The Francis C. Sessions House, Columbus, OH

The Francis C. Session House, Columbus, OH. 1840, alt. 1862

From: Columbus Illustrated

From: Illustrated History of Columbus

The Sessions house, built for a banker on E Town Street, certainly started life as a Greek Revival house, given its 1840 construction date. But it appears that it was transformed into a fine Italianate residence in an 1862 remodel. The house was torn down in 1924 to make room for the current Beaux Arts Columbus museum. The house was a symmetrical plan villa, with a projecting central bay with a shallow gable. While the central bay was decidedly flat, the side bays were articulated with elaborate brick work which formed a thick set of quoins at the corners and recessed frames for the central sections of each bay. Whether these were part of the original house is unknown, although it would be very atypical for a Greek Revival house to have such fripperies. On the first floor, the sides featured rectangular windows framed by delicate fringed porches (with almost invisible balustrades atop), perhaps of iron (that wisteria really makes it unclear), while above, the windows had small wooden awnings with a fringe. The central bay had a recessed entrance with, again, a porch with triple arches and a rather weird set of three arches in the central span. Above was an iron balcony with fancy urns at the corners in front of a wide arched window with a bracketed wooden awning forming a Palladian form. Above, the cornice has a strong resemblance to the Baldwin house which survives up the street, with elongated brackets the break into strong s curves. These enclosed a pair of windows with concave corners, another reminiscence of the Baldwin house. The whole was topped with an octagonal cupola, with pierced s curve brackets, paired windows (also seeming to have concave corners), and a lacy iron cresting. All the bells and whistles abounded, with a conservatory and a whole other cube built on back. A shame it didn't survive, but it was replaced by an exceptionally fine museum building.

Sloan's "Homestead Architecture"

In 1861, Sloan published two more books of plans, his Homestead Architecture and American Houses. These are his Italianate designs from HA. In HA Sloan shows some changes from his earlier work, including a shift towards more simplicity in decorative details, the exclusion of high style European and exotic designs, and the greater use of Gothic detailing, higher pitched roofs, bargeboards, all on an Italianate frame.

Design 4:

A rather elaborate towered design.

Design 6:

This is a variant on the typical three bay symmetrical Sloan design with a projecting central focus.

Design 7:

A hybrid Gothic/Italianate design. This reflects Sloan's recent experiments with Gothic Revival, as can been seen in the Asa Packer house.

Design 10:

Design 12:

This is a particularly massive, urban design, with quoins, a full three stories, and a paneled framing of tower elements, seen on his earlier designs.

Design 13:

A rather simple rustic design.

Design 15:

Design 16:

Design 19:

Design 22:

This is a rather unique house with an irregular stone exterior, a very Pennsylvania feature, very broad eaves, and the interesting displacement of the main entrance to the side, perhaps reflective of some of his work at Woodland Terrace.

Design 32:

Design 33:

The design for the Eli Slifer house in Lewisburg.

Design 35:

A rather new instantiation of the octagon design. Though in plan it closely resembles the plan for Longwood, the exterior could not be more different, with gables and verticality emphasized rather than expansive and exotic details. 

'Longwood' the Haller Nutt House, Natchez, MS

'Longwood' the Haller Nutt House, Natchez, MS. 1859 Photo: Wikimedia

'Longwood' is perhaps Sloan's most famous commission, his most eccentric, and his greatest unrealized project. Dr. Haller Nutt, a wealthy planter and agricultural inventor, commissioned Sloan to design the house in 1859, and by 1861, the exterior was completed. The outbreak of the Civil War, however, caused the workmen from Philadelphia to abandon the project and return north. The house was left with a finished exterior, but an unfinished interior, with only the basement complete and the remainder framed. The house suffered neglect, as Nutt lost most of his wealth during the war, but has been restored as a tourist venue. As a unique survival, Longwood provides us with a wealth of information on the process of construction and framing in the 19th century, an ironic testament to the work of Sloan as a pioneer of balloon framing. Additionally, the house is one of the most important and well known monuments of Indian Italianate in the US.

Sloan's design for the house, an octagon, was based on the briefly popular octagon shape popularized by Orson Quire Fowler, a lifestyle theorist in the 19th century who theorized that the octagon shape was more healthful and economical, leading to a spate of houses based on Fowler's designs. The plan that Sloan selected as the basis of Longwood was published in the Model Architect v.2 in 1852 as an "Oriental Villa". It remains one of the most elaborate examples of the fanciful strain of Indian Italianate design in the US, but, like the style in general, it remains Italianate to the core with a spattering of oriental details and design elements.

The original design:

The plan is octagonal, but Sloan has complicated the design. Four of the facades on the first two stories project by several bays, forming a Greek cross shape; these bays alternate with double storied porches, filling out the octagon shape. Each façade on these first two stories has three arched windows; on the projecting facades, these are closely spaced with a hanging porch on the first floor with three arches answering the windows. One the recessed facades, there are two windows flanking a door on each story, forming three arched openings. The third floor reverses the rhythm of projections and recesses on the first two; where the façade projects on the first two stories, it recedes on the third and vice versa. The fourth floor abandons the triple arched motif in favor of paired tombstone windows, a typical Sloan maneuver to differentiate the third floor. The whole is topped by a tall polygonal drum with arched windows and an onion dome, the consummate Indian/Mughal design element.

As much as the house makes a pretense of Indian design features, it doesn't nearly capture the authenticity of Henry Austin's Indian houses in New Haven, such as the employment of candelabra columns. Rather, it uses primarily vernacular Italianate motifs, but arranges them in such a way as to suggest the oriental world. For instance, a look at the double story porches shows Corinthian columns (of a slightly lusher variety than a strictly classical design), but the scrollwork on the porch is designed to mimic the horseshoe arches and ogee shapes in Islamic architecture. Horseshoe arches can also be found on the balustrades. On the side balconies, we see horse shoe arches again with interesting moldings above the columns, a further feature that recalls the Alhambra. Finally, the fringes on every cornice line and the dome itself, which has an onion shape, pull the entire composition into the Indian mode. One bizarre feature that I am at a loss to explain is the strange tracery in the windows, which looks more Chippendale gothic than Moorish.

All following photos from Wikimedia.

Unfortunately, the interiors were never finished, but this allows us a good glimpse of the construction methods of the house:

The James B. Crosby House, Janesville, WI

James Crosby House, Janesville, WI. 1851 Photo: Wikimedia

Photo: Wikimedia

The James B. Crosby house was built in 1851 and has been connected to the work of Samuel Sloan because it is closely based on his plan for "an Ornamental Villa" in his book The Model Architect (pictured below). In its long history, it has been a hospital, a drama school run by a minister, and a foster home. It is currently owned by an architect who bought the dilapidated house and is in the process of restoring it, even rebuilding its demolished surgical wing from its hospital days as his facebook page says. The house displays its early design with its simple ornamentation and irregular massing, something that definitely is very Sloan (his designs, though early vary the most from standard plans). In essence, it is a symmetrical plan house with a gable rather than hip roof and a deep gabled central projection with a triple window. Another early feature are the very tall double windows with Greek Revival eared surrounds, the large overhanging eave, and the absence of an architrave molding. The porch is simple and stick like with some Arabesque designs similar to the Tallman house and a little fringe. The brackets are s-scroll type and pierced with large finials and intersect a run of dentils. Perhaps most magnificent is the octagonal cupola, which has rectangular windows and extends the s scroll brackets down the entire height of the cupola, adding c scrolls until the brackets reach the bottom. This creates a very exotic profile indeed!

The Nelson Stillman House, Galena, IL

The Nelson Stillman House, Galena, IL 1858 Photo: Richie Diesterheft

Photo: SD Dirk

This is a truly impressive house in a town of impressive homes. The Nelson Stillman house was built in 1858 by a successful grocer. After serving as a nursing home, it is now the Stillman Inn, a bed and breakfast whose owners have restored missing original features of the house and have taken excellent care of the property. As far as the plan goes, it is a typical irregular plan house with brick facing and a simple architrave and bracket cornice. The unique design features of this house are what really set it apart from the usual. First, the most noticeable feature is the tower. Unlike the traditional Italianate tower, this one has a strong ogee shaped gable on all four sides, a feature which is rarely seen (Norwich, CT has some similar towers). The ogee has no brackets, perhaps because they were just too hard to cut. It covers a double tombstone window topped by a round window. As if the tower gables weren't enough, an octagonal, almost Federal, cupola tops the tower with an open platform for viewing the surrounding countryside from the hill on which the house sits. I am not sure I have seen an open cupola like this on an Italianate, and I find it rather pleasing, even if it interacts a bid oddly with the ogee. Two other features catch my eye. First is the fact that all the windows on the front of the house are double (one is triple) and covered with wooden awnings with fringes, that make the house look rather festive. The tent shape to the awnings echoes the curves on the cupola roof and the tower gable nicely. Third is the porch, which, although it seems standard enough, has odd bits of jigsaw work hanging down from the cornice over the brackets. This is a bit of whimsy that is almost Steamboat Gothic in its inspiration and fun. It again adds curves into the house's design, giving the porch cornice a sort of undulation. The sides of the house are much plainer, keeping with the Victorian spirit of thrift which always seemed at war with their desire for display.

Photo: Eric Olson