The John Crouse House, Syracuse, NY

This is a rather interesting design, demolished, from Syracuse, NY. It was built by John R. Crouse, a major banker in Syracuse, in the 1850s, and in 1904 became the law school at Syracuse University. Fronting on Fayette Park, one of the city's early planning and mansion districts, it would have had a rather over-landscaped Victorian park as its front yard. It was demolished in the 1920s. The house bears a striking similarity to the design of Henry Austin for the Willis Bristol house is New Haven, CT, particularly in its proportions. There it was a simple form with Indian architectural elements grafter on; here the same sort of design is interpreted in a Gothic mode. Following the symmetrical plan, like Austin's house, it featured a spare stuccoed facade, with a generous third story and long s scroll brackets, paired and without an entablature. The gothicism is restricted to the windows, as the porch is a rather typical design. Above each window is a simple Gothic molding with carved stops; each window is inset with a unique gothic tracery overlay, with intersecting pointed arches and foils in the tracery. The bay window to the side receives a similar treatment, with more traditional pointed arches. A low cupola, another Austin feature, topped the whole with large brackets. Note how the ironwork similarly matches the Austin formula. Though I could not produce an exact chain of influence, it is clear that Austin's plans, perhaps published or seen in person influenced this house. Other images can be seen here, here, and here.

'Locust Grove' the Samuel F. B. Morse House, Poughkeepsie, NY

'Locust Grove' the Samuel F. B. Morse House, Poughkeepsie, NY. 1850

Photo: Wikimedia

Photo: Wikimedia

Photo: Wikimedia

Thinking of remodels into the Italianate style, the Samuel F. B. Morse house, Locust Grove, originally a 1771 five bay house, was remodeled extensively by the famous painter and telegraph developer (think Morse code) to the designs by Alexander Jackson Davis, America's premier Italianate designer of the period. The house, especially in its large arches, finish, and tower proportions very much resembles John Notman's Riverside in NJ. Davis successfully disguised the five bay house so that it is difficult to imagine what it originally looked like today, and because it was a remodel, the house does not follow any regular plan but is a custom design. The five bay façade, with the exception of the two outermost bays was completely hidden behind a massive projecting pavilion that covered the three central bays and entrance and sheltered a port cochere. This pavilion featured a large arched entrance in the center with a palladian window above. On the right side, Davis extended the façade with a polygonal bay framed by a large porch with thin, iron lattice supports. The left bay was originally supposed to be polygonal as well, but something seems to have changed in the design. Davis placed the tower to the rear, overlooking the Hudson, but aligned it so that it is centered on the projecting pavilion, making it look like a cupola from the front, a central tower design from the back. The whole façade is flushboarded with simple details reflecting its early period, a plain entablature board with c scroll brackets on the house (beam brackets on the porch). The window surrounds are complete moldings. The paint scheme for this house is certainly one of the most historically accurate, reflecting the pale colors favored by Downing and Davis. The house is now a museum.

The William Terry House, Hudson, NY

The William Terry House, Hudson, NY. 1850. Photo: Doug Kerr

The William Terry house (also known as the Terry-Gillette mansion) at 601 Union Street in Hudson shows both how Upjohn's double tower plan plan spread in the 1840s and early 50s as well as how slavishly his designs could be followed. It was built for Terry, a retailer, and after serving as an Elks Club and then a store, it is currently a performance venue. The house, in its original form, was very similar to the King house with a nearly identical profile and a similar window arrangement. It seems like the original Venetian tracery windows on the front of the house have been destroyed by later changes, although the decorative brickwork around them is unique to this house. Additionally, the design seems to have been drastically altered by the large port cochere to the right of the façade, although the treatment harmonizes with the design of the house. One of the original windows survives on the side façade (see below). In the Terry house, the builders decided not to go with some of the doo-dads found in the King house. There are no wooden awnings or balconies; even the engaged balustrade on the second floor in the central block is simpler and has more widely spaced balusters. The house also lacks the decorative open pediments that top the King house's rectangular windows. Otherwise, the house is an excellent example of what a, no doubt, local builder could do with a published plan, and it remains an important example of this plan in the US. The interior features an impressive curving staircase (below).

The Robert Earl House, Herkimer, NY

The Robert Earl House, Herkimer, NY. 1874 Photo: Doug Kerr

Photo: Carol

Built at 215 N Main St. in 1874 for Judge Robert Earl, the house was given to city in 1895 to be its library, a role it served until 1975. It seems to currently be a drug rehab facility. The house is a grand symmetrical plan Italianate with brick facing and a projecting central bay. The shape that defines this house is the chamfered pediment which tops the central bay as well as the windows on the front of the house. The house has a usual variation of windows on the flanking and central bays, with double segmental arched windows contained within one elongated segmental arch on the sides and an elliptical arched window in the center. While the porch is relatively simple, with unexpectedly narrow columns, the open pediments above the windows display all the complex woodwork of the 1870s with incised Eastlake carving and the complexity of forms. The simple cornice has c scroll brackets (long ones define each of the bays and alternate with shorter brackets) and is broken by the third story windows around which run the architrave molding. An interesting feature is that in the pediment, the brackets actually run at an angle rather than vertically. The cupola is interesting in that it has double rectangular windows with an eared surround and two sets of brackets placed at the base and the top. It seems like this house needs a little bit of TLC. With such a history of service to the town it certainly deserves it!

Photo: Carol

161 Second Street, Troy, NY

161 Second St. Troy, NY. 1850s-60s

Frustratingly, I found very little information about this house at 161 Second Street, even from historians. I can say in 1899 it was occupied by Martin Payne, an inventor. Nonetheless, it is one of my favorites because in a city dominated by tightly packed rowhouses, this symmetrical plan villa sticks out dramatically. Date-wise it is definitely a product of the general building campaigns in the area in the late 1850s and 1860s. Unlike many typical symmetrical designs, this one seem proportionally compact and bears the stamp of the Troy vernacular, tombstone windows in rectangular frames, box windows over doors, arched door surrounds, doors with odd window divisions to fit the arched frame, and a general somberness. The facade itself is brick, though it could once have been stuccoed in line with the brownstone houses nearby, and projects slightly in the center and is topped by a pediment, the angle of which is obscured by a somewhat incongruous sheet of plywood incorporated into the cornice. The cornice is paneled with particularly large s-scroll brackets with all the bells and whistles, incised carving, strapwork, flowers, and delicate little finials. The panels in the cornice are interrupted by very large third story windows that seem original, if a little forced. The cupola, a rarity in Troy, is a model of austerity, with flat flushboarded siding and triple arched windows, but there are alternating long and short brackets, not often seen on cupolas which tend to have very large brackets at the corners and no others.

This completes our jaunt around Troy. The city has far more to offer, to be sure, and I will return at some point to round out my description of its architecture. If I can say one thing, though, visit this city. For lovers of Victorian architecture you will not be disappointed! The following selected pictures would be all the inducement I need.

 

The Charles McLeod House, Troy, NY

The Charles McLeod House, Troy, NY. 1867

The house at 149 Second Street in Troy, built in 1867 for Charles McLeod, the vice president of a stove manufacturing company, is one of the most sophisticated designs in the area. It has gone through a variety of owners after the McLeods after 1907 and was altered in 1885,  It follows the side-hall, row house plan, although the left-hand bays are filled with a large three story bay window. The facade is articulated in fine brownstone which is distributed in a series of pilasters, blind panels, and horizontal string courses. These features are usually associated with the "Brick-panel style" known from Boston. Because the panels and pilasters form the facade's articulation, window and door surrounds are kept simple. The front doors themselves with their rich carving and the odd insertion of a round arch into a segmental arch are one of the finest sets of Victorian doors in the city. The impressive bay window is especially interesting, as it is so heavily defined by thick cornices and is framed so well by the facade's pilasters. The first and second floors feature filleted openings with rectangular windows inside them. The top floor draws the eye up with arched windows with floating triangular pediments connected by keystones and brackets to the windows. The elaborate paneled cornice completes the design, with s-scroll brackets with carved acanthus leaves and panels with blocks in the corners. The house is currently the home of a wellness retreat and suffered a devastating fire in 2010. Fortunately, the owners love Victorian architecture and have worked tirelessly to rebuild and restore the grand interiors with fine woodwork and painting, images of which can be seen here.

Further down the street back towards Washington Park is another fine brownstone at 167 Second Street. This house was no doubt another product of the late 1850s and is a fine tribute to the segmental arch in a row house plan. A severe brownstone facade with all the demureness of Anglo-Italianate design, features simple hood moldings and a very plain cornice. The largest note of fun is the door which has a full molded surround with a riot of rococo vegetation flowing from the top.

The last little note, across the street is probably one of the coolest, almost intact runs of temple-front Greek Revival houses. You almost never see them all lined up like this, especially in an urban setting.

The John Magill Houses, Troy, NY

The John Magill Houses, Troy, NY. 1872

Moving up Second Street, north of Washington Park, we can see that the same high quality of architectural design continues in the streets around the square. These two rowhouses at 146 and 148 are fine examples of upstate design. According to one resident, "both were built built by John Magill in 1872, replacing a smaller building on the property. Magill was a masonry contractor and later became a police commissioner for Troy in 1882, the year of Troy's dueling police forces. Magill lived in 148 and died in 1911, his wife until 1920. Nine children. I am fairly sure the first floor parlor was his office. The building was designed by renowned architect Marcus Cummings, who also designed old Troy City Hall (burned 1938, now Barker Park), 33 2nd St. (Daisy Bakers), the Plum Memorial Building at Sage College, and many other prominent buildings in the city. I am aware that Magill was the contractor on City Hall and Oakwood Crematory." Magill was later indicted for taking bribes.

As architect designed houses, the buildings show a high level of refinement. They follow the row house plan, with a typical side hall entrance and a brick facing. But the real delight of these houses is the details. The brownstone details are particularly nice, consisting of crisply cut drip moldings over the segmental arched windows which work with string courses and drops to frame the windows beautifully. The rusticated base as well offers a solid foundation. The houses' woodwork on the box window over the door is exquisite, with brackets that terminate in fine Greek Revival palmettes that are emphasized by steep engaged pediments. Above the window eclectically combines traditional Italianate designs with Gothic quatrefoils (clover leaves) and Eastlake incised carving. The show stopper cornice continues the quality of the box window woodwork and resembles closely the cornice seen on the Connors-Boland house, with a row of Gothic pilasters forming a blind arcade. This seems to be a particular vernacular in Troy. I particularly like the central projection in the cornice, which counterbalances the horizontal thrust of the brownstone string courses. Both these houses retain their original details perfectly. The interior of one can be seen here.

The third house in the picture, 144 Second Street, is a bit more austere but clearly reflects the design of its taller neighbors and was most certainly built around the same time. Taking a more traditional approach, this house has a pretty cool alternation of pediments, with rounded pediments on the first floor, triangular on the second, and flat moldings on the third. The same quality of woodwork continues, though the cornice has been altered to the arched type with a row of semicircles rather than a pilastered arcade. The central projection definitely echoes the Magill houses, and I'd suspect the same architect designed all three.

The Peter Thalimer and the Burden Houses, Troy, NY

The right hand house at 224 was built in 1868 by a speculator and forms part of a pair. It was first inhabited by the Burdens, owners of an ironworks. The left hand house at 222 was built in 1857 by a different speculator and was first inhabited by Peter Thalimer, who operated the company store of a nail factory. These row house plan homes are simple but elegant. The Burden house has a plan stuccoed façade with elegant segmental arched windows with very simple moldings. The front doors are particularly notable here with arched windows and triangular windows above. The Thalimer house is brick faced with fine brownstone with alternating round headed and segmental arched windows. Notable on this house is the bay window over the front door rather than a simple box window and the fine brownstone balustrades on the first floor.

The Connors-Boland House, Troy, NY

The Connors-Boland House, Troy, NY. 1880

At 216 Third Street, this house was built by a speculator in 1880 and was subsequently occupied by the Connors, who manufactured paint, and is currently owned by the Bolands. Unlike many of the other houses on Washington Park, it is faced with brick with brownstone details. It follows the typical side hall row house plan. This house is covered with Eastlake incised carving, with segmental arched hood moldings with guttae (little triangles at the bottom of a Doric triglyph) and incised foliage. The box window over the front door similarly has a combination of Eastlake and Gothic ornament. Perhaps the coolest thing about this house is its cornice. The frieze of the cornice is formed by an arcade of blind arches with tiny Gothic columns supporting them with small brackets above.

The James T. Main House, Troy, NY

The James T. Main House, Troy, NY. 1858

At 206 Third Street, this house was built for James T. Main, a grocer, in 1858, but is also known as the Fisk-Fitzgerald House. This is perhaps one of the finest houses on Washington Park and certainly has one of the fancier facades. It follow the symmetrical plan and has a simple Anglo-Italianate façade edged with quoins, always a fancy addition. The window surrounds are simple with moldings supported on brackets, but these grow smaller and simpler the further one goes up the façade. The first floor windows have tombstone windows wedged into the rectangular window opening, a feature that's very common on the square; the upper windows are simpler. This differentiation between first floor and upper windows makes for a sophisticated balance of masses. The balance is continued by the central door with an arched opening surrounded by simple pilasters and topped by a crest with the American flag, which contrasts with the more elaborate windows to the side. The central window on the second floor is a projecting box window with Tuscan pilasters, a Renaissance balustrade, and fine closely spaced brackets; this contrasts with the simpler windows to its sides. The paneled cornice, with dentils, large brackets, and smaller brackets, completing the balances by adding the right touch to the top.

The Charles W. Thompson and Francis Thayer Houses, Troy, NY

The Thompson and Thayer Houses, Troy, NY. 1860

Stylistically related to the last house I posted are these two linked houses on the north side of the square. Both these row house plan houses were built by Charles W. Thompson, the lumber merchant, in 1860, the man who built the previous house. The right hand house (larger of course with widely spaced bays) was built for himself, while the left hand house was built for flour merchant Francis Thayer. Basically all the elements are repeated. There are the same arched openings, although it seems in this case that Thompson decided to cheap out and forego the molded surrounds and rococo carving, leaving the windows plain. The cornice is exactly the same undulating type with the same arrangement of brackets. One has to wonder why. Why would Thompson basically build a simpler version of the house he had built in 1858; the only difference is a little bit more room. It seems the facade's simplicity was a bit too austere for someone. A box window seems to have been added in the 1880s/90s on the Thayer house.

A third house at the end of the ensemble is Italianate and was built for Arba Read, a brewer, in 1853. Unfortunately, it is mostly ensconced in vines and doesn't photograph well. Nonetheless, the beautiful foliage gives the house a real charm. This house is actually brick with stone quoins at the corners and follows the symmetrical plan. I suspect it was meant to be stuccoed. The house has typical bracket and molded window and door surrounds and paired brackets. A later mansard roof holds dormers. Perhaps the most amazing feature, which I have yet to see paralleled, is the bay window to the left which has panes of actual brilliant cut glass. Cut glass, familiar as an expensive luxury item for tableware is extremely rare as a treatment for windows, and this alone is something very noteworthy. This bay is probably an addition of the 1880s.

Just for the hell of it, here are the other two houses on the block facing the park.

The S. Burt Saxton House, Troy, NY

The S. Burt Saxton House, Troy, NY. 1858

This house was built in 1858 for Charles W. Thompson, the wandering lumber merchant, but it is known as the Saxton house, named after its second occupant who owned a flour mill, because Thompson built several houses on the square and lived in each of the for a short time. This is one of the finest Anglo-Italianate examples on the square with a plain façade (indeed, while some liked showing wealth with zany ornament, it seems the wealthy urban classes always preferred restraint) and a normal row house plan without any elongated bays. This is a house dominated by arches; everything is arched including the fine paneled undulating cornice that curves around the windows. The whole sits on a rusticated base. The windows and door have simple molding surrounds, but little bits of rococo carving crown each one, relieving the facades simplicity. The brackets are paired somewhat irregularly to accommodate the undulating profile of the cornice.

The Uri Gilbert House, Troy, NY

The Uri Gilbert House, Troy, NY. 1854

This house at 189 Second Street was built in 1854 for Charles Thompson, who again only occupied it briefly; thus, it is known for its second occupant, a stagecoach manufacturer. Charles Thompson seems to have been a peripatetic figure in Washington Park, building one house, staying in it for a few years, building another, and then relocating. This is one of the largest houses on the square being a full five bay plan row house. Uri Gilbert is infamous for his coachman, an escaped slave rescued by the citizens of Troy from being sent south. The brownstone façade is perhaps the most properly Anglo-Italianate of the bunch, with iron balconies on every window, brackets supporting moldings, a lack of framing, and an arched doorway with an exaggerated bracket/molding topper. The cornice features long brackets, architrave moldings, and interrupted dentils. The really impressive element is the stone balcony that runs across the entire façade over the rusticated basement and the sweeping central staircase with its curving balustrade. That surely cost a good amount, both in conception and upkeep, especially as the structure does not seem strongly supported. One could not get away with intruding that much on a public sidewalk today!

The Francis House, Troy, NY

The Francis House, Troy, NY. 1846.

This is perhaps the most fantastical house on the square. It was built for Hiram Slocum in 1846, but is named after the Francis family who purchased it in 1866 and remodeled the front in the 1880s. The remodel, or remuddle, no doubt altered what was a typical brownstone, Anglo-Italianate, row house plan structure into a cascade of balconies, overhangs, and an impressive Italianate box window. The pilasters on the first floor suggest there may have originally been pilasters supporting three arched openings with molded surrounds. The second floor probably had a box window with simple surrounds. It's been said the Francis family traveled frequently to Europe, and this might explain their desire to jazz up the house and make it even more Italian with multiple balconies, made of thin columns and an impressive metal, fringed awning. I particularly like how nicely handled the third floor box window is with its Venetian tracery, close packed brackets, and delicate metalwork appliques. The balustrade at the top completes the house's European pretentions.

The Charles J. Saxe House, Troy, NY

Charles J. Saxe House, Troy, NY. 1854

At 193 2nd Street we find a house built for the Main family in 1854 but named for Charles J. Saxe, a lumber dealer. Like the Fuller house, this one also follows roughly the row house plan, but it lacks a bay, being extremely narrow. The bays are also not proportional and the left hand bay is much wider than the right, a feature we have seen on other houses on the park. The façade is brownstone and the windows lack typical moldings. Instead, there are extremely heavy brackets supporting moldings and iron balconies. This relieves the plainness of the façade and creates a rhythmic tension, preventing aggressive plainness. The cornice is very simple with only a pierced architrave molding and s scroll brackets.

The Joseph Fuller House, Troy, NY

Joseph Fuller House, Troy, NY. 1853

Built in 1853 at 197 2nd Street for Hiram Ingalls, this brownstone row house is known for Joseph Fuller, a major stove manufacturer. The house is a variant of the row house plan in that it is three proportional bays with a fourth elongated bay to one side (very upstate). Sorry about the trees, this is a very verdant square. Again, we have simple molded segmental arched windows with intact iron balconies. The door is particularly interesting, since it is a rectangle when most doors have some kind of arch. The frame itself is arched and fitted into the opening. The narrow octagonal columns with wrapping moldings are borrowed from Gothic forms. The interiors with their lavish Eastlake and Renaissance Revival design are stunning and can be seen here. Would that I could post the pics of them here.

Washington Park: The Agnes Vaughan House, Troy, NY

The Agnes Vaughan House, Troy, NY. 1855

For the next series of posts (as I have found series of posts are best), I will be exploring the Washington Park historic district in Troy, NY. Troy is probably one of the country's architectural delights, not only because it has a nearly intact 19th century downtown with a music hall by George B. Post, but because it has Washington Park, one of the only private residential parks in the country. The streets along the park retain almost all of the original houses, of which the majority are fine, sophisticated, and very urban Italianates. The houses are well cared for and the owners knowledgeable and invested in their town, no doubt partially due to the Washington Park Association, to whom I owe a great debt for much of my historical information.

The park itself was established in 1840 when the property lots were divided, though the original lots were quickly resold. By 1860, most of the park was built up along its north (Washington St.), south (Washington Pl.), east (3rd St.), and west (2nd St.). Some of the houses are attached, but many are freestanding, although they follow general row house principles. While Italianate dominates stylistically, the ensemble is precious for having great examples of Gothic and Greek Revival as well. In general the other sides developed more quickly than the east. The inhabitants were upper middle class businessmen, factory owners, and merchants, and seemed to form a distinct social set. Although the area declined in the early 20th century and Troy itself began to decay drastically in the mid-20th century, it was revitalized in the 1960s and there was a renewed interest in Victorian design.

For my first house, I will be starting in the south-west corner. Built in 1855 at 199 2nd Street, it was inhabited by Agnes Vaughan from 1877 whose husband stole from his law firm and divorced her. Nonetheless, Agnes stayed in the house and eventually remarried. This house is one of my favorites. It follows a row house form, but has a central entrance, so one can call it symmetrical (without much of the centralized emphasis). The house's façade however is far from symmetrical, however, since the right hand bay is elongated, something one sees in many side hall houses in upstate NY, surely to accommodate a larger drawing room. The façade my be stuccoed or painted stone with corner quoins. The houses around the square are generally sparing in ornament, giving the whole a strong dignity and Anglo-Italianate flavor (shown also in the rusticated base); the segmental arched windows and door surround are simple moldings. It seems some iron balconies have been removed on the first floor. The windows feature interesting Venetian tracery wedged into a segmental arch, something that seems common in Troy. A projecting box window surmounts the entrance, another extremely common upstate NY feature; often these are the most ornamental parts of urban homes. The cornice is paneled with s scroll brackets. All in all a sophisticated design.

The southern part of the square has no Italianates proper. Rather the whole side is taken up by one long, unified Greek Revival row; however, the temptations of Italy seem to have won out over the Hellenic, since many of the houses feature Italianate doors and box windows. The survival of this row, once a common feature of 19th century cities, is truly impressive. It's pictured below.

The Stephen H. Farnam House, Oneida, NY

The Stephen Farnam House, Oneida, NY. 1862 Photo: Doug Kerr

Photo: Carol

The Stephen Farnam house is well documented and perhaps one of the most impressive homes on Oneida's Main Street. The builder (1862), Stephen Farnam was a hardware store owner, bank president, and axe manufacturer. Subsequent owners included a suffragette and a botanist. The house seems to currently be a Dark Shadows themed bed-and-breakfast called Collinwood Inn, a fine use for a house like this. It seems the alleged haunting of the house has helped it as a business. As an architectural specimen, though, the house doesn't need any ghosts to make it worth exploring. The house follows the irregular plan, one of the fancier designs, though unlike other examples, the tower juts forth to be almost flush with the left hand projecting pavilion, which has a very shallow roof slope. The house has brick walls and excellent Oneida woodwork. The windows are mostly rectangular, though it looks like they were all segmental arched once, with simple open triangular pediments and keystones with Eastlake incised carving. The simple paneled cornice features s scroll brackets.

It's the dominance of the shouldered, pointed arch that makes this house interesting, as if the builder fetishized that shape and fit in in to give the composition unity. A shouldered arch is an arch where the curve of the arch is interrupted by a vertical projection; in this case that projection is pointed. It's a fascinating shape since it combines curves and straight angles together. The porch has rectangular openings but features the shouldered arch running inside these openings with jigsaw cut-outs, similar to the porch down the street at the Shoecraft house. The same shape unifies the triple arched windows at the top of the tower and is repeated again in the base of the tower cornice. Commendable in this house as well is the retention of both the concave roofs on the porch, bay windows, and tower along with the delicate crestings. Hopefully the house will have a nice long life.

The Walrath House, Oneida, NY

The Walrath House, Oneida, NY. 1866 Photo: Doug Kerr

Photo: Carol

The Walrath house, 1866, at 410 Main St. seems to have been a generational home for the Walrath clan, a family that includes civil servants and businessmen. This home is next to the Berry House posted previously. The house is a symmetrical plan villa with a brick facade and displays the fine woodwork that seems to be a vernacular characteristic of mid-19th century Oneida. I might say though, people in this town could try other colors besides white; there are so many more possibilities! The central bay projects (Oneida architects love the centralized emphasis) and features rectangular windows with stately pedimented and flat molding window surrounds. The central bay, however, contains some surprises. First off, on the second story there is a pair of tombstone windows, but surprisingly, they are segmental arched rather than round headed, causing the hood molded to intersect a little oddly. The porch itself is a tour de force of design with three arched bays that follow the triple arched palladian design, yet the central bay is unsupported by anything, with the arches terminating in rich finials. The lack of supports no doubt explains some of the sagging going on. The porch brackets themselves are a unique shape with a large c scroll with a smaller c scroll inside, making them look like claws. The cornice itself is paneled with inset windows that have an overlay with a very cool shouldered square (a shape where the corners of a square are rounded and there are rectangular protuberances at each long angle of the square). The brackets are of the s and c scroll type with strapwork. Perhaps what I like the most is the octagonal cupola, always an exciting change of pace. Here it has paired tombstone windows with a full cornice and brackets to match. Interior views can be seen here.