Art Out-of-Doors 
with the well-known Longfellow house in 
Cambridge. 
But the introduction of classical fashions 
in architecture meant the erection of por- 
ticos, and the addition which they made 
to comfort has never again been dispensed 
with. When classic forms were abandoned 
in favor of what has been dubbed our 
“vernacular” style of architecture — when 
little temples gave way to plain, square, box- 
like houses with gabled roofs — the portico 
vanished, but its place was taken by a modi- 
fication of the veranda which had long been 
in use in all southern lands. I speak of the 
course of things in our Northern States ; at 
the South, where Spanish influence was felt, 
verandas and balconies seem to have been 
used from the earliest times. 
When we say a “vernacular” style of 
architecture, we mean one which has been 
the unaffected outcome of universal needs 
and desires and, therefore, whatever its de- 
fects from an artistic point of view, must 
have a large measure of practical fitness to 
recommend it. Many factors of such a style 
must persevere if progress in art is to mean 
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