HOUSE AND GARDEN 
342 
May, 
An old house in Rouen illustrating the 
original construction of half-timber work 
with brick filling between the timbers 
Corner block-like projections of this kind are 
called quoins. The motive is derived from 
stone work. St. Peter’s, Philadelphia 
The Chateau of Saint-Agil, where a diaper 
pattern is secured by the insertion of 
bricks of a contrasting color 
meretric’.ms terra-cotta gewgaws and gimcracks to satisfy de¬ 
mands for elaboration—not that terra-cotta ornament is not good 
in its proper place. One of the simplest forms of this kind of 
brickwork is a belt course made of a row of headers set vertically. 
Sometimes in old houses above the lintels of the windows a flat¬ 
tened arch is outlined in vertically laid headers with good effect. 
Then, too, keystone-shaped lintels, flush with the wall, are often 
made of bricks set vertically in the centre and spreading to con¬ 
vergent diagonals at the sides. 
While on this particular division of the subject, it may be well 
to suggest that there are considerable possibilities in the use of 
bricks differently shaped from the ordinary type. We all know 
what a sense of satisfaction the introduction of the long, narrow 
Roman brick produced, even in absolutely plain wall surfaces, be¬ 
cause of the difference in shape and size. We know, too, how 
pleasant it is sometimes to discover a bit of old English or Dutch 
brick, so-called, not because of importation from England or 
Elolland, but because of their respective sizes and shapes that fol¬ 
lowed the patterns used in 
those countries. Undoubt¬ 
edly some of the early 
Colonial brick did come 
from over seas, but most 
of it was made right here 
in America. If all the 
“English’’ and “Dutch" 
brick had really been im¬ 
ported it would have kept 
a tremendous fleet busy all 
the time exclusively in this 
traffic. 
Twisted and overburnt 
“seconds” from the brick¬ 
yards can be used to advan¬ 
tage and give a wall a 
unique appearance. One 
of the accompanying illus¬ 
trations shows a pleasing 
use of a belt course between 
the first and second floors 
of a suburban house. It is 
the width of two stretchers 
laid vertically. The arches over the first floor windows are also 
of vertical bricks. The herring-bone design has always been a 
great favorite and the picture of San Stefano at Bologna shows 
an excellent use of it in connection with the insertion of colored 
marbles. In the chimney of the Chateau Blois we see a convinc¬ 
ing arrangement of panels alternately of herring-bone and run¬ 
ning bond. The scheme is peculiarly forceful and quite worthy 
of the great chateau in which it stands. The design followed in 
the front of the old house in Rouen, shown herewith, is decidedly 
unusual and presents a style of paneling that might fittingly be 
copied, with certain modifications. The crossed timbers and the 
arrangement of the bricks are strongly suggestive of rush-bot¬ 
tomed chairs. Dozens of good designs can be devised for panels 
and friezes, at the same time keeping a perfectly flat surface, and 
when combined with the former system of ornamentation, the 
possibilities are mightily increased. An interesting example of 
herring-bone setting combined with countersinking is seen in the 
tympana of the window arches in the Colony Club, New York, 
top of page 341. 
The last variety of brick 
ornamentation that can be 
mentioned here is the sort 
that makes use of different 
hued units to secure the de¬ 
sired end. We learn our 
most impressive lessons in 
this type from the buildings 
of the Renaissance period, 
mainly in Italy, France and 
Flanders. A riotous ex¬ 
uberance of genius dom¬ 
inated the architecture and 
luxuriated in a wealth of 
graceful form and gorgeous 
color that was not confined 
to interiors. Stone, brick 
and tiles were freely inter¬ 
mingled in exterior walls, 
and vari-colored materials 
were combined in a way to 
startle some modern 110- 
(Continued on page 3701 
A flat belt course of bricks on end gives an interesting line just below 
the second-story windows, as well as for window sills and arched 
openings. Guy Lowell, architect 
