Tuesday, May 3, 2016

The Frank Hearne and Alfred Lamb Houses, Hannibal, MO

Frank P. Hearne House, Hannibal, MO. 1871 Photo: Mike Steele
Alfred Lamb House, Hannibal, MO. 1859 Photo: Mike Steele
Sitting across from each other on Bird Street in Hannibal, are two impressive Italianates, the Hearne and Lamb houses. The Frank P. Hearne house, above, was built in 1871 for a lumber merchant. The house has a plain side hall facade facing 6th St. but this view of the side shows its impressive irregular plan side facade on Bird St., a duality that gives it a rather schizophrenic quality. I prefer this facade. One can see the completely towerless irregular form and the longer left-hand facade which brings the house out to 6th St. The simple brick facade is pierced with segmental arched windows that have pedimented stone label moldings above, creating a nice interplay between rounded and angular forms. The cornice has smart-looking and frequent paired small brackets on a subdued entablature board that give it a sophisticated air.

This lower house was built by Alfred Lamb a railroad president in 1859. Since this photo, the house has been beautifully restored by expert restoration craftsmen and is now the Belvedere Inn. It follows the five bay plan with a hip roof. The segmental arched windows on the second floor are topped with especially fancy cast iron rococo hood moldings. The porches have been restored with all their splendor. What catches my eye especially on this house though is its massive cupola, perhaps the largest cupola I have posted on this blog. The cupola is rectangular, rather than square as expected, and each bay of the cupola has two arched windows with eared surroundings and dentils. The sides are twice as long as the front. I'd imagine that given its size, it must produce a sizeable interior space that has more functionality than the typical cupola.

Sunday, May 1, 2016

The Jesse H. McVeigh House, Hannibal, MO

The Jesse McVeigh House, Hannibal, MO. 1885 Photo: Brandon Bartoszek
Photo: Amanda Baird/BlackDoll Photography
The Jesse McVeigh house, built in 1885 for a member of one of the major families of Hannibal, is one of the most photographed homes in town, certainly due to its beautiful state of preservation, eye catching features, and attractive paint scheme, even if the painting is a little inaccurate for the period. The house follows the rotated side tower plan (of course this example is towerless, though the side tower mass is expressed by the right hand bay), which in essence is an irregular plan with the short side facade facing the street as the principal expression of the house. The home has a typical steep hip roof that nearly every Hannibal house has and is enlivened by beautiful detailing. The segmental arched windows have elaborate label hood moldings with fanciful, impossibly un-classical brackets, thick keystones, and Eastlake incised designs. A bay window on the front continues the general design. The cornice has a simple architrave molding with small entablature windows, a run of dentils, and elaborate s scroll brackets. Perhaps most impressive, though, is the abundance of porches, with elaborate paneled post supports that form shouldered arches. On the right, the porch has two stories (though the upper porch might be slightly later), while on the left, the porch gracefully curves out and projects an entire bay from the facade, a very uncommon feature, as side porches usually are far more closely attached to the facade. This is perhaps an influence of the porch mania and inventiveness of contemporary Queen Anne design that gives unlimited scope for non-traditional porch possibilities. It does create an awkward join between porch and facade, but nonetheless creates a beautiful open space around the entrance.

The plan must have been popular. It seems that John Mounce beat the McVeighs in introducing this plan in his house at 207 N Maple in 1880. The Mounce house is basically identical (without the second story porch addition) although the second story windows are joined rather than separated as in the McVeigh house.

Mounce House, 1880 Photo: Mike Steele
Photo: Amanda Baird/BlackDoll Photography

Friday, April 29, 2016

The Edward M. Holmes House, Hannibal, MO

The Edward M. Holmes House, Hannibal, MO. 1885
Photo: Amanda Baird/BlackDoll Photography
The Edward M. Holmes house was clearly very impressive, but is currently in need of some TLC for sure. The house was built in 1885 for Edward Holmes, a cigar manufacturer, and went through a succession of owners. On a corner lot, the house presents two finished facades. The front has a typical side hall design of three bays, while the side facade has a strong projecting central pavilion, gabled, with a two story bay window. The side originally had two porches with tent roofs, but one has been filled in while the other after this photo was demolished and replaced by a mudroom (unfortunately). The front of the house features the most elaborate features, with cast iron window hood moldings with bulls eyes. The thick cornice has several layers of moldings with a thick run of smaller brackets and an odd number of long brackets. Long brackets usually divide bays, so there should be four pairs, but this facade has only three. Finally, the most impressive feature is the intact bracket surround around the front door with an overly thick molding, tent roof, and one massive c scroll bracket that runs the height of the door, which seems to feature large expanses of glass. Throughout are Eastlake incised carvings. I think this house suffers most from a sorely needed coat of paint; a little restoration and it would look fantastic.


Wednesday, April 27, 2016

The William Ebert House, Hannibal, MO

The William Ebert House, Hannibal, MO. 1865 Photo: Brandon Bartoszek
The William Ebert house at 1000 Center St. in Hannibal, MO was built in 1865 for a newspaper owner. Having gone through many owners, by the late 20th century, most of the house's exterior features, its porches, balconies, and metalwork had disappeared, but it was recently restored through older images authentically. The house follow the irregular plan, but lacks a central tower as well as a strong central projection where the tower would be. Like many of the houses in Hannibal and especially in the midwest, the house has a steeper pitch to the hip roof than is often found. This makes the house look like a series of retreating steps. The plain brick facade has arched windows with stone insets that have a shouldered arch shape and incised Eastlake carving. The cornice has small brackets with large c scroll brackets at the corner; these actually take the form of distorted Doric trigylphs complete with guttae (small circular drops). Interiors can be seen here.

Monday, April 25, 2016

The John L. Robards House, Hannibal, MO

The John Robards House, Hannibal, MO. 1871 Photo: Brandon Bartoszek
The John Robards house built in 1871 for a friend of Mark Twain who was an important lawyer in Hannibal. I think it's one of the most impressive looking houses in town, with its original iron fence and its details intact. The house is a five bay plan building with a hip roof and a cupola, which interestingly is very tall as well as has two bays of tombstone windows. In plan, it's very similar to the Brown house featured earlier. The brick facade of the house has stone quoins at the corners, and the windows are segmental arched with simple hood moldings. There are tombstone windows in the central bay, giving it emphasis, something also emphasized by the porch's span of only the center three bays. In general, the outer bays, the porched three central bays, and the emphatic central bay in line with the cupola create a really pleasing balance of shapes and emphases. The impressive porch with its simple posts has open arches spanning the rectangular openings with pierced jigsaw work in the spandrels, again, like the Brown house. The cornice is paneled, with s scroll brackets defining the bays and smaller brackets in between. The house is now a bed and breakfast and interiors can be seen here.

Photo: Mike Steele

Saturday, April 23, 2016

The J. B. Brown House, Hannibal, MO

The J. B. Brown House, Hannibal, MO. 1870 Photo: Brandon Bartoszek

Photo: Amanda Baird/BlackDoll Photography
The J. B. Brown house in Hannibal, MO, which is where we are travelling in the next several posts, is a fine example of a mid-western vernacular blend of Greek Revival forms and Italianate detail. Hannibal is the town of Mark Twain and was a major manufacturing center for cement. The house was built rather late to be as simple as it seems and looks more to be a product of 1850 than 1870. It follows the five bay plan with a hip roof and beautiful cupola with arched tombstone windows, paired brackets, pilasters, and a fine finial. The body of the house is brick with simple window surrounds, only ornamented with severe stone blocks. The house doesn't even have strong brackets. Yet its two details that make this an exceptional home. First is the central window and door on the façade. These consist of fluted pilasters with long brackets supporting a hood molding with small brackets. The central door has two arched side lights, an Italianate version of a Federal form. The porch is the second outstanding feature with its shouldered arches that have exquisite pierced cut outs in the spandrels. Above is a frieze of semicircles. The balustrade above is a lattice work of circles, a particularly neat design. This house works because the simplicity of the façade allows the porch and central windows center the composition and don't have to compete with other ornamentation. Note the original iron fence, miraculously preserved, and the paint scheme; it strikes me as very historically appropriate.

Thursday, April 21, 2016

John Notman: the Father of American Italianate Design


Having presented seven of John Notman's houses, it's now time to deal with the man himself. For being one of America's most important early architects, not a lot is known about Notman's personal life; there are no diaries, letters, and the usual ephemera that tell us about 19th century architects. Not only did Notman introduce Italianate to American design, but he also developed American Gothic and built one of the first academic Gothic churches in the country. His legacy is best found in his buildings, a surprising number of which survive. Beyond a selection of drawings (held in Princeton and Philadelphia) and some personal correspondence between him and his clients and friends, we don't have much. The main monograph on Notman is called John Notman, Architect (1810-1865) by Constance Greiff, whose series Lost America no doubt made her a "constant grief" to progressive minded architects in the 1960s. Greiff offers a conservative, scholarly estimate of his career and provides a full account of his buildings with accompanying plans and drawings.

John Notman was born in Scotland in 1810 and although his early life is little known, he ended up in Edinburgh in the 1820s and was an apprentice to one of the major architects there. Greiff suggests William Henry Playfair because of his Italianate and Gothic designs which could have influenced the young architect. Indeed, Playfair is one of the earliest English Italianate designers, though his works owe much more to traditional Regency plans than the freedom of Italianate asymmetry and massing that characterized the works of Charles Barry and Notman. Perhaps the young Notman was in the know about experiments in asymmetrical planning; he certainly seems more acquainted with Italian rustic architecture than his English predecessors who preferred high style Italian Renaissance urban idioms. In 1831 Notman immigrated to Philadelphia where he set himself up as a "carpenter", really the term for an architect at that time; in his early years he seems to have designed little of note. In Philadelphia he met John Jay Smith, the head of the Philadelphia Library Company who would introduce Notman to a host of rich clients in Pennsylvania and New Jersey for whom he would design his best villas. It was through Smith Notman was given the commission to design Laurel Hill Cemetery in 1835, both its landscaping and its architecture (including an odd sculptural tableau of Sir Walter Scott!). It was also through Smith that Notman met George Washington Doane, for whom he constructed 'Riverside', America's first Italianate building in 1837-9.

Laurel Hill Cemetery Photo: Wikimedia
After these commissions, Notman's fame grew. His first major work that stunned Philadelphia was the Athenaeum of 1842. Here, Notman abandoned the rustic Italian form for the traditional English Renaissance influences. When the building opened, apparently the public was more impressed with his use of brownstone, a rarity in that period, than the design itself. The use of stone rather than brick would characterize almost all of Notman's subsequent works, and he rarely designed in wood. Additionally, his fascination with lacy ironwork and multi striped tent roofs also manifested in the Athenaeum's design. The Athenaeum was hailed as a masterpiece and would influence generations of urban architects to use the Anglo-Italianate mode of design for everything from banks to warehouses to row houses.

The Athenaeum Photo: Wikimedia
Throughout the 1840s, Notman would be busy designing a series of houses, public buildings, churches, and villas for his ever expanding circle of wealthy mid-Atlantic clients and patrons. He was as much an accomplished landscape architect as builder, and after Laurel Hill he seems to have been in demand for vast landscape projects as well as buildings. He was particularly active in Princeton, where he worked on buildings for the Theological Seminary (chapel, library) and the university (the Italianatization of Nassau Hall). Additionally, he worked in Richmond, VA designing the Capitol Square. As we can see from the houses we have looked at, Notman's work became more and more bold as he gained confidence as a designer, and his plans grew ever more complex with new arrangements of volumes and massing. He never followed the trend of other architects who invested their energy into plan books, such as Alexander Jackson Davis. For Davis he did design one plan, Design IX in Cottage Residences. Notman's design is the genesis of what I have called the pavilion plan, a plan base he would use in many of his subsequent houses. Ironically, he seems to have never built a house that matched Design IX. In the façade of this house, we can see much that characterized 'Riverside' especially the fringe on the cornice, the broad tower with massive eaves and the bold porch. Echoes of this design can be seen in his later work, especially at Alverthorpe.


While he was designing Ellarslie in Trenton, Notman was also working on one of the seminal monuments of American Gothic design in Philadelphia, St. Marks church (1849). Getting in with the high church Anglican society was a tough nut for any architect to crack. Notoriously fussy with a host of nitpicky liturgical and denominational requirements, they made a hobby of sneering at architectural designs that were too low church for them. Notman's St. Marks is one of the first Gothic buildings in the US designed for this group, and he studiously sought to allay criticism by adhering to English Gothic precedents. Notman's care thus gave the US its first academic Gothic design that entirely departed from colonial preaching boxes and tried to communicate some of the asymmetry and spirit of Gothic. Church commissions poured in afterwards.

St. Mark's Philadelphia
Photo: Tom Ipri
As the 1850s dawned, Notman was a firmly established master architect for the mid-Atlantic. The beginning of the decade saw the construction of Prospect House in Princeton and Averthorpe in Jenkintown, PA. Notman had established his style and his remaining commissions until his death in 1865 continued in the same vein, working in both Italianate and Gothic modes. In this period belong Fern Hill (originally designed by Notman in a Gothic idiom) and Fieldwood in Princeton. After a fire at Princeton's colonial Nassau Hall in the 1850s, Notman added Italianate towers and a new cupola to the design, bringing the old Georgian building up to date (his additions have been mostly removed). Never one to shy away from innovation, Notman even finished the Second Empire 'Ogontz' in 1862. At his death in the year the Civil War ended, Notman could look back on a revolutionary career in shaping American architecture, and fortunately many of his buildings, especially those of a particularly style-making character survive so we can get a clear picture of his legacy not only through plans but through the buildings themselves.

Notman's Domestic Italianate Designs

As fascinating as his legacy in Gothic design is, here we are most concerned about Notman as an Italianate designer. Departing from English precedents, Notman offered an approach to design that introduced picturesqueness to America, a country he found filled with rectangular, symmetrical Georgian, Federal, and Greek Revival houses that looked inward. Essentially, the way that Notman conceived of a building was as a series of symmetrical blocks, each one filled with one or two rooms. In some senses, each of those blocks serves as its own design unit, sometimes harmonizing, sometimes conflicting with the dominant design. These blocks were grouped around a central focal point, usually a central hall. Like the monasteries and farmhouses of Italy, which were built for functionality more than aesthetics, the Italianate design reveals the interior organically, forcing the exterior to some extend to conform to the interior. Without having to worry about fitting rooms into a rigid rectangle with a set window plan, architects could freely combine different rooms and create vistas and flow in a more exciting way. Additionally, it brought the outdoors inside, since each block created a different viewpoint to the outside, one of the reasons Notman worked to landscape around his houses, in order to frame the outdoors for each of these varying rooms. It's no wonder people embraced Italianate design. Not only could you basically do what you wanted and infinitely add on large rooms and pretend like you were living in romantic Italy, but it was something new, something that did not look like the rows of neat but repetitive colonial houses.

The two basic building blocks of Notman's house designs are the rectangle (the block-based plan), often with symmetrical projections, and a group of two rectangles intersecting, the L-shaped plan that would grow into the irregular plan. The block-based plan is in essence a rectangle, while the L-shape has its eponymous profile. Onto these two basic shapes, Notman grafted all sorts of projections as needed for different rooms and vistas. Additionally, there is the tower block, which in Notman's designs is sort of a free agent, moving around the plans and never occurring in the same place. Unlike later designers, Notman located the tower to the side rather than situating it in the center. Thinking of his designs as rural villas, Notman didn't hang any façade out to dry. Because they would be viewed from every angle, most of his houses are finished on each side. This means that one can often seen several different sorts of plans and facades in each house. A back projection, for instance, automatically creates an L-shape, while a long side façade creates a rectangular block. Italianate houses have two conflicting thrusts, verticality and horizontality. For Notman, being a good designer, it was important that these harmonized well. Every time you raised a tower, creating vertical thrust, it had to be counter balanced by a horizontal thrust, which in his case usually took the form of low servant wings. Looking at a comparative drawing of the villas we have examined (Fern Hill excepted, as it follows Upjohn's double tower plan) we can see the block arrangement clearly. Below is a comparative drawing of six of Notman's designs.


It's not only Notman's plans which express his unique style. A look at any of his houses shows a pretty consistent grammar of ornament. Most Notman houses include these features:

-Stone façade, usually of colorful fieldstone with simple brownstone trim (and quoins)

-Large emphatic arches, often in porches

-Renaissance balustrades, harmonizing with high style expectations

-Triple windows and entrances; while this is characteristic of many Italianates, Notman takes it to an
 extreme

-Very thin ironwork porches with concave wooden awnings, historically painted with stripes

-Large overhanging eaves with simple beam brackets, sometimes in double rows

Basically, while Notman leaves the façade as simple as possible with little carving and ornamentation, porches and other elements are made as dramatic as possible. For instance having a heavy emphatic tent roof over a visually diminished porch support makes it seem like it is a real floating awning. Huge arches, broad eaves, and clunky brackets draw emphasis to the center and top of the house, directing the eye to focal points, since it isn't distracted by window ornament.

I hope you enjoyed this post. You should now be able to clearly spot a house by Notman or influenced by him. Make sure to visit the ones you can; many of them are open to the public. Leave a comment and vote for your favorite Notman villa!