gh AMERICAN HOMES AND GARDENS 
A marked characteristic of Colonial architecture is the 
absence of bow windows, which were factors of styles of less 
formality in design. In modern work, in which these win- 
dows are often essential to the plan, they should be con- 
sidered as major exterior factors, should be arranged to 
balance symmetrically on either side of the central axis, and 
should receive the same dignity of treatment as the porticoes. 
At best they are distinct interpolations in the style. The 
Palladian motive, i. e., an arched opening flanked by two 
narrower square-headed openings, carried only to the spring 
of the arch, is one of the most pronounced motives of Co- 
lonial design. It is an important motive, and for use in two 
ways only, either upon the main axis or in case of announcing 
a large room or hall, in regular repeats, usually in threes, 
fives or sevens, i. e., uneven numbers. It should never be 
squat, that is, the united width of the three openings should 
not exceed the height to the spring of the arch. In modern 
work it is frequently placed off axis and unrelated to any of 
the other openings. It is a distinct advantage in Colonial 
work to arrange the chimneys symmetrically, and while this 
is often impossible, those penetrating each roof should at 
least be carried to the same height. 
The balustrades are of several varieties, some quite heavy, 
simulating stone balustrades, which type should be used upon 
terraces and near the ground. 
The balustrades grow, relatively, lighter toward the top 
of the building. Others are made up of slender, turned bal- 
usters, which should not be over their own diameters apart. 
Still others are of an open character of straight or curved 
diagonals within horizontal rectangles, the thin edge of the 
sections across the direction of the balustrade; these latter 
are very light in appearance. It not infrequently happens 
that the height of the balustrade is disproportionate to the 
entablature below, and seems too high because of the num- 
ber of vertical balusters, while, if it be lowered, the corner 
posts lack accent. 
Because of this fact two expedients have been adopted, 
one of placing terminal vase forms on the corner and division 
posts, the other of carrying these posts higher than the bal- 
ustrade rail and ramping the rail upward at the posts. “The 
latter expedient is rare in early exterior work, though used 
upon interior staircases. Both expedients have been grossly 
exaggerated in modern work. ‘There is nothing that so 
vulgarizes a balustrade as excessively high or large ramps at 
the posts. The turned balusters should be square in plan at 
both ends. A Colonial design of wood should have an ade- 
quate water table, and if corner pilasters are used the water 
table needs projection, even if a shelf occurs in consequence. 
The base line of any classic building requires to be announced. 
The usual object of belt courses is to create long horizontal 
lines lowering the effect of che design. They are more effec- 
tive by their shadows than by their width, and are often too 
broad in modern work. 
The same fault occurs in entablatures. There are many 
admirable Colonial buildings in which the architrave and 
frieze are entirely omitted, the bedmold and cornice alone 
being sufficient for the delicacy of the style. There is no more 
common fault in modern work than the exaggeration of the 
frieze and its over-elaboration. Manifestly an architrave 
over a wall does not require the depth of one over an open- 
ing. In the cases where the attic story becomes the frieze, 
the architrave becomes a belt course below the attic windows 
and the frieze is of the same tone and color as the wall below. 
The cornice is developed from any of the orders of archi- 
tecture, and its bedmold may have beam ends, modillions, 
etc., or not, at will. There is also a type of delicate cove used 
which is often lunetted and made into a bracket course. 
Heavy Florentine bracketed beams and corbel courses are 
not sufficiently delicate for the style, though used in modern 
work. The window and door trims should be narrow rather 
January, 1909 
than wide; they may have a cap molding, and, if desired, be 
pedimented with low triangular or arched pediments, broken 
or unbroken, but these are easily overdone, and are best over 
axial motives and over the dormers. The broken pediments 
of the Colonial style are extremely rich in light and shade, 
and become spotty and irritating if used in excess. 
The subdivisions of the sash have occasioned as much dif- 
ficulty as any factor of the style. The style being a delicate 
one, it does not brook large undivided openings, and the 
window muntins tend to harmonize and often to create the 
scale of the facade. If they are omitted the whole detail 
should become more robust. The subdivision of sashes 
should be regular and alike on both sashes of each window, 
and should be studied for harmonious effect throughout the 
building. The introduction of different sized lights in the 
upper and lower sashes and in adjacent windows is produc- 
tive of confusion of scale. Diagonal lights are entirely out 
of character with the style. The sections of the moldings 
vary with the quality of the types, some being fine and deli- 
cate, others broad and robust, but the same character should 
be kept throughout the design. It is not unusual in modern 
work to see delicate entrances associated with heavy cornices, 
or vice versa, creating confusion in the scale of the building. 
Another important factor is that of keeping the grouped 
moldings with the same facial angles, i. e., if they are based 
upon lines of forty-five degrees, that angle should be domi- 
nant throughout the sections. The general tendency of the 
proportion of rooms or factors in plan is of forms having 
length, the rooms are not square or circular, but have length 
and are oval in plan, and there is the same tendency in the 
porch plan: It is seldom successful if planned upon a portion 
of a circle, and is much better when based upon portions of 
an oval. Long subtle curves in arches and in plan are more 
characteristic of the style than are semicircles, with the ex- 
ception of the use of circular-headed windows in important 
places. 
Colonial interior detail is often more elaborate than ex- 
terior. ‘The mantels are carved and decorated with garlands 
and medallions, the surfaces are fluted with both convex and 
concave flutes, and there is the constant occurrences of oval 
panels filled with the sunburst pattern of radiating flutes. 
The principal characteristics of the style are those of 
dignity, formality, simplicity of arrangement, delicacy of de- 
tails, and subtlety of proportions and uniform scale. The 
faults evident in the imitations of the style are picturesque- 
ness of conception, complexity of arrangement, coarseness 
of detail, and disregard for scale, and these faults are most 
evident in the following factors of the design: First, in the 
use of orders of widely different character and scale. Second, 
in disregard of accent of axis. Third, in disregard of the 
placing of openings on the same horizontal lines and over 
each other and of their vertical character. Fourth, in the 
disregard of simplicity of arrangement of columns and of 
intercolumniation. Fifth, in the too frequent use of cir- 
cular forms in plan instead of oval forms. Sixth, in the 
over-elaboration of detail, excess of broken pediments, etc. 
Seventh, in the disregard of scale in the subdivision of the 
windows. Eighth, in the excessive size of friezes, of key- 
stones, and of ramps and of vases. Ninth, in the treatment 
of bow windows unrelated in scale to the facade, and, lastly, 
in- the failure to recognize that Colonial exterior detail 
should be quite as nearly white in tone and color, while in- 
terior detail is preferably white, or gray, or tinted, but can 
be in natural wood of a neutral light tone and color, con- 
trasted with dark doors, stair rails, stairs, floors and furni- 
ture. Upon the exterior it is an architecture of light tone 
throughout, excepting in the doors. In the interior it is 
often an architecture of strong contrasts of a strong dark 
and light. It is not improved by the use of gold, excepting 
in portable objects set upon it as a background. 
