The James Bishop House, New Brunswick, NJ

The James Bishop House, New Brunswick, NJ. 1852 Photos: Wikimedia

Black and White photos: HABS

The James Bishop house is a uniquely eclectic Italianate home in New Brunswick, NJ, a city which has been robbed of most of its history because of a vast and poorly considered plan of urban renewal. Thus, the Bishop house is a lucky survivor thanks to Rutgers University, which uses it as classroom space currently. It was built in 1852 by architect Isaiah Rolfe for James Bishop, an important congressman from New Jersey,in a fascinating mixture of Italianate and Gothic Revival elements.The house is broadly an example of the side tower plan with a projecting pavilion and tower anchoring a central section (which is truncated here) although to the right there is a wing with a porch that terminates in an octagonal Gothic tower. The whole is stuccoed and finished in a very spare style typical of the 1850s.

Italianate elements of the design include Venetian windows on the first floor of the front of the house and a variety of paired tombstone windows on the upper floors. The triple arched Palladian window in the tower is also very Italianate. The tent roof on the tower is an uncommon but not unprecedented element. Here it is pierced by eyebrow dormer windows. The blind arches in the tower as well can be seen in other examples.

Gothic elements are limited mostly to the decoration. The toothed string-course moldings and the setback in the facade on the pavilion contribute to the castellated feeling the house aims for. The front door is Romanesque in style, with small columns surrounding it, a design found in Romanesque church portals. Particularly important is the function of crenelations. Not only does the octagonal tower have a crenelated parapet, but the brackets one might expect are expressed as a crenelated pattern in the facade. Even the simple porch with its octagonal Gothic columns is crenelated as are the bay windows. A final zany element is the chimneys, the three of which have different patterns and must have been copied from a published image of Medieval design.

The interiors, which have been mostly preserved, are extravagant. A few images seen below show an impressive divides staircase, a library with Italianate shelves and a bizarre inlaid floor, and expensive marble mantlepieces. Although Gothic did not frequently cross over with Italianate design, nonetheless the Bishop house is an important early example of the eclectic experimentation found in early Italianates.

The rear.

'Ridgewood' the Edwin Litchfield House, Brooklyn, NY

'Ridgewood' Brooklyn, NY. 1854-57 Photo: Wikimedia

Photo: Kim

'Ridgewood' also known as 'Litchfield Villa' is perhaps Alexander Jackson Davis' most important and lavish Italianate mansion and bears the distinction of nearly duplicating a house we have looked at before, the Munn house in Utica, NY. Currently surrounded by Prospect Park in Brooklyn, it was built in 1854-57 by Davis for Edwin Litchfield, an extremely important figure in the development of Brooklyn's Park Slope, the Gowanus Canal, and railways. When Propsect Park was laid out, the Litchfields were allowed to keep their home until their deaths in the 1880s, after which the park service occupied the house as offices. After a long period of neglect, the house is in the process of being restored.

The house strongly resembles the Munn house in plan, and Davis seems to have simply expanded the already impressive design he had constructed in Utica a couple years before. A comparison of the facades of these irregular plan houses reveals a variety of differences. First, the placement of the tower and the chamfered projecting pavilion are reversed between the two houses. Unlike the Munn house, there is no recessed archway around the front door. The left hand wing, which once had a similar porch to that on the right, terminates in a surprising round tower with a conical roof. Round towers are exceedingly rare in Italianate houses. The disposition and treatment of windows is mostly the same, except the triple windows of the Munn house on the pavilion are paired arched windows here, and a balcony has been added to the third floor of the pavilion.

Decoratively, the Litchfield house is far more elaborate and more Anglo-Italianate, than the Munn house. The house has rotated s curve brackets typical of Anglo designs, as well as a highly refined acanthus leaf frieze and full classical entablature on the porches and windows. Most startling is the use of corn and wheat capitals instead of the traditional acanthus Corinthian capital, a very uncommon stylistic quirk that was part of the attempt to Americanize classical forms. Although the facade appears to be brick, it was intended to be stuccoed white (the stucco was removed in the 1930s and never restored). Overall, the Litchfields seem to have outdone Davis' earlier designs and created a more sophisticated and playful version that sought to convey a more European sensibility.

The house's interiors are quite stunning. A series of interior pictures can be seen here as well as a period image below. The floors feature beautiful Minton tilework, elaborately carved Rococo Revival fireplaces, pilasters, columns, and an interior rotunda. Finally, the house's interiors are being carefully restored, and one can only hope that someday the stucco may actually be replaced to allow the house its full effect.

Photo: Frank Sinks

Photo: Wikimedia

Parlor.

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

The Benjamin Franklin Webster House, Portsmouth, NH

Benjamin Franklin Webster House, Portsmouth, NH. 1880 Photo: Patti Gravel

Benjamin Franklin Webster was a prominent builder in Portsmouth, NH, a city famous for its colonial architecture, who was responsible for many Victorian buildings in the area. This impressive structure is his own house that he designed for himself and his wife in 1880. The house is well preserved and is owned by a funeral home that is committed to preserving the beauty of the home (kudos to them!). The house follows the irregular plan, an appropriate choice for a house built on such a grand scale. The plan is not exactly followed, since the recessed wing has one extra bay than usual, and the tower is far higher than usual. The skill of Webster can be seen, however, in that the lengthening of the facade is balanced out by the heightening of the tower. Overall, the house is flushboarded, an impressive treatment for an entire facade.

The late date is no doubt responsible for some of the elaboration of details, which strongly reflect the designs of the 1870s. Everywhere on the house, the careful thought of an architect is evident in the fine and sometimes unique details. The window hood moldings have pediments on shelves supported by carved brackets with a strip of dentil molding. The pediments alternate between simple triangular ones and round ones which are broken by a keystone. An unusual feature is that beneath the porch, the windows have no moldings, but instead have long brackets helping to support the roof, an interesting and no doubt practical feature. The corners of the house have wooden quoins. The porch itself, supported on a lovely stone and wood base, has arched openings, somewhat odd Corinthian capitals, and brackets. It bows around the Renaissance Revival front door at the base of the tower. The cornice has the unique feature of having groups of triple brackets, with a long bracket flanked by two smaller ones. Dentils and a frieze of rosettes enliven the design.

The tower is a particularly beautiful design. It has pairs of windows going all the way to the top, eschewing the expected arched windows or triple windows on the stop stage that are usually found. The treatment of the paired windows is elaborate, with pilasters and wooden fringe defining them. Above the third stage of the tower, it transitions from being a square to an octagon with chamfered corners. This is handled with beautiful curved scrollwork that responds to the shape's transition. The octagonal top stage has windows on four sides with the intervening sides blind with arched panels. The whole is topped with an elegant balustrade. In every way, the home is fantastically preserved, and shows the careful thoughts of a designer rather than a builder.

 The bracketed windows under the porch.

Hopewood: The William Bailey House, Providence, RI

 William Bailey House, Providence, RI. 1848 Photos: Providence College Wiki

Here we have a particularly strange example of Italianate. Built by an unknown architect between 1848 and 1850 for William Bailey as the centerpiece of his estate Hopewood, it was bought by a convent, girl school, and is currently called Dominic Hall and is a part of Providence College, whose art class wiki provided me with many images and plenty of information. The house follows a somewhat squashed version of the side tower plan. This squashed version is uncommon, but it forms a distinct type that I will explore in a later post. What's impressive about the Bailey house is the undulation of the front facade and the focus on octagonal forms rather than the usual 90 degree angles popular in Italianate. This is reminiscent of the Vanderheyden house in Ionia. The projecting pavilion has chamfered corners with the central section having Greek Revival triple windows and narrow side windows, as if it were a large bay window. The central section has an arched window on the second floor and an arched door with a glass surround. The hip roof has a dormer. The bayed porch continues the undulating shape. The tower is recessed and is octagonal, a very uncommon shape that occasionally occurs. The four stages of the tower have variation between round, arched, and rectangular windows. Small exterior awnings top the flat headed windows, while the round windows have a small course of stone. The whole house is made of a grey stone, that gives an weightiness to the design.

Interestingly, this elaborate undulation is not repeated on the sides or the back. The sides have two rectangular gable fronts with box windows. Thus, the back has right angles and the elaboration on the front seems rather just glued on to the boxy back facade. The decoration of the house is severe; besides the wooden awnings, the elements are stripped to their basics; the cornice lacks brackets, and the porch eschews complex columns or decoration. Overall this is a fascinating example that chooses geometry rather than ornament as its mode of expression. Pictures of the well preserved interior (which has seen a great deal of modification and then restoration) can be found on the wiki site.