October, 1920 
49 
\'V. 
The severe simplicity of the front 
facade is broken by a classical portico 
with a white plaster fan device over 
the door 
background to display the delicate lead 
tracer)' set against it. Its function is purely 
ornamental and inside there is no sugges¬ 
tion of the exterior treatment. 
Bramble Haw inside fulfills the promise 
of the exterior. The woodwork of the hall 
is especially felicitous in the disposition of 
the panels and in the detail of the moldings, 
while the fireplace with its veined marble 
surround, set in the corner according to a 
well-established old English usage, is the 
crowning gem of the composition. 
In the library the glazed doors to the 
bookshelves are of modern addition but the 
lines of the cupboards beneath, which are 
in their original condition, are worth noting 
for their simplicity and refinement. In the 
drawing-room, at the back, the pillars, cor¬ 
nice, and overdoor panel are as the Adelphi 
designed them, but the large wall panels 
with medallions, swags and drops are of 
the same date as the addition of the exterior 
excrescence previously alluded to. At that 
time also the exquisite little dining room 
was spoiled by lengthening it by covering 
the walls with heavy William and Mary 
paneling in oak, and by a new ceiling of 
(Continued on page 58) 
The house is a thor¬ 
oughly characteristic bit 
of the late 18 tli Cen¬ 
tury urbanity in archi¬ 
tecture. As originally 
planned, it was an al¬ 
most perfect cube. The. 
stone for the walls is 
said to have come from 
the. old London bridge 
A gateway in architectural har¬ 
mony with the house dignifies the 
entrance to the grounds. Its 
classical, white painted posts stand 
in striking contrast with the foli¬ 
age beyond. A wall completes 
the enclosure 
The severity of each facade is 
broken by base courses and well- 
proportioned molding, and up 
under the cornice the fluted frieze 
is broken at intervals by gray 
terra cotta roundels matching the 
color of the stone 
