86 



The Country House 



uted Classic and Gothic details. Sometimes the Gothic got in a telling stroke; 



then again you had to hunt for it. One striking feature is the terminal pilaster, in 



which the shaft of the motive ta- 

 pers from the cap toward the base. 

 Some good effects have been ob- 

 tained with its use. In the carving 

 very few planes were used, and the 

 effect of the whole is rather to- 

 ward the stiff and brutal, although 

 it is often excellent, and, further, is 

 strictly on the lines of wood carving. 

 At a later date the influence 

 of the Italian predominated, but it 

 lacked the grace and beauty of 

 line which characterised its parent. 

 This was the Georgian style. Sir 

 Christopher Wren did much to 

 raise this degraded style, and 

 several examples of our own early 

 work are attributed to him. 



The term "Colonial" is some- 

 what misleading. It is really a 

 copy of the Georgian, and is, in 

 some instances, pure Georgian. 

 But as the conditions of the col- 

 onies demanded greater simplicity, 

 in their generally poorer condition 



An adaptation of the Japanese at Fall River, Miss. Cram, \Ventworth & and DrobleiTlS of life tllCV WCTC 

 Goodhue, architects * . . ' { . . 



led to invent, modify and devise 



motives which differed materially from the parent style. The Southern examples 

 of Maryland and Virginia are perhaps nearer, in most instances, to the English 

 models. On the other hand, many of the New England examples show novel 

 though not always successful treatment. The earliest forms were of course 

 very simple, hardly any attempt at design being made. Later developments were 

 more pretentious, and in many instances suggestive of luxury. 



The general basis of design being Classic, the results were more or less 

 severely architectural, some examples adhering closely to Greek and Roman pro- 

 portions. More, however, deviated in the Italian direction, and these were 

 perhaps the most pleasing. The more successful of the free examples have a 

 tendency to lightness of detail, and frequently introduce ornament of a Gothic 

 character. Those leaning toward a heavy treatment are generally, unless purely 

 Classic, clumsy and in bad taste. The principal legacy of the Dutch settlers was 

 the Dutch door. It was brought with them from the fatherland, and seldom, 

 if at all, penetrated either to the South or East, being confined to the vicinity 

 of its introduction, principally in New York and Pennsylvania. This door, 

 which was always exterior, was constructed in two halves, each swinging inde- 



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