The H. R. Newberry House, Detroit, MI

The H. R. Newberry House, Detroit, MI. 1875 Photo: Scott Weir

And now for something totally different than the Detroit symmetrical plan, the H. R. Newberry house, built by a railroad executive in 1875, presents us with a very different design concept. Following the rotated side hall plan, the Newberry house has such bulk and verticality, rising all across to a full three stories, it almost looks like an apartment building. It seems that there are two different building phases here, given the disparity of elements, with the left three bays being different than the others and apparently an addition of the 1880s. The house features a typical 1870s style for the region, with brick and stone accents dividing the surface into bands and Eastlake incised designs. The first floor windows are simple rectangles, while the second floor features windows with convex fillets in the corners, and the third floor has segmental arched windows with convex fillets, with each stage become more complex geometrically. This is topped by an entablature with very shallow angular brackets and a row of dentils. A small engaged pediment characterizes the right hand bay while a more elaborate broken pediment with spiral ends characterizes the left; this is a particular favorite design in Queen Anne architecture. The tower features brick panels and pilasters and a hefty palladian window, a rather ponderous design that looks more like a castle or Renaissance tower. The cornice is broken three times, with an engaged triangular pediment flanked by two engaged rounded pediments, a rather elaborate, almost baroque touch. The porch as well is particularly lovely (note the cute balcony at the corner to the right. The first stage has horseshoe arches on thin banded columns, but above is an exquisite glassed conservatory with a series of alternating thick and thin arched windows, a triangular pediment on the front, arched on the sides, and to top it all a cut out Vitruvian scroll and anthemion, providing a nicely frilly contrast to the house's bulk. Note as well the delicate iron fence of rinceaux.

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.