44 
House & Garden 
The overdoor in the residence of Frederick 
Humphries, Morristown, N. J., is an intricate 
design of birds, flowers and scrolls. H. T. Linde- 
berg, architect; Oscar Bach Studios, craftsmen 
Flat iron strips were used in 
creating the garden grille of this 
gateway at Quanabacoa, Cuba 
An overdoor in the 
Carr residence, Lake 
Forest, III. II. T. Linde- 
berg, architect; Oscar 
Bach Studios, craftsmen 
Detail of gate at work¬ 
shop of Samuel Yellin, 
craftsman; designed by 
Mellor, Meigs & Howe, 
architects, Philadelphia 
most splendid gateways have their outer 
iron doorway finely wrought in simple 
but exquisite pattern. America has seen no 
finer ironwork than that on the facade of 
the Quinta de Cardenal at Matanzas. 
Of course, many of the early settlers 
brought in turn examples of ironwork 
peculiar to their own country, or at least 
they brought the memory of it and the 
craftsmen. Consequently fine examples of 
English ironwork are to be seen in Charles¬ 
ton, also something of the French work; 
and further down, in Louisiana, we find the 
iron craftswork almost wholly 
French, and frequently cast 
iron, rather than wrought, but 
this exceedingly good of its 
kind. 
In St. Augustine the Spanish 
influence is again noticeable in 
the iron grilles and railings and 
balustrades, but here it is 
more of the north of Spain, 
more removed from the Moor¬ 
ish influence. 
For a time all quality and 
beauty seemed to disappear 
from iron making in this 
country, and cast iron, along 
with every sort of other fac¬ 
tory product, had its day in 
the Victorian era. When we 
first began to manufacture in 
America we were very proud 
of it and quite excited about 
it and the machine-made pro¬ 
duct affected all craftsman¬ 
ship. Our industrial arts lost 
personality and beauty, and 
we seemed only to want what 
was turned out of the factory, 
