 
interesting touch 
of half timber 
in the sun room 
gable. The chim- 
neys are an im- 
portant feature 
in the effect 

Upstairs a mas- 
ter’s suite is 
house-depth and 
other bedrooms 
range down the 
hall, with serv- 
ant s’ rooms 
above the 
kitchen. Econo- 
my of hall space 
gives good room 
area here 

The house is 
modern English 
adapted to 
American re- 
quirements. Built 
of rough red 
brick laid in En- 
glish bond; roof 
variegated rough 
slate. T his view 
shows driveway 

A livable plan 
has been devel- 
oped, opening 
from the hall on 
one side to the 
dining room and 
service quarters 
beyond, and on 
the other to the 
living room and 
loggia with its 
gable roof 


RYE, N. Y. 

D. POTTER, Esg. 

Lewis Colt Albro, Architect 

Book of Houses 





The house lies among the woods on slop- 
ing ground below the level of the road, 
with a fine view from northeast to south, 
a view commanded by the broad brick 
terrace and the rows of French doors 
opening out upon it 


On the exterior hand-hewn cypress shin- 
gles are used, stained with old Virginia 
white. The lines of the building and 
'woodwork are simple and farmhouse in 
character, the only attempt at ornamenta- 
tion being the fan panels over the doors 

A masteF s suite occupies one end of the 
house, with a large size sitting room ad- 
jacent. Three other bedrooms and two 
baths are provided. The third floor has 
accommodations for servants and storage. 

Ample closet space is provided 

The living room is paneled on two sides with bookcases set in. This is painted soft gray. 
The ceiling is hand-hewn timbers and rough plaster. French doors open on the terrace. At 
the end is an enclosed porch, with dining room and service quarters beyond 


House & Garden’s 

!!il SiS B»r:: "M-!'”" >>««»inru 

•i!n !!!-:: 'M'"!""'' «»» unuSsti 

!:!!! !!!!*■ iiiiiiSui 

!!!!!■ ’ ' iiii'iiiiiii 111 

■•III i ^ilOi iimiinfii III iiiiiiHii 

mil ill iiiiii iiimiriiM iss iiiiiiiiii 
mil ill iniiiiimiiimiiiii iiimiui 
imiin I 1*1 iiiiaiiii 


The broad and substantial DtUch Colonial 
lines of the house mass well against the 
wooded slope behind. It is wide white 
clapboarded with solid shutters on the 
ground floor and green blinds above. The 
whitewashed chimneys and the unstained 
shingles, left to weather naturally, carry 
on the well judged simplicity of the whole 

A mouse color rug with a hint of purple to 
give it life is on the light oak waxed floor 
of the living room, from which the stairs 
ascend directly. French gray walls with 
trim a slightly darker tone of the same 
color, stair treads matching the floor. The 
risers, posts and balusters are French gray 
and the handrail is finished in dark mahogany 

Two tones of 
French gray are 
in the living 
room panels, the 
darker one in the 
stiles. The cor- 
nice is a very 
light gray which 
almost matches 
the ceiling. Over 
the mantel is a 
panel of plaster 
framed in wood 
which extends to 
the ceiling. At 
the right of the 
picture is the 
entrance to the 

Book of Houses 


The glassed in porch serves as a winter sutirooni 
where potted plants bloom through the cold 
weather. Above it is a sleeping porch for sum- 
mer use. The woods and hill to the north act 
as good protectors from cold winds. The view 
shown here is of the southwest exposure 



JOHN GRAHAM, Jr., Architect 

At the east end of the red 
brick paved terrace is the 
breakfast porch with its 
pergola roof. Here and on 
the supporting pillars grow 
climbing vines. A line of 
stepping stones leads from 
the end of the terrace 

There is little waste space 
in the house, considerable 
cleverness having been 
shown in the utilization of 
the corners and angles. As 
is fitting in a house of this 
architectural style, the plan 
shows open rooms without 
suggestion of restriction 

At the rear is the entrance 
with its two white painted 
benches, knocker and old 
black iron hanging lantern. 
This entrance opens into 
the vestibule which in turn 
connects directly with the 
living room shown opposite 

Two bathrooms and four 
chambers are on the sec- 
ond floor, besides the ser- 
vants’ quarters. A fire- 
place in the children’s room 
is a welcome feature on 
wintry nights. A straight 
lengthwise hallway serves 
all Ate rooms 


House & Garden’s 

The large bungalow illustrated above and to the 
right requires a building lot of considerable 
width. The shingled walls are painted light 
gray, the trimming white, and the shingled roof 
is green, while blue-red brick is used for the 
porch floors, chimneys and front walk. Interior 
woodwork is of pine throughout, which in the 
living room and dining room is finished in soft 
gray enamel, and elsewhere is in white paint 
and enamel. Hardwood floors are found in all 
principal rooms. E. W. Stillwell, architect 

Designed for a corner lot, the Colonial bunga- 
low illustrated below and to the left presents 
an exceptionally pleasing appearance to both the 
front and the side street. Gable cornice effects, 
rose ladders, and French windows, with grille 
work simulating miniature balconies beneath 
them, comprise interesting details. The exterior 
walls are of narrow siding, which, including 
the trimming timbers, are painted white, while 
the shingled roof is painted green. The front 
entrance is floored with white cement 



Livable Small Homes 
of Good Architecture 

Book of Houses 



In that it has a com- 
paratively flat roof 
with wide overhangs 
and somewhat simu- 
lates the rambling ap- 
pearance, the house 
shown above and to the 
right quite readily sug- 
gests the type of bun- 
galow so popular in 
California some years 
ago. Save for its shin- 
gled roof, which is 
grayish-green, and the 
brick chimney on one 
side, the exterior is of 
pure white, producing a 
color scheme that is 
charmingly enhanced 
by the liberal use of 
garden greenery. Floyd 
A. Dernier, architect 

The Colonial bungalow so popular in Cali- 
fornia is charmingly typified in the little 
home shown above and to the right. With 
its well-balanced structural lines, its sweep- 
ing terrace, its Colonial entrance, and its 
two pairs of French windows, with a neat 
little rose ladder at each side of them, this 
bungalow presents an atltractive front ap- 
pearance. The walls are painted white, the 
shingled roof grayish green, and the fro7it 
terrace is edged with blue-red brick, while 
the flooring of the terrace is gray cemetit. 

Floyd . 4 . Dernier, architect 


Their Plans and 
Interior Treatments 


House & Garden’s 

There is commendable compactness 
in this little Dutch Colonial design. 
The irregularity of the roof gives it 
interest, although adding slightly to 
the expense. It is finished in white 
throughout. The exterior is wood 
shingles. On both floors the design 
is simple and livable. Kenneth W. 

Dalzell, architect 

the COUNTRY or 

The little white shingled 
bungalow demonstrates the 
fact that, with careftd 
treatment, the bungalow 
type of house can readily 
he made attractive and 
given an air of perma- 
nence. The treatment of 
window muntons is char- 
acteristic of the neighbor- 
hood — Illinois. The plan 
i-, open and simple, pro- 
viding sufficient room for 
a small family. Bliss De- 
signing Co. 

Book of Houses 


The beauty of the exterior ties in its well balanced proportions and in the grouping of the windows and doors which, although 
numerous, afford plenty of wall space. A large porch extends across the entire front. The exterior finish is white plaster; wood- 
work is painted white and blinds are green. The roof is stained dark gray. Careful consideration has been given to the grounds 

While the plan is original 
the arrangement econo- 
mizes on space and is thor- 
oughly convenient. The 
stairs are tucked away 
back of the dining room 
and in proximity to the 
kitchen, thus eliminating 
back stairs. The living 
room is house depth. This 
room has a recessed win- 
dow at the farther end and 
a large fireplace midway 
of one side 

JOHN McWilliams 

Jr., Esq. 


The second floor accom- 
modation consists of three 
bedrooms, two sleeping 
porches and two baths. 
The closets are unusually 
large and each has a win- 
dow. The owner’s bedroom 
is furnished with mahog- 
any; old rose and cream 
being the color scheme of 
the hangings. Ivory enam- 
el woodwork. A sleeping 
porch connects with this 

Interest is given the porch 
by the manner in which 
the columns are spaced and 
grouped. The ends of the 
porch are roofed in, with 
an open space at the center 
where only the pergola 
beams filter the light to 
the dining room 

Reginald D. Johnson, Architect 


House & Garden 


Colonial characteristics adapt them- 
selves readily to the small house. In 
this little cottage a Germantown 
hood marks the entrance and the 
continued pent roof breaks the facade 
pleasantly. Wide red cedar shingles 
have been used to cover the exterior 
walls. They are laid 11" to the 
weather and painted white. The 
roof is of similar shingles stained 
moss green 



The same general style and plan is followed in 
another house, by the same architect. In this 
instance the plans show a larger kitchen and 
a back stairs, with a slightly different chamber 
arrangement. The woodwork is white pine 
throughout . The dinhig room is wainscoted 
to the window sill height 

.Advantage is taken of the grade to place a 
garage under the sun room. The house is ex- 
ecuted in tapestry brick laid up in mortar and 
with white trim. The roof is of sea-green 
slate, the gutters and leaders are copper. Vines 
will greatly enhance the appearance of the 
facade when they have developed 

The house is built on a hillside, which affords space 
for a billiard room under the sun porch. There is no 
third floor nor is there any back stairway, but the 
stairs are so arranged that privacy is possible with- 
out waste space. The house is fnished in oak down- 
stairs and white pine upstairs 


Book of Houses 



The Residence of J. J. Hamilton, Fieidston, New York 

The plan has avoided the usual central 
hall, the living-room, dming-room and 
porch opening up together^ The large 
pantry serves also as servants’ dining- 
room. Interior trim is gumwood; floors 
of oak; two brick fireplaces with Co- 
lonial mantels. Walls are sand finished 

While symmetrical, the exterior shows the entrance off center. It 
is accented by a hood and lattice sides. The south wing fornix 
a large porch while the north gives a liberal she garage. Walls 
are cased in 12 " wide red cedar siding painted white with color 
relief in the blinds, which are an unusual shade of green. Thz 
chimneys are of rough red brick — “black headers” — overburned 
brick that was discolored and twisted in the kilns 

The second story reverts to the central 
hall type with four master’s rooms and 
two baths. The owner’s and child’s 
room open into a large sleeping porch. 
The maid’s room and hath connect with 
the kitchen by a private stairway. All 
of the woodivork is in white enamel 


House & Garden’s 

The residence of R. Eickolmeyer, 
Esq., Tarry town, N. V., has the 
touch of formality demanded by 
brick and slate, relieved by white 
trim, blinds and keystones. Dwight 
J . Baum, architect 


The living room faces the street, awarding a 
degree of privacy to the porch. The garage is 
well incorporated in the wing. Three baths 
and six rooms are above 





A complete eight-room Dutch Colonial house for a 
double end lot is that of O. M. Carrick, Esq., at In- 
terlaken, near Seattle, Washington. The walls are 
shingled. Designed bv N. E. Coles 


p — n 



S O 


— kOO M 



m( .iBi^ »L ,ii ' 

, LLA 

« >7 

Oak floors are hi the 
main rooms, polished 
fir in others; tile in 
bathroom . The interior 
woodwork is old ivory 

Book of Houses 


The first floor plan of the clap- 
board cottage has just enough 
rooms for a small family to live 
in and be comfortable 



i :r 


Upstairs there are three bed- 
rooms, a bath and a sleeping 
porch. Each room is well pro- 
portioned and well lighted 

The clapboard house has livable 
possibilities and will, with foun- 
dation shrubbery, present a fine- 
ly finished appearance. Ken- 
neth L. Dalzell was the architect 

Q 1 


[ 1 — ^ 1 

li U 1 1 » H / 

' H 


]pX' K 


\ M n t t 1 1 n ^ 

UUUt 1 



Livable Designs in Clapboard 
and Stucco 

Built on Colonial lines with 
modern adaptations, this subur- 
ban home furnishes all the nec- 
essary comforts. Veranda and 
sleeping porch add to the floor 
size. W. T. M archant, architect 

Two baths and four chambers 
on the second floor, with sev- 
eral more in the third, make 
this residence possible for a 
growing family 


House & Garden’s 

The architectural design was inspbed by an old cottage in 
Surrey. A study of the general lines and details shows how 
successfully this inspiration has been worked out. The roo] 
lines have an interesting ajid harmonious pitch. Rough, 
variegated slates laid in a random fashion give color to the 
roof. To the rich texture of the walls is added the interest 
of an occasional advanced header. Casement windows 
enhance the effect of cosiness and complete the picture 


on the ESTATE of GEORGE ARENTS, Jr. Esq. 



The entrance is a composition in 
itself. Eaves swing down low, with 
a pent roof covering the door and the 
windows. A broad breasted chimney 
intervenes, capped with decorative 
brick tops and chimney pots. The 
entrance is flanked by fine old box. 
The path is of broken flagstones 

The plan illustrates a cottage built 
primarily for farmhouse life, with a 
combination kitchen and living room. 
Four bedrooms and a large bath are 
on the second floor. It is a plan that 
can readily be adapted to small fam- 
ily use. The space is sensibly di- 
vided and the dining room eliminated 


Book of Houses 



DWIGHT J. BAUM, Architect 

Esq . 

Brick and stucco have 
effectively been com- 
bined in the architec- 
tural composition of 
the entrance 

One side of the first 
floor is given to ser- 
vice and garage and 
the other to living 
and dining rooms 

The unusual arrange- 
ment of the plan gives 
interest and a maxi- 
mum of comfort on 
the second floor 

Modern structural de- 
vices give the house a 
feeling of age suitable 
to the English type of 


House & Garden’s 


Designed for House y Garden by 


The long sweep of the roof is car- 
ried down to form a rear porch. A 
Colonial entrance dignifies this piazza. 
Balanced windows and settles at 
either end give a nice symmetry. The 
service wing is complete in itself. 
A trellised porch is at the other end 

The lower floor has a house 
depth living-room and a 
dining-room, both up two 
steps from the entrance. 
The study and a pantry 
fill the end with kitchen in 
the wing. Upstairs pro- 
vision is made for three 
bedrooms and two baths, 
with plenty of closet room 
and cross ventilation pro- 

On the front a long bow 
window , extending the 
height of the second story, 
is the unusual departure 
from the Colonial design 
which distinguishes the 
lionise. It affords a light 
hall which can serve as 
sewing corner. Plain panels 
are used instead of shingles 
on the upper spaces be- 
neath the eaves 

Book of Houses 



The style is Colonial, all architectural 
features being omitted to obtain a farm 
cottage type of building. Wide clap- 
board walls are painted white, shutters 
green and the hardware black 

The distinction between living and ser 
vice quarters on the first floor plan is 
marked. The rooms are large but the 
individuality of each has been preserved 
and the plan is simple and livable 

From the master suite to the other end 
of the second floor runs a narrow hall 
with bedrooms and baths conveniently 
arranged along it. The rooms communi- 
cate easily and are well ventilated 




House & Garden’s 

The entrance owes much of its charm to 
architectural restraint — to the things the 
architect refrained from doing to it. It 
is tucked away behind the kitchen ell, 
a broad doorway with a deep portico, 
overhead exposed beams and a narrow 
light ofi either side 



The plan is as unusual as the exterior. 
Kitchen and service entrances are near- 
est the road, leaving the rear of the 
house free for access to the garden. Bed- 
rooms are compactly placed 

Instead of accepting tht commonplace 
criticism that “all small houses are 
alike, excepting that some are worse 
than others", the architect has said that 
some may be better than others. It is 
an English cottage frankly developed 
for an American suburb, with rough 
plaster walls, shingles laid in the form 
of thatch and leaded casement windows 

The driveway gate leading to the garage 
is so designed that it is not only a na- 
tural part of the house, but an interest- 
ing architectural story by itself. The 
gates, the grill panel lighting the long 
narrow kitchen and the carrying over of 
the thatch shingled roof supported by a 
rough plastered pillar on this side make 
an unusually picturesque and complete 

Book of Houses 



Architecturally the house follows no 
distinctive type, save that it is 
American and has adapted the use- 
ful points of many styles. The 
structure is wide clapboard painted 
white, with green shutters and a 
green shingled roof 




The plan is informal, provid- 
ing space for a hall with liv- 
ing room on one side and din- 
ing room beyond; den, stairs 
and kitchen on the other side. 
The veranda off the living 
room gives a touch of privacy 
not found on the front porch 

On the second floor there are 
one large chamber with a fire- 
place, three smaller ones, two 
baths and a sleeping porch. 
Large closet space is evident, 
as is the opportunity for light 
and ventilation. It is a com- 
pact arrangement for a small 
family, convenient, comfort- 
able and unostentatious 


House & Garden’s 

The house is located on a slightly elevated plateau commanding a view of 
the distant Hackensack valley. This rear porch is enclosed, offering pro- 
tection from the western storms, but is open in summer. The rich play of 
lights and shades in the dressed stone and the sweep of the roof to shelter 
the porch are among the interesting architectural features of this view 

.4)1 open Colonial fireplace is 
a feature of the living room. 
Aged chestnut beams support 
the ceiling. Windows are set 
in a deep recess. One end is 
used as a dining corner 

The rooms are arranged for 
free and informal living. En- 
trance is directly into the liv- 
ing room. The dining room 
has been eliminated, an end of 
the living room being used 

Book of Houses 


On the upper floor the bedrooms are spacious, with cross 
ventilation in each. Ample closet space is provided. A 
general bath is located with easy access to each chamber 


FRANK J. FORSTER, Architect 

The decorations of 
the bedrooms are in 
keeping with the 
character of the 
house — simple and 
adequate. This is the 
chamber over the 
living room 

The Dutch house lends itself to picturesque treatment. The graceful curves 
of the long, low-sweeping roof form a pent roof for the front and create a 
porch in the rear. The stone is cut, its shades varying from bluish gray to 
light sienna. The Colonial details have been carried out in every respect. 

It is the residence of Reginald Halladay, Esq., at Demarest, N. J. 


House & Garden’s 




The Colonial design, which in 
its adaptions has become a 
purely Amerkafi product, has 
been used for this house. It is 
executed in brick laid in white 
bond. The entrance is pro- 
nounced by a simple hooded 
porch. Balance is given the 
plan by the use of a conserva- 
tory on one end and a porch on 
the other, each having the same 
general character. Field stone 
walls support the terraces and 
mark the property line 






A fireproof garage under the house is of great convenience, and the 
economy of heating and construction more than offsets the slight 
increase of insurance. The successful coinhination of brick and 
field stone is shown in this terrace view 


The business end of the house has received equal consideration 
with the comforts of the family. Thus, on both floors, has been 
provided a miniature kitchenette for preparing all the food for the 
baby. The location of a reception room behind the hall makes 
another interesting addition to the comforts. The service quarters 
are ample and conveniently placed 

Book of Houses 


Taken from the lesser chateaux of 
France, this desigit is adapted for the 
American stiburb. Walls are stucco 
over wire lath and painted gray. 
Slate forms the roof and stone or 
cement the foioidations 

An end elevation shows the house 
designed for a sloping lot which, 
with excavatio7i, affords a basement 
and a side entrance. The iron railing 
and steps are at one end of the 
garden terrace 

The entrance is simple in its classi- 
cal lines, dignified in its adorn- 
ment. An angular pediment is 
imposed over a rounded door 

The success of the house depends 
upon the exactness of its detail. 
The windows play the decorative 
role in the fagade 





EUGENE J. LANG, Architect 

At the rear of the house stretches a terrace; steps at either end lead 
to the garden. The dining room opens on this 

All the bedrooms face the rear and command the garden view. The 
floor accommodates three chambers, three baths and a study 


House & Garden’s 


Among the interesting points of the front 
of the house are the arched brick panels 
of the first story and the wide overhang 
of the eaves creating a covered terrace. 
The design i: Dutch Colonial of the gam- 
brel roof type 

On one end is a large living room with 
fireplace, opeyiing on a screened piazza, 
and on the other end the dining room 
with a door leading to the garden, and 
the pantry. The kitchen is sizeable and 
well placed 

Upstairs are three bedrooms and a bath, 
sufficient room for a small family. 
Economy in hall space affords ample 
room for plenty of closets. Overhang- 
ing eaves protect the lower windows in 
front anil rear 



AYMAR EMBURY If. .Inhitect 


Book of Houses 

In the constr 2 iction of the William Wiese residence at Scarsdale, N. Y., stone, 
tile, half timber and stucco are successfxdly combined. Roof lines come close 
to the ground, thereby producing a broad, loiv and hospitable front 



On one side the great hall, a room of baronial proportions, is a dining room 
finished in old ivory Georgian paneling; on the other, the library with its 
pointed windows and vaulted ceiling 


■1 hooded entrance, characteristic of this type of archi- 
tecture, gives an air of hospitalit y and makes a fitting 
passage to the great hall which lies directly behind 

HOUSE in the 


The second floor accommodates two bedrooms en .suite and two other cham- 
bers with their respective closets of good size. The master suite of bath, cham- 
ber and sleeping porch is an excellently arranged feature W SI'AXWOOD PHILLIPS. .Irchitect 


House & Garden’s 

1 doorway arrangement, common to certain types of Co- 
lonial houses, lia\ been reproduced here. It ;'s a six panel 
door K'ilh side light', set in a frame of dignified moldings. 
The overhang gives protection to this entrance 

In this little country house the gambrel roof design is developed along simple but 
permanent lines. The lower floor is stucco, the ends of the second and the 
dormers are shingle and the roof slate, giving a variety of harmonious textures, 
with plenty of light and shade. The foundation planting is good 






Home cjf ir. P. Beo'selU Psq., Forest Hills, L. I. 
AYMAR KMHUin’ H, .Inhiicct 

The simplicity which characterizes the exterior is evident in the room arrange- 
ment. On the first floor is a house-depth living room, with its porch, a vestibule 
hall and lavatory, a small dining room ivith pantry behind and a kitchen in a 
separate wing. Upstairs three chambers, three baths and a maid's room afford 
sufficient space for a small family. Closet accommodation is sufficient and all 
rooms are well ventilated and lighted 

Book of Houses 

^ 5 ^ 

-fzooA, -/Uji- :■ ' 

-^TJL JJ- fi OOA, - // 


From the Italian villa was taken inspiration jor 
this suburban home. It is oj cream colored stucco 
on frame construction, with a tin roof painted red. 
The iron work is black and shutters and entrance are 
painted Italian blue. A fence screens the service yard. 

The loggia is to be floored with red tile; other floors 
are stained dark. Woodwork is to be painted and 
enameled. Adequate wall space in all rooms offers 
possibilities for the arrangement of furniture. De- 
signed for House &r Garden by William R. Bajuri 


House & Garden’s 


You may have often •wondered why you like one 
arrhileclural glimpse more than another. Nine 
times out of ten the one you like is a combination 
of many elements put together with such studied 
artistry that none could be detracted or added. 
The elements of this garden front entrance — it is 
the residence of M. C. Migel, Esq., at Monroe. 

New York — are hard burnt, red, irregular bricks 
laid with a slightly struck white joint and in 
Flemish bond; key-block, skew backs and sill of 
W'hile marble: and the detail of the door itself in 
white painted wood. The shuttered window above, 
the brick path below and the specimen cedars 
frame the picture. Lewis Colt Albro, the architect 

Book of Houses 


The half timber and roof lines proclaim its ar- 
chitecture English cottage. Casement windows, 
a hooded entrance portico and porches at each 
end make a pleasing design 

The living room, which opens on the screened 
porch, has a generous fireplace, timbered walls 
and ceiling and wide French doors. The plan is 
open and livable 

A break in the roof lines to accom- 
modate the tipper casements fol- 
lows cottage precedent 




Archilei i ' 


House & Garden’s 

The architecture 
is an adaptation 
of Colonial jarni- 
house designs 
dignified and 
modernized by a 
balcotiy over the 
entrance with a 
wrought iron 
balustrade. The 
long, low lines of 
the porch are in 
harmony with 
the general de- 
sign of the house, 
inviting summer 
outdoor living 

Upstairs the 
rooms are so dis- 
posed as to af- 
ford light and 
cross ventilation 
for all. The own- 
er’s suite con- 
tains bedroom, 
boudoir and 
bath. A guest 
suite occupies 
the remainder of 
the front of the 
house, with 
maid’s room and 
another guest 
chamber behind 



W. DUNCAN LEE, Architect 

The house is 
built around a 
terrace set be- 
tween the ell of 
the service quar- 
ters and the sun 
room. A house- 
depth hall di- 
vides the down- 
stairs rooms, 
giving a large 
living room, 
which is further 
enlarged by a 
porch. Dining 
r o o m, kitchen 
and pantry are 
on the other side, 
running back in- 
to the ell 

A n interesting 
study in roof 
lines is presented 
by the rear ele- 
vation. Although 
they are broken, 
all are harmoni- 
ous to one pitch. 
The irregular 
fenestration and 
the use of lattice 
and window 
boxes give this 
intimate side of 
the house a 
charm that will 
be made com- 
plete when the 
garden is fully 

6 ^ 


Book of Houses 





F. I. KENT, Esq. 

PATTERSON y DULA, Architects 

The walls are rubble with 
a heavy coating of white- 
wash, a combination that 
gives interesting light and 
shade effects 

In this inner court white 
walls form a clear back- 
ground for the foundation 
blanting and pronounce the 
window openings 

Broken and repeated roof lines give the house unusual architectural interest. These 
together with the grouping of windows and the arched gate and door, and the oriel 
up under the eaves of the ell, produce a pleasing facade fidl of contrasts and rich 

in texture 

An arched 
service gate 
with a pent 
roof breaks 


House & Garden’s 


You rant blame men for worshipping the sun. Such a 
human old god he is! lie moves across the paved terrace 
and warms the slates. He lifts up the heads of geraniums 
standing primly in a row beneath the window. Ilis fingers 
feel out the crannies of the rough wall and emblazon the 
window panes. At his call casements fling open, and men 
and women and little children come out to sit at breakfast 

in the sun-washed alcove that overlooks the garden. Now 
you can, if you see nothing more in it, call this the rear 
terrace of Mr. George Marshall Allen's house at Convent, 
N. J. And you can say that Charles 1. Berg, who designed 
it, has created a fine bit of architecture, that the texture of 
the wall is extraordinary, etc., etc. But it’s more than 
just architecture — and the sunlight makes it so 

Book of Houses 


The use of English cottage de- 
tails gives a livable atmosphere to 
this small house design. Stucco 
and half-timber have been suc- 
cessfully combined. The roof 
lines and bay window commend 
it to the prospective builder. A 
garage is built in the house 

One chimney suffices for this 
house. It provides a fireplace in 
the living room and a flue for the 
furtiace. Through this rounded 
entrance door one comes to a 
vestibule, with the dining room 
on one side and a long living 
room on the other 

The rooms are placed with interesting economy. Downstairs 
are the long living room, dining room and kitchen, with the 
garage and furnace room on the same level. Upstairs are 
tu'o bedrooms and a bath — enough for a family of two 


\V. K. (lOKK, Architect 


House & Garden 

Bates & How, Architects 



There may be many 
modern entrances that 
reflect the Colonial 
spirit, hut few do it so 
faithfully and so suc- 
cessfully as this. The 
iron balustrade is espe- 
cially beautiful 

Although divided into 
separate parts, the build- 
ings are co-ordinated in- 
to a unit. The living- 
room, hall and dining- 
room form one division, 
linked by the kitchen 
with the garage 

An upstairs sitting-room 
is one of the advantages 
of the second story plan. 
Bedrooms are arranged 
to command maximum 
light and ventilation. 
Closet space is plentiful 

Arched French windows 
on the lower floor and 
the pillared entrance re- 
lieve the straight Colon- 
ial lines. There is nice 
Georgian balance in the 
porches at either end 

Book of Houses 




The slope of the lot permitted 
a terraced garden with concrete 
and lattice retaining walls 

English cottage feeling has been attained in the design. It 
has a nicety of balance in window spacing, porches and roof 
lines. .4 terrace and lawns front the house. Flower boxes 
and potted plants add color to this fagade 

At one end of the terrace a lat- 
tice wall and arched gate have 
been successfully used 


House & Garden’s 


The fault ivith a great deal of our domestic 
architecture is that no sufficient approach is 
provided. Space is a requisite to an apprecia- 
tion of architecture. The beauty of this home 
— the residence of C. F. T. Seaverns, Esq., at 


Hartford, Ct. — is greatly enhanced by its dig- 
nified approach — the wide stretch of roadway 
and the lawn which are before it. Goodwin, 
Bullard & Woolsey were the architects of the 
house. Olmstead Bros., landscape architects 

Book of Houses 


An adaption of an English 
type has been used for 
the home of J. A. Rock- 
well at Warren, Pa. Walls 
are soft cream stucco and 
trim weathered oak 




A. J. HODKER, Architect 

.An irregular disposition of 
the rooms gives interest 
and a livable quality to 
the first floor 

The narrowness of the lot 
required a long plan. This 
gives plenty of light and 
air to the chambers 


House & Garden*!' 

In designing his home at Elmsford, N. Y., 
Mr. Kahn made a delightful use of stone 
as a relief to the orange stucco and silver 
gray exposed chestnut beams 

E. J. KAHN, Architect 

The house is quite small. It grows nat- 
urally out of its hillside plot, the stone, 
stucco and half-timber and the shingle 
roof blending with the trees and outcrop- 
ping stone 

One end of the living room is a large fireplace, 18' long and 10' deep, The house was built for the children. They have a nursery in addition 

with settles inside. Off the living room is the entrance hall. There is to their bedroom. This leaves space for the master’s chamber and 

an ample kitchen. The. dining room faces the view dressing room, a guest room, closets and two baths 

Book of Ho uses 


The gambrel roof type is a popular design because it makes a roomy house. Its architecture is intimate, informal, 
and it suits most settings. In this interpretation a wing, in the style of the main house, is added at one end. The 
windows are grouped in a pleasant fashion, with shutters to finish them and to give a note of contrasting color to 
the white shingled walls and woodwork. The entrance is pronounced by a portico with high-back settles on each side 

A fireplace nook finishes one end of 
the living room. The hall runs 
through to the back porch and past 
the stairs in the rear. Dining room 
and kitchen are in close proximity 
with a pantry and service entry at 
one end 




Four large sunny bedrooms and twO" 
baths are on the second floor. The 
living room chimney affords a fire- 
place in the upstairs halls — evidently 
a very pleasant detail. Each cham- 
ber is equipped with two conveni- 
ent closets 

iUieOOM I HUl 



House & Garden’s 

The architecture is a cross 
between English and Nor- 
man farmhouse. It is 
executed in warm gray 
stucco laid ofi rough, with 
occasional sills of red brick 
and irregular foioidations 
of stone bleeding off into 
the stucco without any 
line. The roof is shingles 
with five different tones 
of green and red. The 
whole effect of the house is 
one of soft tones and easy 

In one of the wings half- 
timber construction is re- 
vealed through the stucco. 
The beams are rough and 
pegged together. Windows 
throughout the house are 
leaded casements. The 
acute angle of the roof, a 
Norman feature, gives the 
house an appearance of 
great height. Wide eaves 
with a slight kick-up af- 
ford interesting details for 
adaptation to less preten- 
tious English designs 

A recessed door with a pronounced shelf 
above it and a flagged pavement below 
makes an unusual but simple entrance 




Book of Houses 


This house is an answer to the question of 
what type of house one should build. The 
house should suit the setting. Viewed from 
this point, the stone foundations are a 
continuation of the stone on the hillside; 
the stucco has the rough surface of stubble 
fields; the occasional exposed , timbers re- 
peat the exposed limbs of trees 

Of the many interestbig windows, the 
bays are the most pronounced. They are 
of rough timber pegged together and have 
leaded casements. This combination of 
rough stone, rough stucco and rough beams 
maintains a scale that is necessary to 
such types of architecture. More delicacy 
would prove unsuitable 

The studio 
wing is sep- 
arate from the 
living quarters. 
The studios are 
provided since 
both Mr. and 
Mrs. Chambers 
are illustrators 

The studio 
disposition o f 
t h e chambers 
adds to their 
interest. Stairs 
and closets 
have found un- 
usual but prac- 
tical corners 

' Vr’PE'R'.ih'k.s' orSi'vi>to 


House & Garden’s 

One of the features of the 
home of W. E. Davis, Jr., 
at New Haven, Conn., is a 
rear living veranda with 
a sleeping porch above. 
These face the garden and 
the rose-bowered pergola. 
The house is red brick. 
White marble trim and 
white woodwork help 
maintain the Colonial as- 
pect of the architecture 


TOWNSEND, Architect 

Old ivory wood trim relieves the gray 
paneled walls in the living room. The 
curtains are old gold and blue used with 
gilt valances. An Adam atmosphere is 
given by the mantel and lighting fixtures 

The square Colonial plan has been adapted 
to modern requirements, giving a house- 
depth living room, a small dining room 
and service in the rear extending so that 
it forms a corner for the porch 

Three chambers, two baths, a den, a com- 
modious glassed-in sleeping porch and 
closets in each room are provided on the 
second floor. The service stairs give 
privacy to the front of the house 

Book of Houses 


The Colonial aspect is found in the lines 
of the stairs. Here the walls have a 
gray scettic paper and the woodwork is 
old ivory save for the mahogany hand 
rail. The rug is gray and the stairs 
carpet plain rose 

hi the guest room the walls 
have a gray, small patterned 
paper, with which the yellow 
and pink hollyhock design of 
the chintz curtains contrasts 
pleasantly. The furniture is 
mahogany. Over the dresser a 
gold mirror is hung on gold silk 
cords. The rug is one-tone gray 

A gambrel roof 
of slate, brick 
walls, pierced 
shutters on the 
first floor and 
an entrance 
portico estab- 
lish the Colonial 
precedents o f 
the architec- 
ture. Vines and 
planting will 
further age the 

The dining room 
walls are ivory 
paneled, the rug 
sapphire blue, and 
the hangings gold 
and silver shot taf- 
feta with dull gilt 
cornice boards. 
The built-in china 
cupboard is bal- 
anced by a recessed 


House & Garden’s 

The first fioor plan shows a livable dis- 
position of rooms. The entrance is on 
the side. Although open, the plan pro- 
vides interesting details, such as the liv- 
ing room fireplace corner, a tiled porch 
and the compact service quarters 

Upstairs there are two master bedrooms 
and two smaller chambers, a bath and 
a toilet, and a sewing room. The stairs 
are kept to one corner and do not en- 
croach on the hall space. Each room 
has its commodious closet 

The home of W. W. Nichols, Esq., at 
Rochester, N. Y., is a typical American 
suburb type of architecture showing in- 
fluences of English cottage design. It is 
executed in stucco, with half-timber in 
the hall and living rooms 

Viewed from the garden the house shows 
picturesque overhanging eaves, a solid 
chimney stack, window boxes in the 
porch roof off the master bedroom, and 
the porch, which is a continuation of 
the half-timber bay of the living room 

HOUSE i 11 

N. Y. 




I.andsca pe .Irchiuc! 

Book of Houses 


On the basis of a 
nondescript 1880 
house, the architects 
managed to give the 
finished structure a 
pleasant form in 
which the Colonial 
aspect is preserved. 
The study and 
porch wing has a 
Southern Colonial 
aspect. C olonial feel- 
ing is also found in 
the breakfast porch 

S N Y D E R , 
RYE, N. Y. 


\Jssociate Architects 

There is really a 
great deal of room 
in the house — a big 
study flanked by a 
porch, house-depth 
living room and 
hall, a small dining 
room with a large 
breakfast porch and 
a service wing af- 
fording plenty of 
space for kitchen, 
pantries, laundry 
and servants’ rooms 

The closets practi- 
cally filling the front 
of the hall are ar- 
ranged with a nice 
economy of space. 
To the four original 
chambers have been 
added those in the 
two wings — marked 
with black — an ex- 
tra bedroom at one 
end and three maids' 
rooms and a bath 
in the other 


House & Garden’s 




The house is javored by a charming location — the brow of 
a hill commanding a view across a wide valley. Tall trees 
shade the site. Heavy, hand-split cypress shingles painted 
white cover the walls 



■ v| 

A Colonial at- 



m 0 s p h e r e is 
maintained in- 

1 ;l 

side the house. 
On the landing — 


usually a bleak 
spot — are built- 
in bookshelves 


The difference in levels adds to the interest of the house. At 
one end is a living room. The porch has a brick border with a 
field of random, broken tile — the wastage from a floor job. The 
dining room is set in the rear of the house to catch the view. 
,4 small kitchen and its closets and porch complete this floor 

Book of Houses 


By keeping the stairs and hall down to a minimum there ha.-, 
been found room upstairs for four chambers, a bath and a work- 
room, and, in addition, closets tucked away under the eaves and 
in odd corners. The master’s bedroom is dignified by a fireplace. 

It is a house commodious enough for a small family 

From the rear is another view of the valley. Here is the 
dining room and the porch, with its lattice panels. This is 
glassed in winter. The dormers upstairs are joined together 
by two other windows, giving more space in the chambers 


7'he chimney , 
which was given 
one coat of paint, 
has been per- 
mitted to weath- 
er into a nice 
gradation of 

5cd * 2 . 




House & Garden’s 

The architecture of old 
California, adapted to 
meet modern needs, fits 
into the hillside setting 
naturally. The low angle 
of the roofs is a char- 
acteristic feature, as are 
the doors and the heavy- 
barred grill which is set 
in the wall 

The mam rooms of the 
house are built around 
two sides of this court, 
the rest of the space 
being taken by the ser- 
vice quarters. So it is a 
small house, very com- 
pact in its arrangement, 
quite unusual and yet 

Behind the grill lies this 
paved court or patio 
with a wide door open- 
ing into the living room 
on one side and another 
to the dining room. The 
windows of the master’s 
bedroom open on a bal- 
cony with wooden bal- 

Three bedrooms and 
two baths occupy most 
of the second floor. 
Stairs, upper stair hall 
and passage are kept at 
a minimum of size. A 
storage room takes the 
place of the usual attic 
and is far more con- 

Book of Houses 



The side of the house shows a pleasing variation of windows — a 
balcony window from the main chamber, another balcony from the 
tall arched windows on the stairs landing and one chamber window 
tucked up under the eaves. The chimney is btiilt solid and deep, 
giving a shadow to the ivall 




Along the dining room side, entrance is 
gained by an arched gateway m the 
patio wall, which is here pierced by another 
grill and decorated with a fountain 

The garden is built in two levels and sur- 
rounded by a low stucco wall. The small 
window this side of the entrance lights the 
coat closet off the entrance hall 

House & Garden’s 




Various elements of Pennsylva-nia Colonial 
style have been incorporated in this home 
of William S. Ellis, Esq., Moylan, Pa . — 
the wide eaves, the Germantown hood 
with settles pronouncing the entrance, the 
large chimney stacks and the small pane 

The Colonial architecture has come 
through the walls, as witness this hall 
glimpse of simple stairs with mahogany 
rail and treads and newel. Simplicity 
characterizes the house throughout. The 
woodwork is white, the floors dark stain 
and oiled 

On the garden side a porch extends the width of the house, the living and dining rooms 
opening on it. Service is compactly placed in an extension toward the drying yard 

Four chambers, two baths, ample closets, a simple 
hall and plenty of light are on the second floor 

Book of Houses 


The grounds are kept as simple as pos- 
sible, with lawns broken here and there 
with colorjid plantings. An interesting 
gate gives entrance to a lower level 

While the house cannot 
claim any especial period, 
it is reminiscent of a minor 
French chateau simplified 
to an American country 
setting. The walls are 
deep cream stucco on hol- 
low tile with a roof of 
irregular blue slates. The 
garage is connected with 
the house 




Along the front of the house is a stone flagged terrace 
bordered with low boxwood. This runs to the end of 
the main structure. Beyond are the service wing and the 
garage. Vines and potted plants will enrich the facade 


House & Garden’s 

A writing table is set before casement windows that open 
on the bird garden — a garden enclosed by high walls over 
which trails the wild grape, and flanked with berried 
shrubs. Midway is a bird fountain 



J. H. PHILLIPS, Architect 
Decorations by Karl Freund 

When Mrs. Whitney asked her architect 
to design a little rest house in the woods, 
she had in mind a witch’s cottage, such 
as one sees in fairy tale books. The love- 
ly old oak paneled room, imported from 
England by Karl Freund, was enclosed 
with masonry walls; the lower story stuc- 
co ; above, brick and oak half -timber 
work, taken from old barns on Long 
Island. The roof is old English slate of 
varied sizes and colors — purple, green ami 
gray — laid with wide joints and raked to 
allow the moss to grow 

The room, views of which are shown here 
and opposite, has a dark oak wainscot. 
The mantel is composed of simple round 
columns supporting a cornice, and faced 
with a carved Portland stone arch. Win- 
dows are divisioned by straight mullions. 
The plaster ceiling is covered with medal- 
lions of Scriptural subjects grouped 
around a sunburst. Reddish stones, rough 
hewn, comprise the floor. Over it is laid a 
large hooked rug in a tessellated pattern. 
The room is furnished with a chosen col- 
lection nl \Mh and \7th Century pieces 

Book of Houses 


up under the eaves, and reached by an old plank 
stairway, is a little room with rustic furniture 
and hooked rugs. The mantel is of Tudor style. 
Iron guinea hens act as fire dogs 

This view, frotn the end of the garden, shows the 
bird bath, fountain and stone walks. Entrance 
to the garden is through a I6th Century solid iron 
door on the chimney side of the house 

.i quaint entrance was made ivith an old 
carved wood paneled door and stofie 
architrave. To make this Tudor door the 
architect used old stone fragments and 
two stone heads. A candle fixture set in 
the little window above lights the door- 
way and vestibule 


House & Garden’s 


When possible, the house should turn its hack to the 
road. This arrangement affords a convenient loca- 
tion for the service quarters in close proximity to 
the tradesmen’s wagons and gives the owner the 
privacy of a garden in the rear. It also gives a 
garden facade in which the real loveliness of the 

house can be shown. This was the successful arrange- 
ment used in the residence of Joseph E. Brush, Esq., 
at Fieldston, N. Y. You are looking at the garden 
view, along the line of the entrance and the two 
projecting wings of the house. Dwight James Baum 
was the architect and arratiged the planting 

Book of Houses 


The rear view shows 
the study with a sleep- 
ing porch above, the 
screened-in porch at 
one side and the kit- 
chen entrance at the 

The garage is an in- 
tegral pari of the house, 
its windows being cur- 
tained to camouflage its 
real purpose. The 
kitchen porch faces the 

A simple plan adds to the livable quality of the house. Living room, study 
and porch on one side; dining room, kitchen and pantry on the other 

Upstairs are flve chambers, a sleeping balcony and three baths, arranged 
in suite with abundant closet space, cross ventilation and plenty of light 


House & Garden’s 




An interesting feature of the 
meadow front is the rather 
original conception of an oriel 
chimney carried on a project- 
ing corbel of stone moldings. 
A sundial, set in the upper 
part of the chimney, has been 
computed to register hours 
and quarters accurately 


In the design and execution of the library 
the architect has used mellow old oak panel- 
ing walls, originally in a Jacobean residence 
and readjusted to new conditions, and an 
ivory ceiling molded from original casts of 
old work. Furniture by Schmitt Brothers 

Brick and wood, stone and slate, stucco and 
leaded work have been made to produce 
what the architect wished — the old world 
charm possessed by such historic Tudor 
houses as Compton Wynyates in Warwick- 
shire and Ockwells Manor in Lancashire 



Book of Houses 


The dining room is unusual in being ( 
replica of \5th Century English G 
It is copied from an old house in S( 
set and is done entirely in antique ct 
plaster. The furniture is original 16th 
tury examples. Schmitt Brothers, deco. 

While a part of both, the din- 
ing room porch is a happy 
transition between house and 
terrace. A sleeping porch with 
rows of casement windows is 
above. The tall windows lo- 
cate the great hall, which is 
the feature of the plan 

The forecourt is a veritable library of Tu- 
dor architecture — a small entrance with low 
pointed arch, leaded casements, walls of 
stucco-filled half-timber, rough brick walls 
with random stone ashler and quoins, stair 
tower, rough slate roof and brick chimneys 

^ /^V' - ■' t ‘ 


House & Garden’s 




It is called “Nonesuch House" and the name well fits it. The long, 
low roof line and the rambling character of the plan fills you with a 
sense of old world comfort such as you get in some of the beautiful 
English estates 

A bit of the \?>th Century, in its most 
distinguished mood, is the dining room 
with the painted Chinese paper. The 
furniture is old Sheraton 

This detail of the exterior shows the 
uneven quality of the brick and the 
unusual disposition of the casements 
that give the faqade character 

Book of Houses 


The living room goes 
back to the llth Cen- 
tury, the paneling and 
half timber work hav- 
ing been removed from 
a house of that period 
in East Anglia. The 
walls are old plaster 
with pargeting. Suit- 
able furniture was se- 
lected — some for com- 
fort and one or two 
bits to carry out the 
atmosphere of the peri- 
od. Schmitt Brothers, 


The library carries out 
the I8th Century spirit. 
A quaint old chintz is 
used for slip covers on 
t h e comfortable a r m- 
chairs and sofa, and at 
the low casement win- 
dows. Other furniture, 
which does not appear 
in this view of the 
room, is Sheraton. 
Hooked rugs of a gay 
desigii give the needed 



II 0 s e & G a r d e n’ .i 

The house is built directly upon a big rock and 
the vigorous treatment of gray shingled walls and 
green blinds harmonizes well with the rugged 
character of the foreground. Whiteivashed chim- 
neys with red pots give a touch of individuality 

The feature of the parlor is the corner cupboard, 
filled with old pink china which happily matches 
the filmy hangings at the windows. Walls are 
paneled and painted white. Old lustres and trail- 
ing ivy make a charming decoration 

Book of Houses 



T/ie views on this page show the opposite 
ends of the living room. A fireplace is at 
each end. The furniture is old English oak, 
Dutch and American Colonial, all antique. 
The hangings are blue 

Walls in the living room are painted the 
yellow of fresh butter. Dado and doors are 
gray. Upholstery chintz has a black ground 
with gay flowers and fruit. Beams are 
hand-hewn and stained a deep brown 

HARRY B, RUSSELL, Architect 


House & Garden’s 

The house stands on 
land granted by William 
Penn to the owner’s an- 
cestors in 1714 and the 
house, a remarkable 
type of Pennsylvatua 
Colonial farmhouse, 
dates from about the 
same year. It is the 
residence of Major W. 

McM. Rutter 

The six panel, double 
door type of entrance 
is characteristic of the 
epoch. Its classical pro- 
portions, delicate mold- 
ing and decorative fan 
light make it a stand- 
ard for architectural 
reproduction. Latticed 
icalls form a back- 

(Left) From the gar- 
den one passes under 
this covered portico 
and through the panel- 
ed door to the dining 

A R E M O I) E I. E D 


Book of Houses 


Among the in- 
triguing elements 
of the Colonial 
house are its 
varying levels 
and unsuspected 
nooks. That in- 
terest is evident 
in this view of 
the c hildren’s 
room w i t h its 
cupboards and 
little stairs lead- 
ing up 

The spirit of the 
old house is suc- 
cessfully repro- 
duced in this 
kitchen wing 
where field stone 
laid in wide 
bond, white 
painted trim, 
simple dormers 
and deep door- 
ways are the ele- 
ments success- 
fully used 


House & Garden’s 

.1 remarkable combi- 
nation of whitewashed 
brick walls and Span- 
ish tiles is found in 
the residence of Nel- 
son Doubleday, Esq., 
at Oyster Bay, L. I. 
The entrance vesti- 
bule is pronounced by 
an arch and border 
of exposed brick, 
flanked by tall cedars. 
The feeling of the 
house is Italian, yet it 
is an Italian adapted 
successfully to an 
.liuerican country en- 

There should be no 
rear to a country 
house. The service 
wing should be so 
combined with the 
house that one can 
approach it from any 
angle. This is proven 
in the residence of 
George Bourne, Esq., 
at Mill Creek, L. I. 
Garage and kitchen 
are in, the southeast 
wing, which is suc- 
cessfully incorporated 
in the lines of the 
house and hidden by 
the border plantings 






Book of Houses 


Among the interesting features of the house of Henry Rawle, Esq., 
at Morristown, N. J is a glassed flower room leading to an octagonal 
breakfast room, also glassed, that looks out over the stretch of lawn 
on one side and through the formal planting of cedars on the other 

Because it commands the south view looking out over the garden, 
this facade of the home of Laurance H. Armour, Esq., at Lake Forest, 
III., shown below, has large windows in the living room, hall and 
dining room. The half-timber extensions have sleeping porches above 


104 H 0 u s e & G a r d e n ’ s 



Given the setting, the architect and the means, one can recreate 
in our American environment even the most subtle spirit oj 
Italian architecture. The joundation oj the study here is a strip 
of lawn and red bricked terrace. An arched loggia opens on 
this, and above it the end oj the house wing covered in pink 
plaster stucco with stone trim and wrought iron balcony, and 

roojed in red Spanish tile. The jountain, the Italian marble 
benches, the bow window and the shadows cast by the broad 
eaves over the ja^ade have caught and held the Italian jeeling suc- 
cessjully. This glimpse is on the estate oj J. C. Baldwin, Jr., 
Esq., at Mt. Kisco, N. V. Benjamin Wistar Morris was the 
architect oj the house. E. F. Sanjord, scidptor oj the jountain 

Book of Houses 


The scheme for this garage was to house two cars and afford living accom- 
modations for the chauffeur. These are treated as separate units, a fire wall 
separating the living quarters from the garage proper. The rooms, which 
are on the first floor, include a bedroom, bath and large closet. A window in 
bath and bedroom provides light and ventilation and the quarters, although 
compact, are sufficient for comfort. In the garage proper there is space for 
two cars. It is heated by a system placed in the cellar and the cellar is 
reached by an outside stairs. Provision has been made for such necessary 
equipment as patented trap for waste oil and gas, ivith a concrete floor 
pitched to drain to the trap. Electric lights and attachments are planned, a 
gasolene storage in the cellar and a work bench at the rear. Beneath the 
eaves is a storage room. The construction calls for stucco over holloiv tile 
and a slate roof. The view to the left shows the chauffeur’s rooms 


By FRANK J. FORSTER, Architect 

In planning the one-car garage below the architect removes it from the 
ordinary class by makbig it an architectural feature that will grace a small 
property. It is inexpensive, built of clapboard siding painted white. The 
doors are of batten construction and the roof is shingle stained silver gray. 
The dip of the ridge gives individuality to the roof. A trellis to one side adds 
interest and is a small item of expense. On the other side, built in as part 
of the structure, is a small closet for grease, etc. There is a cement floor inside 
and a work bench at the rear. A door from the garage leads to the space 
behind the trellis where gasolene and other accessories as need not be 
covered can be stored. The ceiling of the garage can he either left unfinished 
or boarded over, in which case storage room is provided for extra accessories. 
Tivo windows, one on each side, afford sufficient light for working around 
the car during the daytime 


House & Garden's 


o{ Varied Construction 

A two car garage with glass inserts in doors and plenty of 
windows. Most garages are too dark for working and the 
rhauffeur is hindered. The solution is plenty of windows 

The garage attached to 
the house by a covered 
passage or kitchen 
wing is an almost ideal 
arrangement. Here the 
grouping is convenient 
Bates & How, archi 

If built close to the house the garage should have the same 
general architectural treatment. This design has a wide 
door and plenty of light. Beam ends support bird houses 

The garage in the house can be an integral 
part of the foundations where different levels 
exist. In this case a glassed-in porch is above, 
in harmony 'with the rest of the house 

A combination of rubble stone walls and 
slatted balustrade makes an interesting treat- 
ment for the country garage. The doors are 
wide, but the 'windows too small 

Book of Houses 



Showing A Range of Costs 

Here the bank is cut to give room for a 
garage which supports a porch above. Being 
a part of the house it requires no extra heat- 
ing plant 

The high roof of this two car stucco garage allows for a 
half story attic where winter tops can be stored in summer 
and extra supplies kept. A border planting would help 
the appearance. IT. //. Allen, architect 

Field stone and white wood trim together luith the 
dignified architectural design give this garage a pleasing 
character. Large windows and doors provide the neces- 
sary light for chauffeurs and mechanicians. Taylor & 
Levi, architects 

The garage as one unit 
in a series of attached 
buildings can also 
serve the purpose of 
housing the heating 
plant, the chauffeur 
being stokesinan in 
winter. The wide door 
in the garage above is 

.A hillside always provides the possibility for 
a garage. Here the building fits simply into 
the bank, the roof lying almost level with 
the garden terrace 


House & Garden’s 

The garage accommodates three cars, is well lighted and ventilated 
Behind are located the servants’ rooms. The group is developed in 
white clapboard, with a shingle roof and green shutters 

.4 court, boiler room and coal bin separate the garage proper front 
the living quarters. Here we find a bath, kitchen, living room and 
two chambers 


DWIGHT JAMES BAUM, .irchiteci 

The living quarters front the garden with an arbor extending before 
them. When covered with vines this archway will make a pleasant 
sitting room in summer 

Book of Houses 


Walls surrounding 
the kitchen quar- 
ters are provided 
in the garage. 
From the residence 
of P. S. Kent, 
Esq., II ar tsdale, 
N. V., of which 
Patterson & Dula 
were the architects 

If the garage is in proximity to the house it should have the same general 
architectural character. Here the harmony is further accented by a con- 
necting passage. This is on the estate of C. P. Orvis, Esq., Scarsdale, N. V. 
. J. A. Bodker, architect 

A remarkable ga- 
rage group is on 
the estate of 
laurence Armour, 
Esq., Lake Forest, 
III. The garage is 
flanked on either 
side with chauf- 
feur’s quarters and 
repair shop, all 
thatched roofed 

The main necessity in any garage entrance 
is ample door space. /I5 in this case, which 
is on the property of G. W. Davidson, Esq., 
at Greenwich, Conn., practically the entire 
facade has doors. A . L. Harmon, architect 


Book of Houses 

Addresses of 


Adden & Parker. 

Albro, Lewis Colt 
Allen, H. W 
Almiroty, Randolph H 
Atkinson & Alexander 
Atterbury, Grosvenor 
Bajari, W. R 
Bates & How 
Baum, Dwight James 
Benson, John P 
Berg, Charles I 
Bliss Designing Co 

Bodker, Albert J 

Bottomley, \V. Lawrence 

Buel, Mrs. Emott 

Chapman, Howard. .... 

Coles, N. E care of Eugene W. Crane, 1704 Eirst Ave., N., 

Seattle, Wash. 

Cross & Cross 681 Eifth Ave., New York Cit} 

Dalzell, Kenneth W Maplewood, N. J 

Dana, Richard Henry, Jr 331 Madison Ave., New York City 

Delano & Aldrich 126 E. 38th St., New York City 

Dernier, Eloyd A Eay Building, Los Angeles, Cal. 

Duhring, Okie & Ziegler 1218 Chestnut St., Philadelphia, Pa. 

Edwards, R. C Woolworth Bldg., New York City 

Embury, Aymar II 132 Madison Ave., New York City 

Eyre, Wilson, & Mcllvaine 1003 Spruce St., Philadelphia, Pa. 

Fernald, G. P. . . .care of Little & Brown, 70 Killjy St., Boston, Alass. 

Forster, Frank J 33 W. 42nd St., New York City 

Freund, Karl 10 E. 46th St., New York City 

Gilbert, C. P. H 1123 Broadway, New York City 

Gilchrist, Edmund B Harrison Bldg., Philadelphia, Pa. 

Goodwin, Bullard & Woolsey 4 E. 39th St., New York City 

Gore, Wh E Paducah, Ky. 

Graham, John, Jr 130 S. 15th St., Philadelphia, Pa 

Gregory, Julius 56 W. 45th St., New York City 

Harmon, A. L 3 W. 29th St., New York City 

Heacock & Hokanson Bailey Bldg., Philadelphia, Pa 

Howe, George care of Mellor, Meigs & Howe, 205 S. Juniper 

St., Philadelphia, I’a. 

Hunt, IMyron T . .1017 Hibernian Bldg., Los Angeles, Cal. 

Johnson, Reginald D Staats Co. Bldg., Pasadena, Cal. 

Kahn, E. J 56 W. 45th St., New York City 

Knowlton, Harry W 24 Mcmadnock Ave., Lowell, Mass. 

Lang, Eugene J 477 Fifth Ave., New York City 

Lee, W. Duncan 'Praveler’s Bldg., Ridimond, Va. 

2 W. 47th St., New York City 

. . .70 Kilby St, Boston, Mass. 

34 S. 16th St, Philadelphia, Pa. 

597 Fifth Ave., New York City 

36 Pearl St., Hartford, Conn. 

15 E. 40th St., New York City 

205 S. Juniper St., Philadelphia, Pa. 

Morris, Benjamin Wistar 101 Park Ave., New York City 

Morris & Erskine Crozer Bldg., Philadelphia, Pa. 

Morse, Henry G 101 Park Ave., New York City 

Murchison, Kenneth M 101 Park Ave., New York City 

Murphy & Dana . .331 Madison Ave., New York City 

Nelson, Francis A 15 W. 38th St., New York City 

Newkirk, Clement R 40 Clarendon Bldg., Utica, N. Y. 

Newton, Sir Ernest Grey’s Inn Court, London, England 

O’Connor, J. W 3 W. 29th St., New York City 

Patterson & Dula 15 E. 40th St., New York City 

Peabody, Wilson & Brown 389 Fifth Ave., New York City 

Peare & Quiner 6 Beacon St., Boston, Mass. 

Perot, Robeson Lea 26 S. 17th St., Philadelphia, Pa. 

Phillips, J. H 681 Fifth Ave., New York City 

Phillips, W. Stanwood 103 Park Ave., New York City 

Pope, John Russell .527 Fifth Ave., New York City 

Porter, Lee 409 Boylston St., Boston, Mass. 

Prentice, A. N.. . .Hastings House, Norfolk St., Strand, London, Eng. 

Redfern, Harry care of Central Control Board, Latymer House, 

134 Piccadilly W., London, England 

Rose, A. Winter (deceased) 

Russell, Harry B 9 Park St., Boston, Mass. 

Schmitt Bros 343 Madison Ave., New York City 

Smith, Bowen Bancroft 104 W. 42nd St., New York City- 

Smith, F. Patterson 67 Milk St., Boston, Mass. 

Sommers, Amy 312 W. 99th St., New York City 

Squires, Frederick 27 E. 22nd St., New York City- 

Stern, B. E 56 W. 45th St., New York City 

Sterner, Frederick J 150 E. 62nd St., New York City 

Stevens, Louis 238 Fourth Ave., Pittsburgh, Pa. 

Stillwell, E. W California Building, Los Angeles, Cal. 

4'aylor & Levi 105 W. 40th St., New York City 

Looker & Marsh 101 Park Ave., New York City 

’Fownsend, Charles Frederick 55 Church St., New Haven, Ct. 

Tuttle, Bloodgood 44 W. 34th St., New York City 

Walker, Stewart 128 E. 37th St., New York City 

Walker & Gillette 128 E. 37th St., New York City 

Willing, Charles 1()27 Sansom St., Philadelphia, Pa. 

12 Bosworth St., Boston, Mass. 

2 W. 47th St., New York City 

Jackson, Mich. 

46 W. 46th St., New York City 

35 Bedford Square, London, England 

20 W. 43rd St., New York City 

3437 Franklin Blvd., Chicago, 111. 

35 W. 39th St., New York City 

Riverdale-on-the-Hudson, N. Y. 

331 Madison Ave., New York City 

331 Madison Ave., New York City 

Rockford, 111. 

62 W. 45th St., New York City 
597 Fifth Ave., New York City 
20 E. 46th St., New York City 
315 Fifth Ave., New York City 

Lindeberg, Harrie T 
Little, Harry 
McGoodwin, Robert R 
Major, Howard 
Marchant, W. T 
May, Charles C 
Mellor & Meigs 



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