|The Reuben Fenton House, Jamestown, NY. 1863 Photo: Wikimedia|
Thursday, March 26, 2015
Tuesday, March 17, 2015
|The John Hardy House, Newcomerstown, OH. 1874 Photo: scottamus|
Sunday, March 15, 2015
|John Smith Photography See other posts for photo credits.|
1. A mostly uniform cornice line, set at two and a half stories, as can be seen in the image above. While the cornices themselves display a wide variety of forms, brackets tend to be smaller and closely spaced, while entablatures are simple and mostly paneled. When windows enter into the design, they tend to elongate the brackets to make a strong frame for the window.
2. There is a strong horizontal emphasis provided by heavy string course moldings that clearly divide floors. Additionally, windows may be connected with horizontal moldings bands. Vertical emphasis is achieved by the framing of the facade and its elements with pilasters, quoins, and changes in volume to create complexity in an otherwise simple facade.
3. The favored material is primarily stone rather than cheaper brick. The use of stone allows the houses to have a more European and wealthy feel to them. Sometimes the stone is rusticated to delineate floors. Side walls of these houses are unimportant, and therefore the ornament and stone stop on the sides.
4. Ornament is not overwrought. Primarily, it consists of heavy, thick moldings, carved panels, and paneled keystones. The one elaborate feature is vegetal and rococo carving, an expensive mode of ornamentation whose use demonstrated the builder's wealth. This carving, however, is confined to specific architectural areas, window crests, panels, doors, and cornices.
5. The favored shapes for windows and doors are overwhelmingly arches. Houses often have a combination of round arched and segmental arched windows. Door surrounds are typically fancy, with several houses having an engaged arched surround:
6. House plans tend to be either symmetrical or rowhouse types.
7. Finally, there is a uniformity achieved by fencing to the street. The connected stone retaining walls and newel posts framing the iron fencing gives the street a connecting base that connects all the houses. Similarly, balconies of either iron or stone create variation in the streetscape.
Friday, March 13, 2015
|Kelley House, Cincinnati, OH. 1870s. Photo: Christie|
|Remaining Photos: HABS|
Wednesday, March 11, 2015
|Karrmann House, Cincinnati, OH. 1870s John Smit Photography|
Monday, March 9, 2015
|The Murch House, Cincinnati, OH. 1860s John Smith Photography|
|Other Photos: HABS|
Saturday, March 7, 2015
|Heine House, Cincinnati, OH. 1870s John Smith Photography|
|Remaining Photos: HABS|
Thursday, March 5, 2015
|The James Laws House, Cincinnati, OH. 1860s. John Smith Photography|
Tuesday, March 3, 2015
|Howell House, Cincinnati, OH. 1870s. Photos: HABS|
|Photo: John Smith Photography|
This house (842 Dayton) was built in the late 1870s by Elizabeth Howell, although it is often known for being owned later by Louis Hauck. The design is very simple with round arched windows on the first floor and segmental arched windows on the second. The really interesting part is the entrance, which has heavy rusticated quoins surrounding the arched door. The play with rustication (exaggerating the joins between blocks of stone) is found in the over-sized voussoirs over the first floor windows. The brackets in this house are very strange, basically blocks of wood with finials that create a kind of fringe effect rather than a strong bracket division of cornice. The rustication is a feature especially found in Anglo-Italianate design, and the door, in some ways, resembles Federal designs.
|Gaussen House, Cincinnati, OH. 1868. Photo: HABS|
Sunday, March 1, 2015
|The George Hatch House, Cincinnati, OH. 1850 Color photos: Wikimedia|
The George Hatch house is much earlier than other houses we have seen on Dayton Street. It was built in 1850-1 for Hatch, a mayor, land speculator, and soap manufacturer, and was designed by Isaiah Rogers, who was responsible for the Gaff House in Indiana. Like the Gaff house, it has similarities to Greek Revival design, but remains a firm example of Anglo-Italianate architecture. Although the plan is symmetrical, the limestone facade undulates boldly. The bowed bays are particularly characteristic of Rogers and can be seen in his work on Boston's Tremont House. The central section maintains the facade's restlessness with its bayed entrance porch surmounted by a bay window. In terms of ornamentation, there is a very low amount on most of the facade. The bows have very plain windows with a minimum of molding. A broad string course separates the floors, but is enlivened by paired Temple of the Winds pilasters at the ends of the facade. The porch is truly lovely. Although it looks like a three bay projection, it actually forms a hexagon because the projection is reflected by a three bay recess in the facade. Corinthian columns alternate with Temple of the Winds pilasters. Above, the simple bay window has round windows which very thin, almost Federal Corinthian pillars. The Greek Revival cornice is ornamented with simple rafter brackets, suitable for the 1850s. Notably, this house has an octagonal cupola and a port cochere with a room above.
The interiors of the house are particularly impressive because of the massive staircase hall which is entered through the port cochere. Additionally, the floors are inlaid and tiled and the interior arches have Corinthian columns. The house has been recently restored.
The following images are from HABS.