The Daniel Bright Miller House, Lewisburg, PA

Miller House, Lewisburg, PA. 1860s All Photos: Lewisburg Architecture Project

This fine home was built by Daniel Bright Miller, a professor at Bucknell in the 1860s. It is now called Cooley Hall and houses college departments. The house is of the central tower type and makes a very grand impression with all of its heavy detailing, brick and stone, and massing. The facade is fine brick with stone quoins and hood moldings. The first floor features segmental arched windows with hood moldings on brackets conforming to the arch curve; same with the front door, which unexpectedly lacks a porch (is one missing or was it always that way? The second floor has rectangular windows with sharply filleted corners with a triple arched Palladian window in the central tower bay. The third bracketed floor is generous and larger than typical, with arched windows between extremely long double s scroll brackets making it an arched cornice type. Again, the central tower has paired arched windows. Finally the top stage of the tower, separated by a small cornice has paired brackets, double windows with Venetian tracery and carved wooden quoins. The house shows some exact similarities to the Marsh house, the last entry. The top of the tower matches the Marsh cupola; both houses use quoins and rustication; both have a bay window equally located on the side and do not continue the brackets on the side facade. Both feature paired windows with tracery in the side gable and a similar long, finished wing extending out the back. Both also have a triple arched Palladian window in the second floor. These are far too many coincidences and suggest that the same designer designed both.

The James S. Marsh House, Lewisburg, PA

The James S. Marsh House, Lewisburg, PA. 1860s Photo: Joseph a

The James S. Marsh house, built in the 1860s by an important iron foundry owner in Lewisburg is an excellent survival story. Left in terrible repair and condemned after conversion into apartments, the house was restored by the Ludwigs as you can read here (with accompanying photos).

It is a tour de force of Italianate design and includes all sorts of bells and whistles. It is a symmetrical five bay house with a gable roof and, unusually, a cupola. Usually cupolas are placed on hip roofs and not gabled roofs. On the first floor, the house has segmental arched windows and on the second and third round arched windows. All have a similar drip molding that conforms to the arch shape and ends in Gothic style finials and almost all have Venetian tracery. In the center is a triple arched palladian window, also with a conforming molding. The designer even put grand windows in the attic story at the end, a rather expensive decision. The finish is stucco with impressive quoins at the corners and a rusticated basement. The front looks a little bare. It's likely that it had an entrance porch that matched the side porch, a rather rich design with a fringe, s and c scroll brackets, and arches interrupted by carved keystones and a wooden fringe. The cornice is the fillet cornice type with a deep architrave and filleted panels alternating with filleted windows topped by a run of fringe made by pieces of wooden molding. The brackets are s scroll type and the sides form curved rinceaux. Particularly lavish is the cupola with wood rusticated to look like masonry. The backets and two windows match the facade windows with Venetian tracery and strong moldings with added multi eared surrounds. A different cornice type, the undulating cornice was used here. An earlier view of the house shows a grand balustrade on the cupola and a balustrade atop both porches. These things always rot off. 

The Thomas E. Powell House, Columbus, OH

The Thomas E. Powell House, Columbus, OH. 1853

Both Photos Columbus Illustrated and History of Columbus

Although not part of E Town Street, but part of the E Broad Street area, another mansions street in its own right, I couldn't resist this rather bizarre Italianate of 1853. The house is a symmetrical plan Italianate with a brick façade, and it's in this paneled brick style that it is most distinctive. The house is divided by its brickwork into three bays by pilasters topped with moldings. The side bays enclose double windows with filleted corners, while the central bay has a rectangular triple window with narrow side lights. The lintels above seem to be stone with incised designs, eared, rising to a shallow point. But the entablature is truly strange, comprising on the side bays three evenly spaced segmental arches with some kind of projecting finials and panels that match the curve of the arches. In the central bay, there is a more elaborately framed trefoil curve that suggests a triple arched Palladian design, but it is strange that that is not reflected in the window. The porch similarly has this trefoil shape, albeit with open spandrels, resting on thin columns. I can't actually tell the forms of the brackets from the images. The cupola seems almost oversize for the house, with curved frames around the tombstone windows and a balustrade above. The Midwest liked its fancy brickwork, but this is a very odd design. The house was torn down in 1928.

'Evergreen on the Falls' the Albert H. Carroll House, Baltimore, MD

The Albert H. Caroll House, Baltimore, MD. 1860 Photo: Wikimedia

'Evergreen' was built by the owner of a cotton mill, Albert H. Carroll, in 1860, following an irregular plan, but an idiosyncratic design. The house does not have a tower, nor, like many tower-less irregular plans, does it suggest a tower with a cupola, fenestration, or the placement of the entrance in the center. Rather, this house places the entrance on the projecting pavilion. While the façade is painted brick, the windows have no surrounds, but the emphasis is placed on a series of elaborate wooden awnings that project further than any typical wooden awning. The entablature is nonexistent, with the s scroll brackets projecting right from the façade without any framing. The projecting pavilion has the main entrance, a triple arched palladian design; above, the window is a normal palladian design, but oddly the central window is especially long with the sides placed high up, a very unclassical formula. This is topped by a wooden awning with an engaged rounded pediment in the center and very elongated c and s scroll brackets. On the recessed façade, a double window on the first floor with a wooden awning with a tent roof design sits underneath a single window. The simple side façade has a spare bay window with a round window in the gable. A unique house, unfortunately much of it was destroyed by a fire in 1970, but it was well restored by the Maryland SPCA.

The Clark J. Whitney House, Detroit MI

The Clark J. Whitney House, Detroit MI. 1857 Photo: Scott Weir

The same house in 1882. Photo: Scott Weir

It's rare to see an Italianate remodeled into another Italianate. Typically you slap a mansard roof on top or a Queen Anne gable and call it a day. But that's not what Whitney did with his chaste 1857 house in Detroit. Instead, he took his genteel Italianate and decided to display his new status with a zany new design, doubling the size and basically constructing a new house right into the fabric of the old. The house has a rotated side tower plan. In the 1857 design, the house had a projecting bay with two windows and a typical three stage tower, all ensconced in a lovely arched porch topped by a railing with a guilloche design. The window treatments were simple, with rectangular windows that had rococo iron designs as the hood moldings on the second floor and arched windows on the first floor and tower. The cornice design featured a thick architrave molding with double s scroll brackets (Detroit couldn't get enough of those) all very closely spaced. All in all it was a nice house reflecting the taste of the 50s.

When 1882 rolled around, Whitney had made some money. He was a major purveyor of Detroit's music scene, selling instruments and sheet music. In 1882, he helped rebuild the old opera that had burned and really came into his own. No doubt, the rebuilding of the opera (in a rather refined modern French design) caused him to think about updating his own home. To the fabric of the old house, Whitney started by removing the wrapping porch, replacing the porch on the front two windows with a bracket surround supporting a balcony with a series of segmental arches and hanging drops, a very picturesque touch. Around the door, a rich and complex two story porch was built. The rectangular windows were disguised by segmental arched stone surrounds (oddly, an incised angular line runs through the arch). The center of the entablature on the projecting pavilion was cut (after new c scroll brackets were installed), the roof was raised, and a dormer was added with a segmental arched open pediment. Although the old decoration of the tower was retained, the eave was removed and a new story was attached with a triple arched palladian window, no doubt to compensate for the poor optics of a stubby tower with a steeper roof slope. A rather bizarre and heavy finial crowned the whole. The most drastic change, however, was the addition of basically a second house to the side, designed in the pavilion plan. Unlike the old house, where the windows were only disguised as segmental arched, here they were actually so, and were connected by a string course of stone that distinguished the older from the newer section. The new wing was all about diagonals, with two two story bay windows flanking an equally diagonal lacy porch. One odd feature is the bracket placement on the diagonals of the bay windows, with few brackets there contrasting with the forest in the other sections. 

So, which do you prefer? 1857 or 1882? I'd love to know!

With this, I end my short series on Lost Italianates of Detroit, but will revisit the topic soon.

The Thomas W. Palmer House, Detroit, MI

The Thomas W. Palmer House, Detroit MI. 1864-74 Photo: Scott Weir

Potentially one of the most intriguing houses of Detroit, it was built between 1864 and 1874 for one of the most important senators in Michigan history, Thomas W. Palmer. The house is the product of a variety of remodels, continued throughout a decade, and thus there is no single date for its construction. The house as it stood after the remodels was a pavilion plan house with a central tower, but it started off as a simple Federal or Greek Revival farmhouse, which survives in the right hand pavilion of the central block. That is why the house's pavilions are actually asymmetrical, with the right hand pavilion being taller and thinner than the left. It doesn't follow the typical pavilion plan. The left hand pavilion features paired rectangular windows joined by a rather baroque pediment on brackets. The right hand pavilion has a triple arched palladian also topped by a curving baroque pediment (the sort of baroque styling seems to have been a favorite in Detroit). Both have c scroll brackets, paired, with tiny thin brackets in between pairs. The central tower has double tombstone windows (they looked painted), a round window, and a broad arch that outlines the whole. The tower has s scroll brackets, but of a rather strange type, with very strong curves and an elaborate trefoil shape at the top; a Gothic quatrefoil balustrade and partial roof top the whole. The porch, unlike a typical pavilion plan stretches around the right hand pavilion, with a triple arched palladian entrance in the center and ogee brackets.

The side of the house looks to be from a later phase and features a second, taller tower, somewhat plain with a basket handle arch outline with small Romanesque drops. Oddly, the squat tower is topped with a cupola with a tent roof. Note the ladder that provides access to this tower angled on the roof! A final side wing seems to be of the latter phase with segmental arched windows and a small entablature. While not necessarily a harmonious plan, and even though it feels somewhat imbalanced like a slope to the right, the house is very picturesque in the finest tradition of individualistic Italianate conceptions. It was demolished to provide a home for the current Detroit Institute of Arts.

The Emil S. Heineman House, Detroit, MI

The Emil S. Heineman House, Detroit, MI. 1859 Photo: Scott Weir

A slightly less elaborate version of the later Ward house was built for Emil S. Heineman, a clothes merchant, in 1859, five years before the Ward house. Like the Ward house, Heineman is a symmetrical plan and has a similar fenestration, with double arched windows on the flanking bays and a triple arched palladian (somewhat more extreme) in the center even in the porch, as well as protruding windows on the first floor (boxed rather than bay). Clearly, a slew of Detroit Italianates followed this type. The decoration of the windows and porches is finer here, with cast iron hood moldings on the windows with central leafy anthemia in a rococo style and leafy finials. The porch has very thin columns and long dripping brackets. Of course, the necessary balustrades are provided, a sort of stylized Renaissance motif with urns. Notably, the windows on the second floor and the sides all feature Venetian tracery. Curvaceousness does not transcend the third floor, where the windows are simple rectangles paired as the principal floor windows. These are enclosed by an architrave and thin paired double s scroll brackets interrupting a run of smaller brackets. The whole is topped by a triple arched palladian cupola, with an engaged arch in the cornice and squiggly brackets. By comparison with the Ward and Newcomb types, one can readily see the restraint of the 1850s in comparison with the 60s and the 70s.

The David Ward House, Detroit, MI

The David Ward House, Detroit, MI. 1864 Photo: Scott Weir

Continuing with Detroit's love affair with arches, the David Ward house, built in 1864 for a wealthy lumber mill owner, is almost the inverse of the Newcomb house. It also follows the symmetrical plan with a gabled central bay and bay windows on the two flanking bays on the first floor, but where the Newcomb house had triple windows on the sides and doubles in the center, here the arithmetic is reversed, with the triple arched palladian in the center, an arrangement even reflected in the front door and the porch, which extends to cover the one angle of the bay windows. Whereas the Newcomb house pulled out all the stops, the Ward house is a bit tamer, with simpler, more spindly porch supports, windows that only have thick brick surrounds with carved terminals for the molding (almost Romanesque in style), higher pilasters on the bay windows, and much less classical balconies, with crosses for balusters. The third floor has a very interesting feature. Instead of having the windows break the architrave molding, the architrave curves downward to run under the windows, a rather unprecedented breaking of traditional conventions. Additionally, the central gable window is provided with its own balcony (rather obviously for show). Here the double s scroll brackets are grouped in triads on the corners, pairs and singles on the gable, an interesting way of mixing it up and emphasizing the corners strongly. Sloan would have been proud of this arrangement. The cupola is a triple arched palladian with some stocky brackets. Like a lot of symmetrical plan houses, it has side porches which makes it somewhat pyramidal in shape. It's interesting that the Newcomb house and the Ward house represent two kinds of very masculine design. Newcomb does it with elaboration and Renaissance complexity, thick stone and strong elements. Ward does it with thickness and bulk of elements, particularly the window surrounds.

The Cyrenus Adelbert Newcomb House, Detroit, MI

The C. A. Newcomb House, Detroit, MI. 1876 Source: Scott Weir

Built in 1876 for a major Detroit retailer and opera house owner, the Cyrenus Adalbert Newcomb house (gotta give the Victorians props for their unique names), is an exceptionally high style symmetrical plan villa with a protruding central bay with an open pediment. The house is a play on variations, with brick and stone and arches in various combinations all vying to be different and grab attention. On the first floor, we have two bay windows, with columned pilasters. Interestingly, the cornice of this window has an architrave molding that forms a gable over each window, clashing with the roundness of the window arch but reflecting the angularity of the pointed keystone. The first floor porches are characterized by fanciful, foliate and decidedly unclassical capitals supporting shallow basket handle arches. Heavy balustrades top each element. On the second floor, we have triple arched palladian windows (the arch variation is very slight) on the sides, and a double tombstone window in the center; all are joined into a single unit with thick stone surrounds and a bracketed, pedimented cornice (open on the sides, closed in the center). The third story has a stringcourse that separates it visually, a very Sloan touch, with a repetition of the window patterns between flanking and central bays, though with simpler surrounds and no cornice. These interrupt the architrave molding which supports paired double s scroll brackets that appear very elaborate with bulls eyes and incised designs, and a run of smaller rotated s scroll brackets, resting on yet another molding! To top it all, and to contrast with the angularity of the gables, the cupola is classically designed with Tuscan pilasters, a further triple arched palladian, and an engaged segmental arch in the cornice. The only variation on this scheme are the segmental arched windows found on the simpler side façade. The whole effect is one of extreme richness and complexity, kind of like a piece of renaissance revival furniture transformed into a house. Nearly every trick in the architectural book to jazz up and make complex the façade is used. Surely nothing could be more appropriate for the man responsible for Detroit's over the top opera house downtown.

The Neil Flattery House, Detroit, MI

The Neil Flattery House, Detroit, MI. 1859 Source: Scott Weir

The Neil Flattery house, built in 1859 for a city politician and merchant, is an interesting example of the pavilion plan treated asymmetrically. Typically, pavilion plan houses will enforce a somewhat rigid symmetry around the central bay, but here, asymmetricality is created by the varying window treatments, with a box window with paired tombstone windows above to the left and a two story bay window to the right, injecting a bit of the irregular plan spirit into the design. The pavilions themselves feature little engaged gables that jut out from the eave, encasing small pointed windows (note the miniature balcony attached to the one on the right, a particularly precious Victorian touch). The more recent image shows the house in its later conversion to stores, but the woodcut shows it in its prime with original details intact. The house featured a plain brick façade onto which a series of decorative details were added around openings which drew the eye to them, such as the rococo piles of foliage above the window moldings, the heavy brackets on the bay windows, and the triple arched palladian porch around the main entrance. The cornice featured an architrave molding with a run of double s scroll brackets paired at the accent points at corners and around windows. The engaged gables find their way into the elaborate cupola, creating a continuity with the main façade. Note that the brackets on the cupola actually run all the way down the sides and drip onto the roof, giving it an almost Jacobean sculptural appearance and serving as bracket surrounds for the windows.

The H. E. Benson House, Detroit, MI

The H. E. Benson House, Detroit, MI. 1860 Source: Scott Weir

The H. E. Benson house was built in 1860 for a prominent lumber mill owner on Jefferson Ave. one of the chief society streets in Detroit. As opposed to some of the more flamboyant houses, the Benson house is rather reserved, accomplishing its goals with verticality rather than ornament. The house has an interesting plan, apparently irregular, but with the tower shifted to the side rather than placed in the center; this movement of the tower and placement between two gabled pavilions establishes the side façade as a towered pavilion plan. It appears the main entrance was actually quite recessed from the front of the house, at the base of the tower under the (what seems to be) iron porch. Each section of wall is framed by a slight projection that follows the corners and the gable, outlining the façade, with a string course separating the floors; it's clear the painters chose to exploit this feature in their scheme. The thin brackets are only complemented by an architrave molding. The gabled facades are uniformly treated, with triple rectangular windows with a bracketed molding above and in the gable there is a round window. Note the small metal fringe that runs above the eaves with classical anthemia. The tower is particularly surprising, as it is rare to find one on which every side is gabled. A triple arched palladian window tops the tower while lower stories have arched windows, with three on the top stage, two on the second floor, and one on the first floor. The architect used arched windows exclusively on the tower for emphasis and to differentiate it from the rest of the angular house.

The Francis Adams House, Detroit, MI

Francis Adams House Detroit, MI. 1860s Photo: Scott Weir

The Francis Adams house, built sometime in the 1860s (he moved to Detroit in 1857 and was established at this location by the late 1860s) for yet another lumber merchant, is one of the zanier Italianates I've seen. It's hard to classify what stylistic influences are at work on this building, but rococo revival springs to mind, as we saw its influence in the Backus house in Baltimore. This symmetrical plan brick home has a very sedate first and second floor, with pairs of tombstone windows sitting atop bay windows on the flanking bays and a triple arched palladian in the central bay. But like the Swain house, the top is where the action occurs. The cornice's architrave molding swoops and dips fantastically along the façade, interrupted only by paired c scroll brackets; this culminates in the central open pediment which appears to be a rococo/Flemish form topped by a pile of carved vegetation. This pediment rests on stepped brackets and encloses a window with a swooping hood molding that reminds me of Chinese designs. The whole is topped by a magnificent cupola that repeats the triple arched palladian form as well as the vegetal carving. In considering the house, it is clear that some continental European baroque forms are at work; considering Adams and his wife were both Maine natives, it's anyone's guess why they chose such a playful European form for their home.

Detroit's Lost Italianates: The Isaac Swain House, Detroit, MI

The Isaac Swain House, Detroit, MI. 1863 Photos: Scott Weir

This post kicks off my discussion of a fascinating series of lost Italianates from Detroit. I have to especially thank Scott Weir for his collection of photographs of these gems. 19th century Detroit was one of the wealthiest, growing cities in the US, and that wealth as a transportation hub with close access to Canada and Michigan natural resources. Detroit was a well planned city from the earliest periods in its history, with broad boulevards, a grand street plan, and plenty of impressive homes constructed by the city's wealthy merchants. Unfortunately, the economic decay of the 20th century, as well as geographic changes in Detroit's fashionable areas took a major toll on the city's architectural heritage, as they have in most American cities. Wealthy Detroiters constructed their elaborate 19th century mansions near the downtown in neighborhoods that soon succumbed to business pressures and lifestyle changes. The Swain house, built in 1863 for an abstemious, uptight, and wealthy lumber merchant was built at 1115 Fort Street, a site now occupied by industrial buildings and an MDOT office near the highway. Still, for the purposes of this blog, lost homes are as valuable specimens as existing ones, in that they give us a clearer picture of the stylistic diversity of Italianate design.

The house is one of the most substantial Italianates featured on this blog (the biggest ones are always the first to fall). It follows the five bay plan with a strong central projection and appears to have been built of brick. The photo at the top of this page shows the house in the late 19th century, while the one below is closer to the period in which it was built; apparently the entrance porch was in need of some expansion at some point in the house's history. Chimneys seem also to have been added. All of the home's windows were arched (first floor round, second floor segmental) with extremely heavy drip moldings festooned with foliage and carved keystones. The windows on the top two stories of the central bay were both triple arched palladians. But while the porch and body of this house are not particularly elaborate, the cornice and upper stages are a testament to the possibilities of the lumber Swain made his fortune in. The height of the paneled cornice which is of the arched variety is extreme, giving the house a very top heavy feel. The elaborately carved brackets accentuate this, being expensive double s scrolls that alternate in size. A bold architrave molding with dentils below the windows places an exclamation mark on the overdone cornice. Additionally, the surprises continue as the eye moves upward, with an odd, seemingly hexagonal, cupola. The unusually tall cupola repeats the triple arched palladian windows and is topped by a very strange rounded railing with strong newel posts. This same railing, which almost looks art nouveau or jugendstil, seems to have been repeated, as the second image shows, further down on the roof, perhaps a second rooftop balcony. The cupola is also unique in that it is rare that a house has such strong gables also have a cupola, which is primarily associated with the hip roof. In a house of rooftop surprises though, the strange cupola merely completes the top heavy design.

The Alexander Magruder House, Vicksburg MS

The Alexander Magruder House, Vicksburg MS. 1850 Photo: Wikimedia

Source: Wikimedia

This house was built in 1830 as a single story house in the Greek Revival style by Richard Featherston, but was remodeled into a two story Italianate structure in 1850 by Alexander Magruder, a doctor. It is a five bay symmetrical design, reflective of its Greek Revival roots, with sparing details, and a noticeable lack of window surrounds (the tracery looks to be an addition of the 1890s). The facing appears to be some kind of stone or perhaps a very deeply scored and textured plaster, with quoins in the corners, giving it a rather grand frame. The entablature on both the porch (with thick, square, Greek Revival pillars) and the house match, following the paneled style with sharply angular brackets. Perhaps its most attractive feature is the main door, which has an elaborate pilastered surround with panels matching the entablature, curvaceous brackets, and a fine basket handle arch transom. The house is currently a place one can rent to stay in. The fine and tastefully decorated interiors can be seen here.

Source: Jeff Hart

I'd like to mention another Italianate here, the demolished rectory of St. Paul's church (all images from HABS).

It was built in 1866 and designed by the priest, Jean Baptiste Mouton, and pieces appear to have been prefabricated in Ohio and shipped down. Despite the Gothic detailing, the house is solidly Italianate, given its cornice with angular brackets closely spaced, its symmetrical five bay plan, and its hip roof. It is one of several hybrid Italianates, like Indian Italianates, with a different stylistic vocabulary applied to a Italianate frame. Here, the Gothic details consist of window labels in a Gothic vein, a Gothic porch with a heavy ogee arch, and pointed windows. This last feature is an interesting transformation of the typical Italianate triple arched palladian into a Gothic formation. The whole façade was stuccoed and scored to appear like stone, making the undoubtedly brick house match the grandeur of Gothic stonework. Unfortunately, this was demolished in 1972.