THE 
 
 A R € H I T E € T, 
 
 A SERIES OP 
 
 ®IS 111SMH 0110® 
 
 DOMESTIC AND ORNAMENTAL COTTAGES AND VILLAS. 
 
 CONNECTED WITH 
 
 ADAPTED TO THE UNITED STATES: 
 
 ILLUSTRATED BY DRAWINGS OF GROUND PLOTS, PLANS, PERSPECTIVE VIEWS, ELEVATIONS, SECTIONS AN1) PETAL 
 
 VOL. II 
 
 WILLIAM H. RANLETT, 
 
 ARCHITECT. 
 
 NEW YORK: 
 
 PUBLISHED BY DEWITT & DAVENPORT, TRIBUNE BUILDINGS, 
 
 AND FOR SALE BY ALL THE BOOKSELLERS THROUGHOUT THE UNITED STATES AND THE CANADAS. 
 
 1851. 
 
Entered according to Act of Congress, in the year of our Lord one thousand eight hundred and forty-seven, by 
 Richard Van Dien, in the Clerk’s Office of the U. S. District Court for the Southern District of New-York. 
 
 F. 4c Palmer, Lithographers, 
 
 33 Ann Street. 
 
 J P P&alL, Printer, No. 9 Spruce street, N. V 
 
INDEX.-VOL.il.. 
 
 Design XXII. — Cottage Villa in the Rus¬ 
 tic Style. 
 
 Design XXIII. — Cottage Villa in the Ita¬ 
 lian Style. 
 
 Plate I. Two perspective views. 
 
 “ 2. Floor plans and sections. 
 
 Design XXIV.— A Plain Cottage — Eng¬ 
 lish Style. 
 
 Design XXV.— A Plain Cottage — Eng¬ 
 lish Tudor Style. 
 
 Plate 3. Two perspective views. 
 
 “ 4. Floor flans and sections. 
 
 “ 5. Design for a Coach-house,— 
 ground plans, sections, and de¬ 
 tails. 
 
 “ 6. Ground plot of 4^ acres on 
 Staten Island. 
 
 Design XXVI.— Italian Bracketed 
 Villa. 
 
 Plate 7. Perspective view. 
 
 *’ W. Floor plans. 
 
 t>. Two geometrical elevations. 
 
 “ 10. Working plans. 
 
 “ 11. Floor plans and details. 
 
 “ 12. Ground plot and profile of 1^ 
 acres. 
 
 Design XXVII.— Villa in the Persian' 
 Style. 
 
 Design XXVIII.— Villa in the mixcd\ 
 Style. 
 
 Plate 13. Floor plans. 
 
 14. Two geometrical elevations. 
 “ 15. Two geometrical elevations. 
 
 Design XXXII.— Italian Villa. 
 
 Design XXXIII. — Italian Villa. 
 
 Plate 22. Two perspective views. 
 
 “ 23. Floor plans and details. 
 
 “ 21. Details. 
 
 Design XXXIV .— Cottage, English Style ■ 
 
 Design XXXV. — Cottage, English Style. 
 
 Plate 25. Floor plans and details. 
 
 *• 2(5. Two perspective views. 
 
 “ 27. Floor plans and details. 
 
 Design XXXVI. — Cottage I ilia — semi- 
 Italian Style. 
 
 Plate 28. Two geometrical elevations. 
 
 29. Ground plot for Waldwic Cot 
 l age. 
 
 30. Elevations and profiles of wood 
 fences. 
 
 Design XXXVII. — A agio- Norma n 1 illa. 
 
 Plate 31. Two geometrical elevations. 
 32. Floor plan and details. 
 
 “ 33. Details. 
 
 “ 31. Details. 
 
 Design XXXVIII. — Cottage Villa in the 
 Anglo-Norman Style. 
 
 Plate 35. Perspective view, and two geo¬ 
 metrical elevations. 
 
 “ 3G. Isometrical view of floor plans, 
 section and details. 
 
 Design XXXIX. — Isometrical plans, Spc. 
 for a. cheap house; and details. 
 
 Design XLIV.— English Cottage, orna¬ 
 mented in the Swiss Style. 
 
 Design XLV.— Cottage Villa — Italian 
 Style. 
 
 Plate 43. Design for a YUrery and Green 
 House. 
 
 41. Section, Isometrical floor plans 
 and details. 
 
 “ 45. Two perspective views. 
 
 Design XLVI .—Cottage Villa—Italian 
 Style. 
 
 Design XLVII.— English Cottage , Rural 
 Style. 
 
 Plate 40. Two perspective views. 
 
 “ 47. Section, floor plans and’details. 
 
 “ 4S. Details for a grapery. 
 
 Design XLVI 
 
 — I ilia in the American• 
 Style. 
 
 Plate 49. Section and floor plans. 
 
 '* 50. Two geometrical elevations. 
 
 ‘ 51. Details. 
 
 Design XL1X.— Villa in the Tudor Style. 
 
 Design L .—Villa in the Greco-Italian•. 
 Style. 
 
 Plate 52. Floor plans. 
 
 “ 53. Two perspective views. 
 
 “ 54. Details. 
 
 Design XXI X—Collage in the JJe^k| D eS,ON XLL & XLII._ Turt plain Co 
 Style. 
 
 Design XXX. — Bracketed Cottage, Eni 
 lish Style. 
 
 Plate. 10. T wo perspective views. 
 
 17. Design for a barn, floor plans, 
 and details. 
 
 “ 18. Details. 
 
 Design XXXI. — Italian Villa. 
 
 Plate 19. Two geometrical elevations. 
 
 “ 20. Floor plans. 
 
 21. Floor plans. 
 
 luges. 
 
 Design XLI. & XLII. — Ornamented. 
 
 Plate 37. Isometrical views and details. 
 38. Four perspective views. 
 
 “ 39. Floor plans and sections. 
 
 Design XLIII .—Double house—Italian 
 Style. 
 
 Design LI. — Stone Villa in tint Italian 
 Style. 
 
 Plate 55. Floor plans. 
 
 5G. Two geometrical elevations. 
 
 57. Longitudinal section and floor 
 plan. 
 
 58. Details. 
 
 Design LII. — Cottage Villa in the Angto- 
 Swiss Style. 
 
 IDesign LIU. — Cottage Mila in the ear¬ 
 liest English Style. 
 
 Plate 40. Two geometrical elevations. 
 
 ,. 41. Details. [Plate 59. Section, floor-plans and details 
 
 42. Isometrical floor plan and dc-| “ GO. Two perspective views. 
 
IV 
 
 JTS.SVf »’S. 
 
 Cottage Architecture, 
 
 What to build, .... 
 Specification for Design XXII., 
 Description of Plates, XXII., XXIII., 
 XXIV. & XXV., . 
 
 Styles and Sites, ..... 
 Wood Cut of Design XVIII., Vo!. 1 , 
 Ksrimates for Designs XXII., XXIII., 
 XXIV. & XXV., 
 
 INDEX-VOL. II. 
 
 Specifications for Designs XXXIV. & 
 
 5 XXXV.4 
 
 7 Form of Contract, 
 
 8 Description of Plates for Designs 
 
 XXXIV. & XXXV. . . . 
 
 10 Estimates for Designs XXXIV.. 
 
 10| XXXV. & XXXVI. 
 
 11 The Anglo-Norman Style of Arckitec- 
 : ture, ..... 
 
 12, Wood cut representation of a Cottage 
 
 Specifications for coach-house. Plate5,12 built by A. W. Clason, Esq., 
 
 Anglo-Italian Villas, 
 
 Specifications for Design XXVI., 
 Description of Plates. Design XXVI., 
 Wood cut. representation of the resi¬ 
 dence of !\ A. Stockton, Esq., . 
 
 Marine Villas. 
 
 Estimate Ibr Design XXVI., 
 Nomenclature of Dwellings, 
 Specifications for Design XXVII., : 
 I )c- •; iptiou >f Plates !'<c I • 
 
 XX VII., XXVIII., XXIX. & XXX., : 
 Es imates for Designs XXVII., XXVIII. 
 
 13 Marine Cottages, 
 
 15 Extract from Specifications of Designs 
 18; XXXVII. & XXXVIII., 
 
 'Description of the Plates for Designs 
 
 19 XXXVII. & XXXVIII., 
 
 19,The Color of Houses, 
 
 20 Estimate for Design XXXVIII., 
 
 211 Wood cut representation of the couti- 
 25 try seat of E. Bement, Esq., . 
 
 'Remarks upon do. 
 
 Cheap Houses, . . . ..I 
 
 Description of Plates for Designs 
 
 XXIX., XXX. and Barn, . .28; XXXIX.,XL..XLI.,XLII.&XLIII. 
 
 Venetian Architecture, . . 29 Estimates for Designs XXXIX., XL. 
 
 Wood cut representation of Waldwic XLI., XLII. &XLIII. 
 
 Cot 
 
 Description and ground plan of do. 
 Specifications for Design XXXI. . 
 Specifications for Design XXXII. . 
 Specifications for Design XXXIII. 
 Description of Plates for Designs 
 XXXI.. XXXII. & XXXIII. 35 
 
 Estimates for Designs XXXI. XXXII. 
 
 & XXXIII.30 
 
 Wood cut representation of a Grecian 
 Cottage, Passaic River, N. J., . 37 
 
 Cottages and Living Cottagely, with 
 wood cut,.37 
 
 31 Permanent Dwellings, 
 
 32 Painting the Interior of Houses, 
 
 Description of Plates for Designs 
 XL1V., XLV. & XLVI., Vinery 
 and Green House, ... 65 
 
 Table showing the capacity of cis¬ 
 terns, &c., . . . . .07 
 
 Estimates Ibr Designs XLIV., XLV., 
 XLVI. &XLV1I. ... 68 
 
 Table showing the cost of various 
 kinds of Plastering, . . .08 
 
 Wood cut representation of a Persian. 
 Villa, ..... 09 
 
 American Houses, ... 70 
 
 |Description of Plates for Designs 
 1 XLVIII., XLIX. & L., . .72 
 
 Table showing the various sizes of 
 (Slate, cost, &c., per square, . 73 
 
 Table showing the cost of sashes, and 
 the various brands of glass,. . 74 
 
 Table, showing the quantity of mate¬ 
 rial, various qualities and cost of a 
 square of shingle roofing, . 76 
 
 Estimates for DesignsXLVIII., XLIX. 
 
 | & L., . . . . .76 
 
 W ood cut representation of an Italian 
 Villa for J. P. Swain, Esq., . . 77 
 
 Shadows, ..... 77 
 
 Wood cut representation of a Subur¬ 
 ban Villa, designed for Messrs. G. 
 
 & H. Dexter, . . . .79 
 
 Remarks upon do. . . 79 
 
 Est imate for Green House and Vinery, 79 
 Description of Plates for Designs LI., 
 LI1. & LlII., .... 80 
 
 Specification for Design LI., . . 81 
 
 Table showing the cost of 100 cubic 
 ft. of stone-work, ... 84 
 
 Table showing the cost of 100 cubic 
 ft. of brick-work, . . .84 
 
 Table showing the number of nails to 
 a pound and their lengths, . 84 
 
 Table showing the number of boards 
 and nails to a square of siding, 84 
 Table showing the number of planks 
 and nails to a square of flooring, 84 
 Estimates for Designs LI..LII. & LlII., 85 
 Table of information for lead pipe 
 and sheet lead, . . . .86 
 
 Notice,.8" 
 

 COTTAGE ARCHITECTURE. 
 
 Is the designs of our first volume a good many examples of Cottage Architecture were exhibited, 
 adapted to residences of very humble pretensions, so far as mere cost was concerned, yet showing, what 
 has been the chief aim of this work, that beauty and convenience are not only entirely compatible with strict 
 economy, but that they are, in reality, infinitely cheaper than ugliness and inconvenience. There is no 
 necessity that any man in this country, however humble in position, or restricted in means he maybe, should 
 live in an ugly or ill-constructed house. The rich man may build himself a beautiful Villa, but he cannot en¬ 
 joy its beauty by looking out ofhis own windows ; his neighbor will see more of it than himself; it is there¬ 
 fore as necessary for the lover of beauty in art to promote good taste among his neighbors as to possess it him¬ 
 self, since he must of necessity see more of his neighbors’ houses than he does of his own. The Earl of Bur¬ 
 lington, who was celebrated for his taste in architecture, having built himself a town house, with a very 
 beautiful facade, was recommended by one of his friends to hire the house opposite to it that he might be 
 able to enjoy the view of it. 
 
 If it is an object with rich men who build country houses, to surround themselves with fine trees, 
 and so place their mansions that they may enjoy charming prospects, it is surely of the first importance 
 that the houses of their neighbors should not be of a character to mar the beauty of the landscape. It is 
 their duty therefore to disseminate correct architectural information, and to aid every endeavor to render 
 true principles of ornamentation in building popular. Our work is intended as much for the million as for 
 the Wealthy few, to whose tastes exclusively architectural publications have heretofore been directed. 
 
 Men of moderate circumstances and the really poor have been so long accustomed to plain, uncom¬ 
 fortable houses, that beauty and convenience have come to be regarded as solely the right of the wealthv 
 and independent. M e tiust that something lias already been done in the preceding numbers of this work 
 to dispel such a degrading delusion. The humblest Cottage should in beauty of form and convenience of 
 construction be equal to the finest Villa, and the laboring man may without any extra expense be sheltered 
 by a roof constructed upon the same principles of architectural beauty as that which shelters Ms wealthy 
 employer. As the sun shines, the ram falls, flowers blossom, the stars twinkle, and birds sing for all, so 
 are the discoveries of Science and the progress of Art for all. If it were the sole purposeof the Architect 
 to construct showy houses for the rich, and if his art were not to be employed in improving and embellishing 
 the dwellings of the poor, aswell as in rearing splendid churches and spaciou's mansions, his noble profession 
 
 VOI,. II 1 5 
 
6 
 
 COTTAGE ARCHITECTURE. 
 
 would lose half its dignity. The great Architects of the past employed their talents solely in the service of 
 the rich, or the church. They built palaces, cathedrals, castles, halls, towers, and arches, but their genius 
 never stooped to the humble homes of the poor. The laborers who aided in raising the magnificent piles, 
 which now exist, the wonder and admire'.on of travellers in Europe, lived themselves in wretched cabins 
 upon which the Architect had never cast his eye. By the side of the palace and the cathedral was the rude, 
 uncomfortable house of the laborer, whose wants and aspirations had never been heeded by the Architect. 
 But the Architect of the present day directs his thoughts to very different objects from those that employed 
 the genius of the Palladios, the Jones’ and the Wrens. If we can boast of neither palaces nor cathedrals 
 in America, we can point to the houses of the poor which have been modeled and embellished by the genius 
 of the Architect. In every part of the country the eye and the heart are gladdened by evidences of the 
 growing tendencies of the age to equalization of condition, in the numerous little gems of architecture, con¬ 
 structed of the coarsest and cheapest materials, which abound in the vicinity of our large towns, and are not 
 unfrequently found in the half-cleared wilderness. The poor man is regarded as having equal capacities for 
 enjoyment as the rich, and the Architect plans the house of the laborer as well as that of the employer. 
 The ugly thatched cottage of the English clodhopper seems to have been built for beings of a wholly differ¬ 
 ent race, having lower instincts and baser appetites, than those that inhabit the sumptuous residences of the 
 nobility and gentry of England. It is not merely a difference of condition, but of thought and feeling and spe¬ 
 cies that is inuicated by the different dwellings. It is not so with the modern dwellings of our own country 
 The house of the rich man differs in size, in costliness of material and in ornamentation, from that of the poor 
 man ; but they are both evidently designed to shelter the same class of beings, who differ from each other 
 only in the accidents of fortune. The Villa of the wealthy merchant is nothing more than an enlargement of 
 the Cottage of his poor laborer ; but the house of an English laborer could not be enlarged into a residence 
 fit for his employer. 
 
 Although much has already been done to meet the growing wants of our rapidly increasing and rapid¬ 
 ly improving population, as respects architectural knowledge, yet much still remains to be done lor the 
 comfort and elevation of the people, and beautifying the incomparable sites for building which abound m 
 the suburbs of our great cities. In the succeeding numbers of the Architect we shall present a great number 
 of designs for Cottages of a moderate cost, as well as of Villas and country mansions of a more costly and 
 ornamental character. 
 
WHAT TO BUILD. 
 
 All animals whose necessities require an artificial shelter, except man, are blessed with an architectural instinct; 
 they know exactly what, and when, and where, and how to build. But man the most intelligent'of all the living crea¬ 
 tures that inhabit the earth, is the only one that makes mistakes in constructing an edifice for himself and his young. 
 After experimenting in house-building through thousands of ages he is still uncertain as to what constitutes a house, 
 while the bees of last summer constructed their cells in the same form, of the same materials, and on the same principles 
 as did the ‘’singing masons” that built their “ roofs of gold” in the time of Virgil. But as man is a progressive animal, 
 and as the bee is not, the one must continue to change his house as he changes his habits, while the other must continue 
 to the end the same being that he was in the beginning. Some architects, however, of our own age, appear to have 
 imbibed a belief that men, like bees, should always inhabit the same kind ol house, and although they may change in 
 their thoughts, their habits, their speech, their religion, and even their country, that the houses which they inhabit must 
 always remain the same. We read the other day in an architectural work published in this country the following amus¬ 
 ing note : 
 
 “ Individual habits and hereditary descent, when they are sufficiently marked, may give a certain fitness to a 
 given style of architecture. We could mention a gentlemen of large possessions in this country, who is descended from 
 an old Dutch family, and who has lately built a magnificent country residence in the Anglo-Italian style. We never 
 see it without thinking how much additional fitness and propriety he might have conferred on his estate by building a 
 fine specimen of the old Dutch, or Flemish mansion, and making it a family museum of the superb specimens of Dutch 
 furniture and interior decoration which were still within his reach.” 
 
 The gentleman alluded to in this most remarkable note, who had the good sense to build himself a house adapted 
 to his domestic wants, the exigencies of the soil and climate and the refinement, of the times, happens to be the descendant 
 of ancestors who came to this country two hundred years ago, from Holland; and therefore, says our architect, instead 
 of building himself a mansion having all the elegancies and conveniences which the progress of Art and the discoveries of 
 Science have placed within the reach of the present generation, he should have “added to the fitness and propriety of 
 his estate,” by building one of those fantastic, sharp roofed, rambling edifices which some of his ancestors might pos¬ 
 sibly have inhabited two or three hundred years ago in the cold, wet climate of Holland, and have surrounded him¬ 
 self with a collection of grotesque inconveniences in the shape of high and straight-backed oaken chairs, rickety old 
 tables, japanned clocks and iron candlesticks. For the sake of carrying out the “ fitness and propriety” of the thing, the 
 Architect should have recommended the gentleman to talk low Dutch, to substitute schnaps for coffee, and wear a steeple 
 crowned hat and innumerable pairs of breeches. According to this theory of Architecture, all that a gentleman need 
 trouble himself about in building a house, would be to find out what part of the world his ancestors had emigrated from, 
 and construct his mansion exactly in the style of that which they had inhabited, and thereby “ confer additional pro¬ 
 priety and fitness on his estate. 
 
 In the first Volume of the Architect, we gave a great variety of examples of ornamentation in Cottage and Villa 
 Architecture, which \vere all subordinate to the adaptation of the house to the exigencies of the climate, and the habits 
 of the people. The laws of nature never, differ, the heats of summer, the snows of winter, the drenching shower and the 
 bleak north wind call for precisely the same defences in all ages, and in all countries; it is the business of the Architect 
 to use the proper means to shield his employer from the elements; but every man who builds a house may ornament it ac¬ 
 cording to his own fancy, if he have any; all that the Architect is required to do, is to see that the style of ornamentation 
 is consistent with itself; the descendant of Dutch ancestors may build a Greek portico in front of his house with as 
 much propriety as though he could trace his descent up to Ictinus of Athens, and a scion of the Pandolfi family 
 might construct a Dutch castle, all garret and gable, on the banks of the Hudson with as much fitness and propriety as 
 the descendant of Peter the Testy. If men are to be bound down by the ignorance or whims of their ancestors, and 
 carry their grist to mill'balanced by a stone, because their grandfathers did so before them ; then there will be an end to 
 all improvement in Architecture as in every thing else. The Architect whose note we quoted would probably be grati¬ 
 fied to see the people of Dutch descent who live in Albany, making voyages on the Hudson, in such square-bowed vessels 
 as their ancestors sailed in, when they first navi-rated that river. 
 
SPECIFICATIONS. 
 
 Of the Materials and Labor required in the erection of Design XXII, 
 
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 second sro/?r. 
 
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 PLATE 2. 
 
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PLATE 3 . 
 
 DfS/CN XJUV 
 
 VOL. 2 . 
 
 Deigned & DM. by V ItHaiilotl. 
 
 DES/CAl XXX 
 
 A PLAIN COTTAC E 
 
 J?7UfZbsh Style. 
 
 A PLAIN COTTACE. 
 
 JSnp/iS 'i Tudor Style. 
 
CCRMBFR STOR Y. 
 
 C//RMSTR STORY 
 
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 SoaJ* 6 ft. 
 
 /living Room 
 
 GRi L//V0 T/0/7/i. 
 
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PLATE.6. 
 
 VOL.2 . 
 
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 DESCRIPTION OF PLATES. 
 
 PLATE 1 .—Ground plans, framing and wall sections of two Cottage Villas. Designs XXII. and XXIII. 
 
 PLATE 2 .—Design XXII. Perspective elevation of a Cottage Villa with details in the rustic style. Design XXIII. Per¬ 
 spective elevation of a Cottage Villa, the general exterior detail in the Italian style. 
 
 PLATE 3.—Ground plans, framing, wall and roof sections for two cottages. 
 
 PLATE 4. —Designs XXIV. and XXV. Perspective elevations of two Cottages—the exterior ornamented with the Tudor 
 details in the English style. 
 
 PLATE 5.—Front and side elevations and two ground plans of a Coach house and Stable (now being built in the “Ro¬ 
 manesque” style, and for the Villa, design XVIII. Vol. I.) with yards for cows, pigs, and fowls_the latter to 
 
 have a house adjoining with rooms for roosting, hatching, &c. 
 
 • PLATE 6>—Ground plot of 4 1-4 acres of ground on Staten Island, the front on the Clove road, and rear*on a brook of clear 
 cold spring water. A dam is raised making 2 feet G inches fall of water, from which a strong lead pipe 
 (11-4 inch) 50 feet to a Hydraulic Ram, which carries the water through a 1-2 inch medium pipe 350 feet to 
 the house, with a perpendicular height of 30 feet (the same will be continued into the house 10 feet higher 
 supplying a reservoir for a bath, water closet, and kitchen), discharging 350 gallons per day. The Villa is 
 placed on the highest ground (see profile), about 100 feet from the road and 70 from the southern line. 
 The lawn is on the north of the house and filled with the choicest fruit trees, the vegetable garden on the 
 south-west, and flower gardens and parterre’s on the south and east, with borders on the north side. The 
 stable at a convenient distance, 450 feet, from the house ; a privy and wood-house 10 by 16 feet, connected) 
 about 50 feet from the rear of the house, to be screened by a thick hedge of evergreen. 
 
 STYLES AND SITES. 
 
 Many writers on domestic architecture have indulged in whimsical speculations respecting the style best adapted 
 to particular sites, recommending the Castellated style for a hilly or mountainous region, the Italian style for a prairie 
 country, the Grecian style for the bank of a river or the sea side ;'but all such distinctions are purely fanciful and entire¬ 
 ly devoid of any sound reason. The best style is always that which best suits the taste of the builder, let the site be 
 where it may. keeping in mind, of cohrse, certain principles respecting the pitch of the roof and other particulars which 
 must conform to the climate and the nature of the soil. These principles can never be disregarded but at a sacrifice of 
 beauty; a flat roof cannot be made to look proper in a country where snow falls, whether the site be amid hills or in the 
 middle of a plain, by the sea side or on the banks of a river. The object of a roof is to protect the dwellers in the house 
 from the weather, therefore any covering which fails to do this is imperfect in design and consequently cannot afford 
 pleasure to the eye, as it must continually be suggestive of discomfort; for nothing can look more offensively incongruous 
 than a flat-roofed house in a climate subject to heavy falls of snow. The steep roofs of the old Cathedrals, in the north 
 of Europe were constructed expressly to allow the snow to slide off; as were the roofs of the early dwelling houses in this 
 country. Every primitive style of architecture grew directly from the wants of the people who originated it. The old 
 country houses which are still found in great abundance on Long Island, Staten Island, New Jersey and a part of Penn¬ 
 sylvania, are the finest models that can be devised for suburban dwellings. Most imperfect in their details many of 
 these buildings are, but there.is a wonderful harmony of design which pervades them all. They universally have a 
 frontage to the south-west with the front roof projecting far enough to form an umbrage in summer, while the back roof 
 is in most instances a story lower than the front and without windows, to serve as a protection against the north winds. 
 These are principles which lever should be overlooked. A country house should always have a southern front, and the 
 
STYLES AND SITES. 
 
 11 
 
 northern side should always be without a veranda and devoid of ornament, because ornaments require light and shadow 
 to give them relief, and the northern side of the house being the greater part of the day in shadow,ornamentations there 
 would be lost. For the same reason that the northern side of a house should be defended against the prevalent cold 
 winds of our climate, the shelter of a hill or a belt of trees should never be neglected when it can be had, and when the 
 site of a house does not afford any such shelter, it should be the first care of the owner to plant trees in the rear of his 
 house to defend it from the cold blast of winter, and the destructive hail storms to which we are subject at all seasons 
 and which invariably come from that point of the compass. 
 
 The innumerable landscape sites for Villas in the vicinage of New York afford opportunities for indulging the 
 most refined, the most voluptuous, the most romantic, or the most whimsical tastes in architecture; and we are far from 
 wishing to put. a curb rein on any man’s fancy in a matter which is so purely personal to himself as the style of his 
 house. A man’s Cottage is, in this country, the casket whioh contains his most precious jewels; it is the nursery of his 
 best affections, the real temple of his truest worship, where he retires to give vent to his joys or his griefs, and it should 
 honestly conform to his tastes and his means ; the fashion of it should be peculiar to himself. All that we propose is to 
 furnish him a variety of patterns from which he. may select One which accords best with his inclinations. We would not 
 because his plot of ground lay on a hill top, restrict him to a miniature baronial Castle, such as the robber-knights built 
 for themselves on the rocky steeps of the Rhine and the Danube, nor prescribe for him a little palladian box because he 
 chose to build in the centre of a meadow. Many of the examples which we have furnished in the preceding number of 
 the Architect have been copied and built in all parts of the United States; some of them upon Staten Island, upon the 
 most beautiful sites, we may say without fear of contradiction, to be found in the world ; it is so varied, so abounding 
 in fine views, so broken up into hills, vallies and meadows ; so diversified in its scenery that it might serve as an index 
 to the rest of the earth. This most charming Island appears to have been created expressly as a regenerator for the 
 population of a great city. It rises in picturesque, beauty from the blue waters of the bay and seems to invite the toiling 
 denizens of the great metropolis of the New World to seek its breezy hills, its pebbly shores and green meadows, and 
 there regain the strength of heart and vigor of limb which have been wasted in the too eager pursuit of wealth or pleasure 
 
 The accompanying wood cut represents design XV III. given in the first volume of this work. It is built on the 
 Clove road near the north side of the Island, and commands a variety of prospects of unsurpassed loveliness ; from the 
 windows of the second story may be seen six beautiful cities, with their spires and white residences gleaming in the dis¬ 
 tance. There are New York, Elizabethtown, Jersey City, Williamsburg, Brooklyn and Newark ; and in addition the sparks 
 ling bay with its Castellated Islands ; the grey pallisades ; the Passaic with its crowds of white-sailed vessels and splashing 
 steamers ; the cedar-fringed hills of the Island ; a gurgling brook which supplies the house with water, and numberless 
 beautiful villas, cottages and farm houses which surround it on every side. Orchards, meadows, fields of grain and trim 
 gardens ; a pure air, a genial soil and freedom from oppression ; here are all the elements of happiness and beauty, and 
 the Architect must be imbued with the spirit of the place and inspired by its genius to conceive his designs which shall 
 harmonize with such surroundings, and not appear like intrusions when placed in their midst. Let those who inspect 
 our works say whether or not we have been true to our calling and fulfilled the task which we have voluntarily assumed. 
 
E S T IMATE. 
 
 Quantities of the principal Materials required for the following Designs. 
 
 Design XXII.—945 cubic feet of common stone work ; 4000 hard brick; 9500 salmon brick • 25 ft stens and 
 coping ; 3 blue stone hearths: 25 casks lime; 06 loads sand for brick and stone work ; 402 super yards plastering • 
 3295 feet of timber; 155 joists; 1258 super, ft. of shingle roof; 1818 super, ft. of siding; 385 lineal ft of base • logo 
 - -". -* - " ' .. ’ 3 
 
 5 
 
 •vhite 
 
 super, ft. of common floor 
 cellar frames 
 closet and wardrobe 
 lead; 13 galls, linseed oil. 
 
 ler: too joists; izob super, it. ot shingle rool; 1818 super, ft. of siding ; 385 lineal ft. of base • 102( 
 imon floor ; 260 super. It. of narrow floor and roof: 11 window frames in first and second stories • ‘ 
 5 lights sash and glass, 9 by 16 ; 40 lights. 9 by 14 ; 86 lights, 9 by 12 ; 12 passage doors and frames I 
 robe doors and frames; 3o0 ft. clear planlc and boards ; GO piece planks ; 75 boards; 250 lbs. whitt 
 
 Design XXIII.— 908 ft. stone work ; 25 ft. steps and coping ; 2 stone hearths; 8996 hard and salmon bricks • 20 
 casks lime ; 52 loads sand lor brick and stone work ; 378 yds. plastering ; 3123 ft. timber; 130 joists ■ 1810 ft siding • 
 727 It. shingle roof; 464 ft. of plank and batten roof; 800 fl. of common floor; 140 ft. of narrow floor ■ 250 lineal ft’ 
 ol base; 750 ft. clear lumber for brackets, exterior moulding, &c.; 60 piece planks; 75 boards; 13 windows—frames 
 and sashes complete ; 2 cellar windows ; 9 passage doors, frames and casings ; 2 closet doors ; 275 lbs white lead • 15 
 gallons oil. 
 
 Design XXIV —615 ft. stone work ; 28 ft. steps and coping ; 2 hearths ; 4380 hard brick ; 7100 salmon brick ■ 18 
 casks lime; 48 loads sand for brick and stone work ; 308 yds. plastering ; 2791 ft. of timber ; 140 joists; 752 tt. shingle 
 roofing; 1233 ft. siding ; 779 ft. common floor; 11 window frames and casings; 147 super, ft. of diagonal sashes • 2 
 cellar windows; 8 passage doors, frames and casings; 6 doors and frames for closets and stairs; 240 ft. base • 400 11 
 clear lumber for exterior trimmings ; 35 piece planks ; 45 boards; 225 lbs. white lead ; 11 gallons oil. 
 
 Design XXV—553 ft. stone work ; 6900 hard brick ; 4500 salmon brick ; 28 ft. steps and coping ; 2 blue stone 
 hearths; 20 bbls. lime; 44 loads sand, for stone and brickwork; 385 yds. plastering; 3076 ft. timber; 135 joists- 
 1418 ft. siding; 950 ft, shingle roof; 828 feet floor; 250 ft. base; 12 window frames; 156 ft. diagonal sashes with 
 glass; 8 passage doors and frames; 5 closet doors; 550 ft. clear lumber for exterior trimmings, &c.; 70 piece planks • 
 85 boards ; 250 lbs. white lead ; 13 gallons oil. ^ 
 
 Design XXII. built according to the specifications will cost $975. The outside walls of brick will cost $1075. 
 Design XXIII. built according to the specifications will cost $905. The outside walls of brick will cost SI000. 
 Design XXIV. built according to the specifications will cost $750 ; with brick walls, $825 ; stone walls in rub¬ 
 ble work, $875. 
 
 Design XXV. built according to the specifications will cost $825 ; with brick walls, $895; stone walls in rubble 
 work, $950. 
 
 Specifications for the Coach House. 
 
 The frame of the building is of spruce. Sills, posts, framing beams, and plates, 4 by 8 ; girts, 4 by 6; 18 rafters 
 3 by 6; first and second tier of beams, 3 by 8—2 feet between centres—lower tier supported by a girder, and the second 
 tier bridged ; 7 roof beams, 3 by 8 ; siding, best Albany boards, planed, rebated, and laid 8 inches to the weather ; gutters 
 made strong and tight; brackets from 2 inch plank ; roof of best split white pine shingles, laid three thick on hemlock 
 boards ; doors of narrow clear plank, tongued, grooved, beaded, and lined with 3-4 boards—all the outside doors are 
 hung by strong welded straps and books—single doors secured by rim locks (brass keys and bolts); all other doors and 
 shutters by books and staples ; sashes 1 1-4 thick, good strong glass; floors, in stalls, 2 inch spruce plank, one end 
 raised 3 inches—all other floors with milled spruce plank ; one joist partition, lined on one side with tongued and 
 grooved boards, and in the stall side with 1 1-4 plank, 5 feet high', to continue on the outsides of the stalls ; the divisions 
 of 2 inch spruce plank ; partition between the Harness and Coach room, 1 1-4 milled plank, set upright; the Coach 
 room lined with tongued and grooved boards ; the exterior painted two coats of pure white lead in oil, shaded brown. 
 
 Note. —On Plate 6 the location of the dwelling house is represented by A ; the woodhouse, B; coach house. C; stable 
 vard, D ; hydraulic ram, E ; dam, F ; grape arbor, G ; fruit, shrubbery, H ; hedge of cedars, &c., I; belt of young thrifty 
 forest trees, J ; large chestnut trees, K ; vegetable garden, L ; water pipe Irom the ram, M ; carriage roads. N ; walks, O. 
 
 12 
 
ANGLO-ITALIAN VILLAS. 
 
 Tiie style of the design which forms the subject of the present number of the Architect, has been 
 designated, for the want of a better term, the Anglo-Italian, but it might with greater propriety be called 
 the American-Italian, for it is more purely American than Italian in character, and hardly at all resembling 
 the English style of Villas. Nearly all the modern English Villas, excepting those numerous examples of 
 the modern Gothic, with pie-crust battlements, as Horace Walpole called them, are imitated after the Ocelli 
 d?Italia , or \ illas in the neighborhood ol Rome. Rut the climate of England will not allow anything like a 
 close approximation to an Italian Villa, which, with very slight alterations, might be adopted in our middle 
 States; so that when the Anglo-Italian Villa was transplanted here, it immediately began to revert back 
 to its original type, as our climate and the habits of the people bore a stronger resemblance to those of Italy 
 '.han of England. 
 
 There is a richness of ornamentation and a thousand luxurious appliances in the Italian Villas, which 
 would ill accord with the severity of our republican habits, and that predominance of economy and comfort 
 which so distinctly mark all the efforts of American art. The Italian Villas were mostly built for the re¬ 
 creation of princely churchmen, who, having fortunes at their command which they had not labored to ac¬ 
 cumulate, and studying only their ow r n pleasures, were profuse in the expenditure of money in the erection 
 of their country houses. They employed the highest talents to be found, and their houses were as nearly 
 perfect as the united genius of the architect, the sculptor and the painter could render them. Some of the 
 villas with which the environs of Rome are thickly set, are the purest examples of architectural art to be 
 found in the world. They are constructed of marble, erected in the midst of luxuriant groves, surrounded 
 by terraces, and gardens, which abound in statues, fountains, and vases, and everything about them indicates 
 the dwelling of the elegant voluptuary. The noblemen of England tried in vain to reproduce these Syba¬ 
 ritic abodes in their cold and humid atmosphere; aud it is the glory of our own country, that, although we 
 have skies as bright and delicious as those of Italy, we have neither cardinals nor noblemen, to engross the 
 labors of thousands of men to minister to their individual wants. The man who lives in an Italian Villa, 
 here, with but rare exceptions, must build it with the wealth which his own industry has helped to accumu¬ 
 late, and our “ merchant princes” have too keen an appreciation of the advantages of money to squander their 
 gettings in architectural luxuries. The pure Italian Villas and palatial residences have a monumental char¬ 
 acter, imparted by their regular proportioned tablature, which our so called Anglo-Italian Villas with 
 
 VOL. II. 2 13 
 
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 ua//i zu/yeyot/Ui, /Je yutfcu Jntx/z/titJ/Jc Jazne,- /Jeznacn yettfeP maz/e/atY/? Szoo z-ncJcJaPfz/i/i/t, //myain3i 
 yzsMvct/a/zJ 3anytu/d’mu/fiat foyctJcz zeufJ laAifc Jad/ /Je Jzac/tefo, mzJzzyi one/'JaJeJ/czj, /J aa/nt a-J c/zam*t 
 
 in ??J?Jz.fe / O, ace daicz/^itian . /Je twz3/zzdti zaayf rn/ide zaitJ cJaP war/aza fonyu/x/aza/ tyzaooedyz/an/t, JaJu/ 
 
 an dJ andeuzd/e, yainh zaitJ zaJile mjfkii axu?yaiJn-J yiJ/zeJ azu/ Jeizdx/.. - - .yteUncyia? 
 
ITALIAN BRACKETED .VILLA, 
 
DESIGN.XXVI. 
 
 VOL.2. 
 
 PLATE.8. 
 
 CttUZerv 
 
 Grans/. Vtcurcase. 
 
 -Libra iy 
 
 -Parlor 
 
 Pore// 
 
 E/rfry 
 
 Main /fall 
 
 Testiiule 
 
 Portico 
 
 Kr/eht at. 
 
 , Pct.tsaoA Dinrtar /foot/* 
 
 Drawincr Boom 
 
 
 Sea/e of'fre/ 
 
 3 also 
 
 Ortcf 
 
 /*/offarm 
 
 Chamber. 
 
 Chamber. 
 
 1, cmd/na 
 
 Dresjviff 
 
 Pres.till 
 Jiuom 
 
 Dressing 
 
 Doom 
 
 Servants. 
 ( Vuvmbee 
 
 Dei/-Doom 
 
 Wursery 
 
 Passaae 
 
 // 
 
 T. 
 
 C//amber 
 
 'i 
 
 / 
 
 T 2 
 
 / 
 
 
 
 
 v 
 
 
DESIGN XXVI. 
 VOL. 2 . 
 
 PLATE 9. 
 
 SOUTH FRONT ELEVATION. 
 
 PRINCIPAL ELEVATION 
 
 Seer/e off 27? to the i/teJi 
 
 1 , , f , r 4 * 
 
DESIGN 26 . 
 
 £XT££JD£ DETAILS 
 
 PLATE.10. 
 
 Designed iUtl.V'f H.R*nIe(t. Mayer & Korff I.ilh. 93 William St > Y 
 
DESIGN . XX VI. 
 
 VOL.2. 
 
 PLATE. 11. 
 
SPECIFICATIONS. 
 
 17 
 
 yoiteeo and'yiayja iooflj to Ac ■jay/yeoited Ay cyAt Weuoid fl/atcd ( A'oientAean eoAemiOJ, /oetAca-ivedcayid and 
 Sained Aade* ; andt/oo antae witA cay* and Aajc*/ Sum donate flA/tee/pi/Aiid /1< tAe d maAAy/oiteeoJ witA 
 ca/id and moeiAAd/add / flauP yAein donate cayy.ed/liAAtid, and mi Any fa //c naane/a, yaAAiy mid fa Ae 
 •3 S-2 /y P encAc-i, witA-4 Ay-4 Seemedy/ene Ate Ae.jtclJ ; Sum Aateonee* witA Aeeid woodleeiAnyj renddepyotfa : 
 sA ceiA/yd ofl sAc/loeStca andydeiyya, ofl mono ux, cteai AoateAi / /A fle/A/y A A in sAe devcrnAfl/oooj of/<«$**, 
 ya/A./y and veiane/a So Ac yen mod. 
 
 FLOORS.. C-//A tAe enfaiu/P flAou ofl sAe fleidt and dccone/jfaie/j, otter efl maen Aoeote, dfaie-ioom, wa*A- 
 
 *aem, Aa/AandcAjcfa adyoiniey, fa Ac AidwitA doanednu/Ae/ wAeSeyene yA/.n//, dtiony/y nacAdfa tAe Acaund.■ 
 aAfsAc fceot&teoP yAaid So A .Atd witA ctea.P nee-tio/o wAifaytne Sonyued andyioo-uedyt An A, sAe Join ft fli/Ad 
 witA /effete A/d, and A Arne/ naiAd. 
 
 WINDOW'S. . 2/Ac flamed So Ac made witAweiyAt Aoard and mee/Aom, 2 incAdiAA, yaw/Aac/d, c/Ao/oj, 
 
 doflfliSfa, and dAuSfeWj flauiflxA/j cat at sAe da.jA An. p/n tAe flint j fay, 3 window*, 20 AyAfa, / 2 Ay 
 
 22 . 2 Aay windiw-i, 3A AyAfa, S3 Ay. 22 ...2 mind-urn, SO AyAfa, S2 Ay 20 . 2 window, SO 
 
 Ay A fa, S O Ay si . 3 wind um SO AyAfa, p Ay SO. jfn decand dfaiy. / windowi, S O AyAfa, S 2 Ay 
 
 y & . 2 mindwd, 20 AyAfa, S2 Ay 20 ./ uandom, A AyAfa, S2 Ay sA . o-m/wondm, 2-3 AyAfa, 
 
 S 2 Ay 20 .-/ uiin/'xun, SO Ay At,, pAy SO - 2 mindmS, A AyAfa, 0 Ay SO . inccAAiP S S window*, 
 
 SO AyAfa, p Ay S2 . in tAe main zooflneap /Ac yeetta, A dadAcj. 2 Ay 3 fleet, /Ac yAdd fa Ay _ tAe 
 
 flmmc,j mad flop tAe dad/tcd fa *Ad in yiooiej ycniny d/on . a/0 tAe dadAed in fliidt and deconc/dfaifaj S 3-4 
 
 inc-Acd tAicA,- a/AatAcid S S-2 incAcd sAicA, AeocAAaid. AA/OcdflcncO cm urn yAtdd in fliidt dfaiy oflmain Aoetde 
 
 . //nanac yAtdd in tAe deconddfaiy, winy and.moflda-jAed - '/ffindAw ySadd in tAe ccAAi window*. ©AAA 
 
 SAe we//do/ad doaAA Aany Ay wceyAti andcoidj in eoecAyuAAeed. 
 
 DOORS. d/nsAefliidt dfaiy ofl main Aade, 2 incAe* /AirA p yaneAj mo a A/ecO on AotA did* . in decond 
 
 dtuy, S 3-4 sAicA, py/aneA, moteAAdon AotA dicAi . in SAe fliidt anddccond dfaii&J oflmi/y, S S-2 incA. 
 
 tAe/A, -4yaneAj. tAe eadt fliont doo-P fa Aawe Acad anddide AyAfa : noitA fleont dent, did AyAfa : doe/sA 
 and eucdt doi*, cacA Acad AyAfa j tAe yAtdd dtainee/in aOOt/ic AeaeO amd did AyAfa. ■ 
 
 ARCHITRAVES AND CASINGS. @/n tAeymnc/yafdfaiy ad in AdOAtteS /, (A/ey-J. 0 and / . in decond dfaiy, 2 
 
 incAed Add in widtA, and 3-4- ofl an incA Add ynyection, andmetAoeet cay* . tAe infaieoP ofl /Ae cteuefa, and 
 
 in tAwiny. Me mdinyd 3 S-2 itmAed wide, S S-~4 /AirA, moeeA/ed . in tAe cc/Oat, 3.-4yiain cadiny*. <A/Ae 
 
 inSetioP ofl one Aay windw So Ae Summed wit-A Stop flAeSed co Oumnd, caived cayd and Sained Aade*. . 
 
 sA osAeP mendoujd Slimmed witA Smo dyuaie flOeetcd y/iAAuj and cauved cay/d. 
 
 LOCKS AND TRIMMINGS.- @0-Ae fliont cO/aid fa Aave ayiyAt nioitice Ac Ad, one ofl sAem witAniyAtAey _ a/0 tA 
 
 /i lincey,,/ Ayeoweye eAoti in tAe fliidt eond decond dtoice-j ofl main Aade, So Aewe -4 S -2 incA moeSice AcAd aOA 
 
 sAcAdet ctooid, and flint and decond dfaiies ofl winy. So Aa/oe 3 S-2 incA. motSire AcAd . dooi* in ce/Au, 0 
 
 incA earn Ac A* . aOAtAe e/ooid en winy and ceOAu, to Aave niinemd AnoAd and Amye flainitate. .doi* in 
 
 yainceyia/ di&iy witAyoweAin AnaOd andduy*, «flo-iyet- ?ne. not- yiatta/i _ in decond dtoiy, wAeic yiex/ce/aon A/ioAi 
 
 anddioy.J . doan in fliidt dfaiy, Aany Ay 2 S-2 Ay -4 S-2 Autfa . in deconddfaiy. Ay -4 Ay -4 Aatfa. . in. 
 
 
 
IS 
 
 DESCRIPTION OF PLATES. 
 
 /aft, ...in ce&P,/y3 t-gin./atfa .. d/atfaldjy 2 /-/ /off, and/ ^WW 
 ^ - ./da//,am a /latent d/atfap /at. ./rnyed,c/a./t a-nd/at /aa/i in evely cAxfa.ni/yitM in Morn/ afazy. 
 
 STAIRS .... -<d/iam f/e /unci/a/ fa t/c jecand May, mmmena'ny in t/e centie ayf t/ naif/ /,.// lannmy 
 fa t/e/Atfam, 3 feet wad. and yTmm me/ .ud. cyf/AtySum, 3 /-2 feet fa Andiny . « dm// cental/ 
 af/i „.t t/e Attorn / tma 3 inc/ tmned am/ coined neweA, 2 /-g inc/ tamed and calm/ A/iezfai., ,■ a 
 
 ■tnaa///mi/ 3 /-2 /y 3 inc/al .■ tiaa dcla/A an t/e newe/,- o/en mnateted afuny.i, maa//d jfa/n,, and 
 *ijcu /lae/ntcd......ifailcade fa attic, 2 fy.t me/, mail/// dfa/aj. afiiny one/ mi/ / 3 /y 2 inc/mJ / a 3 
 
 me/ ne,a / an/ / /-2 me/ tatnrd /i/ittn,, and.,.,id enc/klu/ wit//am/woe/. _ a afaiicade, 3 /cat wad, 
 
 ma/e f/c Mum a, f/s Alt djcli/cd, in t/c winy /mm /nit fa aecandataiy. . jtaiu fa // ce/tap enc/jedwit/ 
 
 tony,m/andylmrn/y/zn/i ,■ a dwp at t/c /an/,- a///A lai/j, mam/ and AA,tee, ta A af acajancd d/t. 
 dd$omt//f?a ■mat&patTty. 
 
 BASE, &c.- "Tifai/: in pfr/jf 4 foiy a4 4 n / /, (Jtfrt'y. & . in aecom/ttfavy, (§Pv^. p _ in /&2 afauea 
 
 a/ m „,y. / / 3 t/e/ /y / inc/., /iy/ maa/t.in ce//l,3-3 f/ic/t/y 3 inc/., /£/ ©/neat wood 
 mnnl/i tA c/zm/P oxP t/c /it /, ,,. JSatdaj fa a// t/e /ait/j. <gTen A/A, /any wit/ co//cP 
 uui/e, //"*: piu/kj catr/pinns/'/iy mi/^ &c/- .ftn/tifou in i/£e 4 aone tioomd, 
 
 PRESSES, CLOSETS, v 4Ate itoonij (-(/, am/iuia /n/tf c&Jcfa fa /e dfrany/y. d^e/ita/wit// / /-_/ fi&tiA 
 
 . //,,c - a ""/ and c/m i. e/ieti me/ t Arne 3 dnzawM a,idf/tee M d, oA/ued, t/e cdycj /coded....../itc/en 
 
 /on fiy -i/c/ecd an t/lce .„/-, . f/ /,/cn c/,ct fa / a/c/ecd a.j may /c leynilcd 
 
 "dnay inaa/dd mainny //„dj, mod and /my //y weddd ./oa/, and/lAfejJ 
 
 '.ym„d .italic.,, and deemed /y /afant cam/zuitldn fufaninyl. . windiwe in 
 
 f/dj/attci.,, /my /y /uftl anddecaud/y//ft. ©/fr t/e wood wot/, 
 aatudeanaioic/. /cnc/f .,/,„// > infaicP f/a,j, and ma.Ayany, J fa Awe turn coaf, of /me/ad and 
 
 //Meedait ...tAnm/yay fa / wunii/cd/ cant, and/a/i./d &oaP me/ya/anyed eum /eodld fa 
 t/c main /mine, 3 inc/ fa l/e winy, and 2 inc/ fa t/e wlandfa /logo., and/mc/e, ,■ t/e wafcP fa /e 
 convey dfa f/e rijtcn. ///tP r /jet /itfad ,/ wit/ a 33 ya//.lexieaii, /ned wit/ e/eet /ad.._... M ///y 
 {ufa, 44104fa fi/fa, dae/pyic anc/ptaecefttwi/i in wad/.-teom, com/tdfe. 
 
 IlLIiVDS, PALVTLVG, &c. 
 
 /i ft// //tt- Min /ow-i t,t P'tt.if onr/ 4 /com/ 4 fati/ 4 , o.t/r/ 4 CCOK// /t/ 
 
 /rfr rd/itiP on// voom-i, fa /r/tue 2 
 
 DESCRIPTION OF PLaITES. 
 
 PLATE 7.—Design XX^'I. Perspective view of a Villa in the Anglo-Italian style. 
 
 PLATE 8 .—First and second story ground floors. 
 
 PLATE 9, Geometrical elevations ot the east and south fronts. 
 
 PLATE 10.—Exterior details-Fig. X, face and profile section of the main corajce i Fig. 2, of main balustrade ; Fi* 3 of the 
 
 •i T f’f (s T, t,0n 01 sbaft >' ailJ balustrade ; Fig. 4. of the kitchen wing, cornice and 
 
 . Juliistrade , Fig. 5, of the gallery steps, newel, hand-rail and balusters: Fig. 6 of veranda corniep and nill^r 
 11 . ^fcnop and profile section of the thickness of the walls and heights of the several 
 
 fT l ' f“- '• StUC .“ 0m,C ? f ° r , thc I,ari P r ; 1 3 - tm the drawing-room ; Fig. 3, for the library ■ Fi "4 
 
 “V R? ? y ' ff *• t ,hc main halls •'»‘ d v«i»mlr : Fig. 6, elevation of a door for thTprindpal 
 "d'^^4T onhlTrihcipaUt r orw “* P '° ,ne ° f the *»P ; Fig ' 8 > P roflle *“«<» of base 
 PLATE 12 .— Ground plot and profile of 1 1-4 acres of ground with the location of the Villa, A, B, and C ; wood-house D • 
 house, E ; smoke ‘ hoUse ’ F ; as b-house, G ; ice-house, H ; vegetable garden, 1 ; coach-house, K ; b'aTt 
 
MARINE VILLAS. 
 
 , , 'T, Part ° Ur W ° rk being that ° f a Villa “ E re “®> of erection on the shores o 
 
 whot should be called the sea of Ontario, perhaps we could not add a more fitting pendant to it than the annexe, 
 
 vtew of a Marme V.lla which was erected on the borders of the Atlantic, in Monmouth County New Jersey 
 last summer. J ■»' 
 
 n Jt 8 V i" a ' vas , built as a summer residenoe ' f or Philip A. Stockton, Esq., of New York; it is situated at Lon, 
 Branch, about five hundred feet from the sea side, on a slight eminence, which, commands an uninterrupted view of th! 
 
 a dL, I f" S u Branch 18 one of lhe most celebrated watering-places on the Atlantic coast, and as the cities of New Yort 
 and 1 hiladfrlphia increase m inhabitants, it is every year growing in importance;. Mr. P. T. Grand in his account of th, 
 watering-places of England and America, assigns to Long Branch the highest place among them all 
 
 The Villa of Mr. Stockton, as will be seen from the Vignette, is designed expressly for a summer residence and i, 
 adapted to the sea side, having a flat roof, bracketted and completely surrounded with double galleries. The house ii 
 the centre is well sheltered from the sea blasts and the summer heats. 
 
 The object in resorting to the sea side in the sultry summer months being recreation and comfort, gentlemen whc 
 rush with their families into crowded hotels, where the hurry-skurry and confusion consequent upon the arrival anc 
 departure of boarders, the anxiety of the host to get afi he can out of'his guests, to crowd as many into a room as will 
 consent to be packed together, and to give them no more for their money than he can help, naturally causes a v ood 
 many delicate people to return from a sea-side visit disgusted with their jaunt, and injured instead of benefited by 
 bathing and change of air. J 
 
 Gentlemen who have sufficient means, and there are enough such to-stud the shores of Rookaway and Long 
 Branch with Marine Villas, would fiud it more economical in the end to erect houses for their families by the sea-side 
 instead of crowding into a hotel overpeopled with a multitude of chance visitors. The sea side cottage, or Marine Villa’ 
 being intended for occupancy only in the hot months, need not be so expensively, constructed as a country house for a 
 permanent residence.. 
 
 Perhaps the term Villa may be rather too magnificent, strictly considered in an architectural sense, to apply to the 
 sea-side residence which, we have given, an example of.. The oriental palace of Georgs IV. at Brighton is called a 
 
 IS, 
 
 •*rr- 
 

 20 
 
 MARINE VILLAS. 
 
 Marine Villa and is the only one so called in England. A Marine Cottage would probably be a better term, and one 
 conveying as pleasing an idea of comfort and enjoyment as Villa. Certainly we have no residences in this country that 
 deserve to be called Villas, if we use that term with a recollection of the Villas of Lucullus and Cicero, or of the modern 
 Italians ; it would be quite as proper to call the houses in Union Square, palaces, or our meeting houses, Cathedrals, as 
 to call a slight Cottage orne, a Villa. Guilt gives the smallest dimensions of a country house to which the term Villa 
 can with propriety be applied. He says that the smallest site of ground on which a Villa can be designed is 80 by 60 
 feet; anything less than that is, of course, a Cottage ; the maximum size of a V ilia, is, according to the same authority 
 that of the Villa Capra of Palladio, country houses of a greater magnitude should be called mansions, excepting when, 
 they attain a certain size, when they become palaces. These distinctions are very necessary in architectural descriptions 
 or even in ordinary conversation, that when a house is alluded to some definite idea of its character may be conveyed by 
 the term applied to it. From a natural peculiarity of applying magnificent terms of art to inconsiderable objects, and 
 diminutive names to some of the grandest features of nature, great confusion is created in Tie minds of foreigners who 
 are as much amazed at the size of our ponds, hills and creeks, as they are amused at the dimensions of our halls and 
 Villas. Some of our hills are mountains, our creeks, large rivers, our ponds, lakes, and our lakes, seas; while our man¬ 
 sions are small houses, our Villas, Cottages, and our halls, narrow passages. Mr. Cooper has ridiculed the national habit 
 of amplification in some of his works, and given some very amusing instances of it in others. One of his works on Eng¬ 
 land consists of letters addressed to different persons in America, and some of them are addressed to-of 
 
 « Comstock Hall, Comstock, Mich.” A short time after reading these letters, with a fine idea of Comstock Hall in our 
 head, we happened to be traveling through Michigan, when one day the driver of the stage pointed to a small wooden 
 house, surrounded by a slight wooden paling, and informed us that a relative of Mr. Cooper lived there, and on further 
 inquiry we ascertained that that was “Comstock Hall,” to an inhabitant of which Mr. Cooper had grandly addressed 
 his letters from Europe, while ridiculing the magniloquence of his countrymen. We shall resume this subject of archi¬ 
 tectural nomenclature in our next number. 
 
 ESTIMATE. 
 
 Quaiitilies of the principal Materials required for Design XXVI. 
 
 Rubble work, 4811 cubic feet, and 9451 cubic feet of block work ; 202 lineal feet water table ; 110 feet window 
 sills ; 78 feet moulded lintels ; 01 feet plain lintels ; 30500 hard brick ; 23500 salmon brick ; 2270 super, yards of hard 
 finished plastering; 415 yards slipped plastering; 72 lineal feet parlor cornice ; 102 feet drawing-room cornice ; 140 
 feet library and dining-room cornice ; 230 feet hall cornice : 280 feet in second story; 2361 feet iron roof. 
 
 Timber, 25241 feet; 396 lineal feet of sleepers; 1224 super, feet of narrow floor; 9365 feet interior floor; 2361 
 feet plank roofing; 5200 lineal feet oak lath; 5340 cedar shingles; 447 2 by 4 wall strips; 442 3 by 4 joists; 860 
 hemlock boards ; 24000 feet of 1 inch, 1 1-4, 1 1-2, 2, 3 and 1 inch clear lumber. 
 
 Two 5 inch mortice locks with double furniture, 87,00 each; 9 4 1-2 in. mortice locks, 83,63 each; 8 3 1-2 do. 
 $3 25 each; 6 4 1-2 do. $2,38 each; 6 3 1-2 do. $2,25 each ; 10 3 1-2 do. $1,44 each ; 10 0 in. rim locks, $1,13 each; 7 
 dead locks,'35 cts. each; 24 shutter bars, 19 cts. each; 60 pair 2 1-4 butts, 5 cts. each; 42 pair 1 3-8 flaps, 5 cts. each; 
 13 pair 4 1-2 by 4 1-2 butts, 25 cts. each ; 11 pair 4 by 4 butts, 19 cts. each ; 16 pair 3 1-2 by 3 1-2 butts, 15 cts. each ; 
 12 pair 3 1-2 butts, 10 cts. each; 10 pair 3 in. butts, 7 cts. each; 11 gross 3-4 screws, 22 cts. per gross ; 3 gross 1 in. do. 
 27 cts. per gross ; 7 gross 1 1-4 do. 30 cts. per gross; 5 dozen iron sash fasteners, $1,50 per doz. ; 1789 lbs. sash weights, 2 
 cts. per lb.; 65 lbs. sash cord. 31 cts. per lb. ; 10 dozen sash pullies, 63 cts. per doz.; 6 dozen hat and coat hooks, 25 cts. per 
 doz.; 13 casks flat head nails, $4,50 per cask; 2 casks finishing nails, $10 per cask; 2361 feet iron roof, 13 cts. per foot. 
 
 1400 lbs. white lead; 45 galls, raw linseed oil; 20 galls, boiled do.; 5 galls, spirits turpentine ; 26 lbs. putty ; 5 
 lbs. glue; 10 lbs. litharge. 
 
 Sashes_60 lights, 12 by 22, 58 cts. each; 76 do. 13 by 22, 62 cts. each ; 32 do. 12 by 20, 55 cts. each; 32 do. 10 
 
 bv 18, 38 cts. each ; 48 do. 9 by 10, 26 cts. each ; 120 do. 12 by 18, 39 cts. each; 64 do. 12 by 20, 46 cts. each ; 80 do. 
 9 ’by i* 5 t 24 cts. each; 170 do. 9 by 12, 13 cts. each; 96 do. 6 by 8, 12 cts. each; 25 feet stained glass, 90 cts. per ft. 
 
 Stone work, brick work, arid plastering will require the following materials: 368 casks lime ; 15 casks finishing 
 lime ; 25 casks plaster; 108 bush, hair; 55,000 lath ; 5 casks nails ; 5 casks cement; 359 tons coarse sand; 60 bush. 
 
 white sand. 
 
 The cost of design XXVI. will be given in the 5th number of this V ol. With the above estimates of the quantities 
 
 of materials required, any competent builder can, at a glance, affix the several costs of the materials and labor, to suit 
 the location desired. 
 
 
 
 _ 
 
NOMENCLATURE OF 
 
 DWELLINGS. 
 
 Although modern refinement has naturalized in our language an embarassing wealth of terms fur 
 dwellings, so that when a house is spoken of it is quite impossible to form a correct idea of its size without 
 the aid of a qualifying adjective, yet the names for different kinds of houses in the pure Anglo Saxon are 
 very few and expressive. Hut, Hovel, Cottage, Hall, and Castle. These were all the names that were 
 necessary to designate the various dwellings which our ancestors inhabited, from the King down to the 
 Swine-herd, and even now it would be infinitely more convenient if none others were used. But there is a 
 most whimsical and embarrassing variety of terms which we now apply to our houses. We seem to have 
 been at a “ feast of languages,” and stolen a new name from each one for our dwellings. Besides the p\- 
 pressive old Anglo Saxon names of hut, hovel, hall, cot and castle, we have our villas, chateaux, mansions 
 palaces, verandas, casinos and shanties. We have a strange propensity to affix magnificent names to meat, 
 objects; but this does not arise from vanity so much as from the servile habit of seeking in the past for 
 precedents for our present conduct. A new condition of society has created the necessity for new names, 
 which we have not the boldness to invent for the new things which our necessities create. The small country 
 houses which are now happily becoming so common, are neither Cottages nor Villas; neither the Romans 
 nor the Anglo Saxons had anything like them, and consequently they had no terms for them. It is absurd 
 therefore to borrow from these races names which have a positive meaning of their own. The 1 'ilia of the 
 ancients resembled in a good many particulars the plantation residences of the South, as the hut of the negro 
 slave resembles the hut or cot of the Anglo-Saxon serf. The Cottage Omh is a ridiculously affected term, 
 and yet it is preferable to Villa because it is more significant; the Casino of the Italians bears a close resem¬ 
 blance to our nameless country houses, but the name has already been degraded by its application to drink 
 ing-shops and dance-houses. People live cottagely, as Bishop Taylor calls it, without living like cottagers. 
 Some of our wealthy merchants who reside in elegant country houses, which they call cottages, would be very 
 likely to take offence at being called “ cotters.” The Log Cabin is an excellent name, and a pure Ameri¬ 
 canism, but it is confined in its meaning. Cottage has a charmingly sweet sound, and is, perhaps, more sug¬ 
 gestive of comfortable thoughts than any other word in our language, but that of home. 
 
 “—If to my Cottage thou wilt resort, 
 
 So as I can will I thee comfort,” 
 
 gays Spenser in his Shepherd’s Calender. 
 
 VOL. II. 3 
 
 21 
 
22 
 
 NOMENCLATURE OF DWELLINGS. 
 
 Stafford says, in Shakspeare’s King Henry VI. 
 
 “ Rebellious hinds, the filth and scum of Kent, 
 
 Marked for the gallows, lay your weapons down— 
 
 Home to your Cottages 
 
 And Camillo, in the “ Winter’s Tale,” “ I have heard, Sir, of such a man, who hath a daughter of most 
 rare note; the report of her is extended more than be thought to begin from such a Cottage .” And Por¬ 
 tia’s speech is as well known and often quoted as any old proverb. "If to do, were as easy as to know 
 what were good to do, chapels had been churches and poor men's Cottages, princes palaces.” 
 
 “Ev’n humble Hartings’ cottaged vale, 
 
 Shall learn the sad repeated tale, 
 
 And bid her shepherds weep," 
 
 says Collins, in his ode on the death of Col. Ross. 
 
 u Resolve we why the Cottager and King, 
 
 He whom sea-severed realms obey, and he 
 Who steals his own dominions from the waste. 
 
 Repelling winter blasts with mud and straw, 
 
 Disquieted alike, draw sigh for sigh, 
 
 In fate so distant, in complaint so near,” 
 
 says Young, in his Complaint. And so through all English literature, the term cottage is confined to the 
 residence of a poor rustic. To violently pervert to other uses one of the sweetest words in our homely lan¬ 
 guage, and thus destroy its meaning, is a profanation that we cannot sanction ; and until some better term can 
 he invented for the country residence of Ihe man of business, we shall, from sheer necessity, have to continue 
 the use of the term Villa, although with an awkward feeling that we are employing aword to performa duty 
 which it has no right to do. But we have less affection for the Latin than for the English, and would sooner 
 do violence to a dead, than a living language. Notwithstanding that Gwilt authoritatively prescribes the 
 dimensions of a dwelling which may be called a Villa, as neither Pliny, Cicero, Columella, nor Vitruvius, who 
 are the authors from whom our knowledge of the Villa is derived, makes any mention of the specific number of 
 feet which a Villa should cover, we may be allowed to accept the word in its common meaning and apply it 
 to the country residence of a town gentleman. The three kinds of Villas among the Romans were the Villa- 
 rustica, which corresponded with our farm house, the Villa-fructuana, which sometimes formed a part ol the 
 Villa-rustica, and the Villa-urbana, or pseudo-urbana, which is the type of what we, for lack of a better name, 
 denominate the Villa. None but a public building should be called a Hull. There is some propriety in 
 calling the mansion of an English ’Squire, a Hall, because it is the residence of the great man of the 
 County, who is generally a Magistrate, and his house is, in fact, a public building. The slaves of the South 
 generally call the residence of their master, the Great House, to distinguish it from all others of which they 
 know anything, for the same reason that the tenants of an English landholder call their landlord's home the 
 Hall. Castle, with us, is never applied to a private residence, but only to a large fortification. In Ireland 
 they call very ordinary houses castles. Palace, is reserved for the residence of a royal personage 
 solely. 
 
NOMENCLATURE OF DWELLINGS. 
 
 23 
 
 Although we have a variety of designations for country residences, there are no distinctive names 
 to distinguish the grand city residences of wealthy merchants from the poorest and most contracted houses 
 of the poorer classes. They are all houses, and, great as the difference is between them, they all pass 
 by the same name. It is different in the country, and in small villages, where there are Cottages and 
 Villas. 
 
 The graceful custom of giving a distinct name to country seats and Cottages, we are happy to see, 
 is becoming as common here as it is in England. A place in the country, though it be ever so small, seems 
 to derive a new charm from being called by a name of its own, either after some natural peculiarity of 
 the soil, or some event connected with the history of the owner, or some local tradition. 
 
 In a sparsely settled country, the owner’s own name may be sufficient to designate his home by, as 
 there is not the same danger of confusion from having two neighbors of the same family name ; although 
 even in such cases it would be better to give a country seat or farm, a particular name, because removals 
 are so common that the place that might to-day be known as Smith’s, would to-morrow be called Brown’s, 
 or Thompson’s. There are many places in England which have become classical, that would be unknown 
 if they were called after the names of their occupants. “Strawberry Hill,” “ The Leasowes,” “Font 
 Hill,” “ Charlecote Hall,” “ Abbotsford,” “ Penshurst,” and hundreds of other names of English houses, are 
 as familiar to Americans as “Mount Vernon,” “The Hermitage,” or “Ashland.” The residences of our 
 southern statesmen are known by their appellations, while those of our northern men of eminence are 
 undistinguished by peculiar designations. The Hermitage is known as the residence of President Jack 
 son, but the fine old mansion of the sage of Quincy, is only known as Mr. Adams’ house. It may next 
 
 year be called Mr. Williams’, and the historic interest which attaches to it from having been the residence 
 
 of a philosopher and a statesman, would be in a degree destroyed. Mr. Webster has a noble country 
 seat in Massachusetts, which might become famous in history if it had a name of its own, but as Mr. 
 Webster’s house it will hardly be known beyond the neighborhood in which it is situated. 
 
 Names of country seats should have a local significance, or at least they should be peculiar. The 
 English are fond of preserving their old Saxon names, and many of their old parks and halls are called by 
 
 names which, to us have a very home])' sound. But they are infinitely better than fancy names which 
 
 always savor of affectation. It would hardly be possible to find an acre of land which did not possess some 
 peculiarity from which a significant and peculiar name might be formed. People often bestow sweet- 
 sounding names upon their places, without thinking of their appropriateness. Thus, we have seen, “ Rose 
 hills,” which could make no boast of roses; “ Brieries,” which were not briery; “ Bellevues,” without 
 views of any kind, and “Willow-brooks,” destitute of both brooks and willows. 
 
 There are an infinite variety of natural objects, the names of which have never been employed for 
 such purposes, that might with great propriety be applied to country seats, so that no one need tax his 
 imagination very heavily to invent a distinctive appellation fdr his house. But this is something which 
 
must be left to private taste. There is no law but that of taste to prevent a gentleman calling his country 
 seat “ The Elms,” or “ Rose Hill,” or “ Willow Brook,” notwithstanding that they have already been used 
 for such purposes some thousands of times. There is no patent for names. The Indian traditions of the 
 country might furnish some novel and fine-sounding names for the country seats in the neighborhood of 
 our cities, where it is more difficult than in the newly settled parts of our country to apply a name with¬ 
 out taking one that has already been appropriated. It is very singular that while the changes have been 
 so often rung upon “ The Oaks,” “ The Pines,” “ The Cedars,” and “the Willows,” no one has thought of 
 using the name of such indigenous trees as the Persimmen, the Pepperidge and the Locust. Mr. Van Buren 
 has called his place after the Linden, which is a very beautiful tree, but not a native. The poplar has 
 never been popular among names. A class of names has been very popular for country houses, which 
 have a moral sense, and imply some peculiarity of feeling in the original proprietor ; as, “ Fame’s Retreat,” 
 ii W'jston’s Rest,” “ Morton’s Hope,” &c. Such names are objectionable, because they are always 
 adapted to the circumstances of the resident. “ Morton’s Hope,” might become “ Jones’ Despair 
 u Fame’s Retreat,” might be converted into a house of call, and “ Wiston’s Rest,” anything but a rest to 
 somebody else. But a “ Sunny Side,” would always be sunny, a “ Green Bank,” would always be green, 
 and a “ Flat Lands,” always flat. 
 
 But this disquisition on the naming of places is not, strictly speaking, a part of our business, which 
 is to give the designs for houses, and not furnish them with names. 
 
 Three of the designs in this No. are purely American in character; Design XXVIII. is for a farm 
 house of the first class ; it has all the conveniences and requirements of a farmer’s dwelling, with some 
 thing of the elegancies of the Villa, and corresponds to the Italian, or Roman, Villa-rustica in design, 
 although not in external appearance. 
 
 The other two designs in this Number, of a simi.ar character, are of a more humble order . 
 they are well adapted for gardeners or small farmers, or for rustic residences of any kind. Design XXIX. 
 with the projecting eaves, supported by undressed pillars, would be greatly improved, and present a truly 
 elegant appearance with some kind of trailing vines, honey suckles, or climbing roses, trained up the 
 rude posts. In truth, flowering shrubs and vines are the natural ornament of all rustic houses. 
 
 Design XXVII. is for a suburban residence, in which the style of ornamentation is borrowed from 
 the Persian. The lattice work, pointed arches, and slender shafts of the columns impart to the whole 
 structure a light, cool, and cheerful aspect, without at all impairing that necessary effect of solidity and 
 comfort which is well preserved by the compact form of the building, and the twisted chimneys. The 
 climate of Persia so nearly resembles our own, that many valuable hints may be derived from studying the 
 domestic Architecture of the country, which, with all its “ barbaric splendor,” contains much that may be 
 profitably naturalized on our own soil. 
 
DESIGN XXVII. &XXVIII. 
 
 VOL 2. 
 
 PLATE 13. 
 
 PfWVC/Pdl STORY. 
 Settle S jfit 
 
 * 
 
 
DESIGN.XXVIJ. 
 VOL.2. 
 
 
 ft) in rffmAiffft 
 
 •Timv^ 
 
 . 
 
 Jfi’V 
 
 f: yfhp'.'ti 
 
 i n -i! 
 
 : - ds. 
 
 PLATE 14 
 
 PRINCIPAL FRONT 
 
 LAWN FRONT. 
 

 
 
 
 
 
 
FLAW// ELEVAF/OA'. 
 
 Pft//VC/FA L EL EVA T/OA/. 
 
 PLATE 15 
 
 VOL. 2 . 
 
 DESIGN.XXYllf . 
 

COTTAGE IN RUSTIC STYLE. 
 
 DESIGN XXX. 
 
 BRACKETED COTTAGE 
 
 A rur/isc/i J Yr/< J . 
 
 DESIGN XXIX. 
 VOL.2. 
 
 PLAT E 16. 
 

HU 
 
 C 
 
 ~ i 
 
 £l£K4T/OJV. 
 
 2i.6' 
 
 
osrj/is fast 
 
 VOL. 2 . 
 
 PLATE 18. 
 
 
 
 9' "illuim M N \ 
 
SPECIFICATIONS 
 
 Of the Materials and Labor required in (he erection of Design Wi ll. 
 
 BIASOS'S BILL. SaxaoationJ mru/e fiptde ct/iap / hWPob™ /oaoe andwiayJ, cabin and’oin/t ccZHh 
 
 4fetm tde/taunt/and 3 ficct ■„/ p fit, andewtein S0 fit de/.....tde oufiace ytaddon a 
 
 Accntfi' tntJ A t/e fit. . ^c/Apmc/SS a/ And atone, /$ incAt /Aid, Aid in coatoe mortal. _ <g/tum. 
 
 tAtmu ofi atone A tA c/imotieo aotd/Hto . (/find wa//t § iacAo tAicd, Aden /pda«A cement. . (PAte/cn 
 
 /cmM, 3 /p$. ce/Ar ote/O, SO in. wide, P fit. Ay ..ctdSaP dot andwimthw oi/A, and cittern need, a// 
 
 fi/die atone . (A/tAer,/o/hAd/Ae atone Aa/tA in .seconda/ofy _ /lawn atone ca/j to cAmne/o. SSeicd 
 
 SPaed - &Atce cdimney .1 witA / fine/Perea, td’e fi/ttei efi card /dateled and to//ed oat $ ficet addve 
 
 tdeyutteia, tde adfita addvc tdc Ale cemented to tdc atone ca/. ddeven § in. /the in tde ce/dtp, to aa//oet 
 id/uiltitiona, and /dficu, § dy id in., to ott//ott tde codtmn-j ...add tde cateuip waddi efi mod, to A 
 
 fil/tedin mtddied act an tde edye, andaccededdy woodAaedc/i - &A ciatein daidi witddu'ct., p fieef de/ 
 
 and § ficet diaemotep . § inod wadd, tdc to/ tueded, i 2 in. dottam - tde inatde cemented 2 coata and 
 
 wooded - ddneddted tendyodd, anti twovcincdanaad/r. mant/ca in fii/nt ato.ly.fimain daetae. (ddeeiatiinate 
 
 -ZFAitctin/ - ©ddd tde wad’d and aidnyain main dittoe andwiny A de tatded and/dataed two coata ofi 
 
 down/ motto* a.rut dead'fiinilded. tdc ceddiP ceidny am deetuy coat ofi /town, and w di/e wooded two matt 
 
 - tde cc/taP wa/d to dame two coata ofi audit! waadt. . }/'dt.,tip co-tat'ced in td/ee/linm/tadwoma anddadd 
 
 - add tde ancltaP to de made witd &domMtim dime idtee/atta, and one /alt ofi edit,/ da.ndt -land. tde 
 
 cement one, ant//wo. yzaz/d done/. 
 
 CARPENTER'S BILL,. <d7de y/zame oyf doanc/, deadcmed,.dazoec/y.zdie /izndeP, dadston/iad/ydamec3 ant/ /detect/. 
 
 /dcdid/s, fiad/jj y/zazniny deamd anc/yz/a/cs, 4 dy / 0 . ento/ies one/ yiz2s, 4 dy / . yfezd/ and deconc//ieP 
 
 dy/deazn-Sj 3 dy SO, 33 meded demew re a /cm . zooy/ /iezd, 3 dy &, 3 y/ee/ dc/zoeen centos . zay/tod, 3 dy 
 
 §, 3 dy y j cone/ 3 dy 3 j 3 ^cet dc/ween centos. . yizc/czd in ceddw, 3 dzy &. //dezanc/tz . (dd/cd/s, fz/ato 
 
 anc/deaze&i 3 dy & - zay/tos, 3 dy 3 . y.m/mJ, 2 dy 3 . c/ooz anc/ zoinc/ozdi d/ae/s, 3 dy 3 . addo/dez<s 
 
 3 dy 4,33 izzcd&s de/zoeen centos . -uc/os eotzsezec/ zoi/d zzziddc/yzdznd, d/eonydy. decazcc//o /de y/zame, one/ 
 
 ozsczdue/ zeu/d 3-& nazzozo cd:az ydne dtt/tny,yz/ancc/ anc/ zsda/ec/, one/yia/ on tuu/d/?c/. natds. . coftneP doaze/s 
 
 anc/zoa/eP /add ayf 2 tnedyidinA. d//ooy/s ay! mean doase anc/ winy covezec/ wi/d" ©dd/y/az d y/afin/yad 
 
 van/yc/ /innec/ctonyda/cd,» /me/wi/d zic/yeyoin/s, on on/dde/yidrnd. . z/ezanc/a noayfs due/wi/d nazzoiOj cdct-Z; 
 
 deadonec/ wdi/e yUne yi/an/, yz dance/do/d dieds anc/yiooz'ec/ . ddy/dya/ in zoi/d zodi/e deze/ anc/ ddne/ naidc/ 
 
 . /de cazziice-s a// /o de znac/ o^ edaz deadonec/ yzi/zc, yiu/ /ye/dtp teu/d tod/./e dad. _ yzuz/tnd, an<d 
 
 
 
26 
 
 SPECIFICATIONS 
 
 lay/tezd oyf vezan/ad ptane/ an/ /ecu/a/. . aZZ i/e codniced, co/tmztd, ante, Za/e-itza/eJ an/pfiZZny an/P 
 
 // 'vezan/id, fa / //e dame ad /aeon/ fat /fatiZon/ (/ZZtte /Z - J/Za/czd oyf t/e damee ma/czfaZ ad t/e *oo^, 
 
 3 in. /taznetez yfoP t/e 'main/ /ottde, am/ 2 in. yf°P t/e winy an/ vC'Zan/zd. (///odd . Zffyft/e inteziod, 
 
 oyf w/ite pine mi/te/pZn/, decaze/ /ey //zee, / 2/ nai/ fa eac/ /eae?e . t //ei/zn/z ^Zoz oyf naddow, c/az, 
 
 pine pZn/z, fanyue/ am/yzoove/, t/epointd y^i///wt ■d do U. Au/, an/ ZZn/ nai/./ /ftn/eod . //even 
 
 ctoa/Z win/wd, t/. da-d/cd 2 in. t/ic/, 2 pame/d af //e /attorn, //e tzpepcP padt^iZe/wit/yZdd, an/ /any 
 
 /y ‘ZZZadZament /i/yed, an/decaze/ fa t/ mn/Zond Zy (p/denc/Zc/ Ztc/cd wit/piozc&Zun /na/d . Z /oa//e 
 
 wtnt/ow-d in/ decon/dfazy, dad/d, / 3 .~4 in. s/iu4. t/eyfzamcd mcu/e wit/ dnctZZonJ _ -4 win/eod tn/ yfiddt 
 
 dfazy e%yf winy, an/ yfive in/ t/e decon/ dfazy _ t/e dad/ed fa po//. . a// ot/iP wine/owd dinyZ dad/d, 
 
 / 3.-4 t/ic/, /any Zey 3 Zy 3 /atfa . ©Zzenc/ Zee/ tatc/ed, wit/ minezaZ/moZd, fa //e diny/ win/Zend, 
 
 an/ (Z/zcnc/yzepe /-/fa fa i/e pfo/Ziny dad/zed . a//t/e dezd/e-d fa /e yf/Ze/ witZyoo/ d/zony y/etdd, c/eaP o^ 
 
 /yfecfa, an/det in/iatnon/pfozne . 6 win/izod tn //e ce/Zz, p ZyZtd, p Zy / 2 ..mewiny //in/, moaZ/e/ 
 
 /wt/ dt/ed, /any Zy dtdony /inyed, an/ decaze/ /y /o/fa an/paten/pfadieninyd. ff/fooz-i . ©Zzont efaoP 
 
 fa /ave /ea/an/di/e. Zy/fa, an///e di/e e/aoP fa /ave a Za/Zy/t _ pa-ddaye etooP in yfizdt dfady fa /e / 3-4 
 
 in. aZZit/ii / / .2 in. //fa/, -4piane/s, moaif/c/ on ///dfa/e-i, a-i in (///ate / /, (/Zty. 3 . /on am/ win. 
 
 t/awd in^iutdfazy tzirntne/wit//a//yfacee/moaZ/c/azc/ttzavc-j, 3 in. wt/e an/2 in. //i/e. . tn decon/dfazy, 
 
 diny/moetZ/e/, 3 in. wide, / /.2 in. //ic/. . /oozs a/Z/any /ey /zoaZ/atfa, an/decaze//ey 3 ■/ .2 in. moz/tce 
 
 /c/d fa //e / 3.-4 in /old, an/ 3 / .2 in. moztice fa a/Zot/ozd. _ (/Zozce/zin Zc/y/aznitaze fa t/c /oow 
 
 iny/izdtdfazy, an/minezaZ/no/d fa //: decon/dfazy. //-fade, in pfizdtam/decon/dfazied oyf main /oetde, / / .-4 
 
 in. //fa/, y /. 2 in /y/, moaZ/e/_ _ i/z mtny, / inc/ //ic/, & in. 4 / (Z/taizd, p/zom yfizdt fa decon/ 
 
 dtizzy, ma/ an//tat op dtzony, ad i/t /etaiZ/zawiny . fa/Zaz l jZZia./e/ y, (Z/y. /. t/ZZe zat/o<^ /cdtdeadonet/ 
 
 ctozie/map./, po/id/e/ . t/e /atudfazyfi/Zny, nezveZ, d/iiny an/pane/wo ?/ oy/ dea-ionc/ w/i/e peine . ZZBact. 
 
 dtaizd enctode/ wit/yt tad faze/yiaztetion/ one die/e, an/ nazzoeo pZin/ /ea/e/ Zo//dt/ed on i/e ot/cz . @/ZZ//e 
 
 rei/nyd fa /e czo-dd ^azze/ wit/ / in. /em/c/ die eyed, / 2 in. Zc tween centezd . /ety/to o^ceiZiny in main/ /oade, 
 
 yftdd/ dfaiy, / / yZ/., decon/ dfazy, / 0 ^t. . in/ winy, yfizdt dfazy, p yZt., decon/ dfazy & yZt. 3 in. //■/defa 
 
 an/Z/dCdded, fa /ave duitaZZ d/e/ved, / 00 /d, am/pint . (///zee woo/en iriant/i in decon/ dfazy, peat tpi d/zony 
 
 . /oez/zd fa a/Zt/e /eazi/i . ZZZfe/Zd fa // y/zont />oi, an/t/zee zoom'd eac/in yfizd/an/dccon/dfazfad, //epa/Z 
 
 o.yeac/ fa coizedpeon/wit/Zc/ yfuznituze. /Zainteny . <ZZZc /ZzzcC) fa /ave 3 coatd Zdt tea/an/ oi/puzint, 
 
 mice/wit/ (Z/zenc/. yzeezz . t/e dtaiz zaiZ fa Z vaznii/aZ 3 coatd, an/po/d/e/ . aZZot/ez woo/woz/, eacept 
 
 /nteztfaz yZoz-d', fa /ave teoo coatd oyfpuze /a/an/ ZmfeeZ oi/put on in /zy weat/z . i/e Zzdt coat, mazy /e 
 
 d/a/e/ a peat Z yzay oP/zaZ co/P . .yfap t/e /a/, ta/e c/zo?ne yeZZw an/ Zzzp /Zc/-. . an/yfoP /A* 
 
 pieaz/yzay. 
 
 tiztzd'dtan ttae am 
 
 /Zte an/ Znp /Zee/. _ yztn/ t/ezn in oi/ depiazatc/y an/ mix // d/a/e teyuiie/i 
 
DESCRIPTION OF THE PLATES. 
 
 PLATE 13. —Ground plan of the first and second stories of Designs XXVII. and XXVIII. 
 
 PLATE 14— Design XXVII. Geometrical elevations of the principal and Lawn fronts of a Persian Villa. This design 
 was made for N. P. H. Barrett, Esq., of Staten Island ; the site on which it is to be erected is one of the 
 most beautiful in the neighborhood of New York—Clove-Wood Hill—a short distance from the landing at 
 Port Richmond. The style of the building admirably harmonizes with the scenery, which has an aspect 
 of beauty and cheerfulness rarely equalled. The view from Clove Wood Hill is remarkably fine, embrac¬ 
 ing some of the prettiest villages, and most beautiful Villas in the country, and the Villa itself will bo 
 a conspicuous object in the scene of which it makes apart. 
 
 PLATE i&.—Design XXVIII. Two geometrical elevations of a Villa, to be constructed in a plain and substantial manner, 
 on a few acres of land in a small country village. The style of architecture is mixed ; its simplicity con¬ 
 veys the expression of a comfortable, convenient, and graceful dwelling. The principal detail in the 
 construction to be the same as for Design XXVII. The roof of main house and wing covered with 
 shingles; the window sashes with square panes, and to slide up and down bv cord and weights. 
 
 PLATE 16 .—Design XXIX. Perspective view of a substantial Cottage in the Rustic Style—constructed of rude materials. 
 
 Cellar, 6 feet deep, with stone walls ; chimney with two fire-places ; rooms lathed and plastered; win¬ 
 dows with square panes of glass ; sashes to slide up and down by cord and weights; rough board 
 sides, the joints feather-edged and lapped; the roof covered with boards same as sides and overlaid with 
 bark slips 2 feet 6 in. long, 8 to 10 in. wide, the ends rounded and laid 12 in. to weather ; the supports to 
 the eaves and brackets, trunks of trees with the bark on ; the uprights set on sfcone plinths ; the exterior 
 painted (except the roof, uprights and brackets) one good coat of white lead and oil, straw color; the 
 
 interior, except floor, two coats of drab color. The merits of this cottage are its simple, cheap, comforta¬ 
 
 ble and humble appearance, easily constructed, and suited to any location. 
 
 Design XXX.—Perspective view of a Cottage in the Bracketed Style. This cottage has a pleasing 
 effect in the unity of its style and composition; it is picturesque and marked, and has the appearance 
 of something more than a “ cheap-1 iving” house. The construction is in the usual manner—a good 
 cellar; chimney with two fire-places; hard finished plastered walls; casement windows; the sides 
 covered with clear 9 inch boards, planed and rebated; the roof, with cedar shingles, the ends rounded : 
 sides, trimmings, and interior work painted two coats. 
 
 PLATE 17.—-Details for Design XXVII. Fig. 1. Side section of the principal stairs. Fig. 2. Design of the window 
 
 sashes; and Fig. 3. Design for the doors. Figs. 4, 5 and 6. Two elevations and ground plan for a small 
 
 barn, with all the necessary room for a wagon, horse, cow, feed-room and privy. Fig. 7 and 8. Ground 
 plans of first and second stories, for Designs XXIX. and XXX. 
 
 PLATE 18 —Details for Design XXVII. Fig. 9. Face section of the main cornice. Fig. 10. Face section and cap of tin 
 column of veranda. Figs. 11 and 12. Top and bottom sections of the shafts for the columns; and Fig 
 13. The base. Fig. 14. Face section of the porch parapet. Fig. 15. Veranda pillar. 
 
 27 
 
ESTIMATE 
 
 Of the Materials and Labor required in the erection of Design XXYII, 
 
 >.96 cubic yds. excavation, - 
 •^538 cubic ft. stone work, - 
 
 7 stone sills. 
 
 24 lineal ft. steps, .... 
 Cistern work, S3 50 ; 4 hearths, 
 
 L marble mantle, 850 ; 2 veined mantles, 
 
 2 brown stone chimney caps, 
 
 1451 super, yds. plastering, - 
 
 3G500 brick, in chim., piers, filling and ci 
 
 •268 lineal ft. cornice, - 
 
 16196 ft. timber, in frame, per h. 
 
 174 joist, set in frame and partitions, 
 1782 super, ft. of sheathing and siding, - 
 2283 “ “ “ and iron roof, 
 
 :>0 lin. ft. 3 in. leader, 12^c.; 114 ft. 
 
 .1485 super, ft. of interior floor, 
 
 *.002 “ “ veranda “ 
 
 1184 “ “ “ roof, 
 
 172 lin. ft. main cornice, ... 
 M3 “ wing “ - 
 
 199 “ “ veranda “ - 
 
 15 veranda columns, 810 50 ; 3 antae, - 
 164 ft. veranda cornice and filling, 
 
 15 steps and rises—back stairs, 
 
 9 
 
 826 64 
 
 10 
 
 253 80 
 
 50 
 
 3 50 
 
 14 
 
 3 36 
 
 3 00 
 
 15 50 
 
 25 00 
 
 100 00 
 
 14 00 
 
 28 00 
 
 26 
 
 377 26 
 
 jrn, 9^ 
 
 346 75 
 
 24 
 
 64 32 
 
 2 00 
 
 323 92 
 
 18 
 
 85 32 
 
 7 
 
 334 74 
 
 16£ 
 
 376 70 
 
 11 
 
 20 04 
 
 4 
 
 139 40 
 
 8 
 
 80 16 
 
 9 
 
 106 56 
 
 85 
 
 146 20 
 
 70 
 
 58 10 
 
 55 
 
 109 45 
 
 3 00 
 
 166 50 
 
 14 
 
 22 96 
 
 1 00 
 
 15 00 
 
 18 steps and risers, principal stairs, 
 
 2 front doors, with side and head lights, 
 
 11 doors in principal story, 
 
 10 “ second “ 
 
 10 “ wing - 
 
 7 double windows, first story, 
 
 8 “ “ second story, - 
 
 7 “ “ wing, - 
 
 8 single “ - 
 
 6 cellar “ - 
 
 3 wood mantles, 84 50 ; 7 bells, 
 
 400 super, yds. tight furring, 
 
 197 lin. ft. of blinds, - 
 
 1152 lin. ft. of base, - 
 
 12 closets—to shelve and put in hooks, - 
 1000 lb. white lead in oil, per h. - 
 
 43 galls, linseed oil, - 
 
 4 “ boiled linseed oil, - 
 
 5 “ spirits turpentine, - 
 
 ^ “ varnish, - 
 
 30 lbs. putty, 4c.; 10 lb. litharge, - 
 3 lbs. glue, 20c.; 2 lb. lampblack in oil, 
 
 6 lb. chrome yellow in oil, ... 
 60 days painter’s labor, - 
 
 3 50 
 30 00 
 11 00 
 8 00 
 7 00 
 14 00 
 10 00 
 9 00 
 6 50 
 
 2 50 
 
 3 25 
 
 7 
 
 80 
 
 4 
 
 4 50 
 7 00 
 80 
 90 
 50 
 4 00 
 6 
 40 
 30 
 1 75 
 
 S3 yds. excavation, 9c. 
 
 864 feet stone, 9c. 
 
 471 yds. plastering, 25c. 
 5500 brick, 
 
 2 stone hearths, 
 
 3222 feet timber, 82 per h. 
 154 joist, 18c. 
 
 1229 feet roof, 9c. 
 
 1728 feet siding, 4c. 
 
 2 double windows, 811, - 
 5 single “ 87 50, 
 
 7 “ “ 86 50, - 
 
 Cottage.—Design XXX. 
 
 77 75 
 77 76 
 117 75 
 55 00 
 6 00 
 64 44 
 27 72 
 110 61 
 69 12 
 22 00 
 37 50 
 45 50 
 
 1 4 cellar windows, 82 50, 
 
 114 doors, 86, - 
 
 1218 feet floor, 3£, 
 
 312 feet base, 3^, 
 
 2 mantles, 82 50, 
 
 300 lbs. lead, 87, 
 
 16 gallons oil, 80c. 
 
 2 “ spirits turpentine, 50c. 
 
 10 lbs. putty, 4c.; 2 lbs. litharge, 6c. 
 1 lb. glue, ... 
 
 20 days painter’s labor, 81 75, 
 
 Design XXVII. will cost 
 Design XXVIII. will cost 
 Design XXIX. will cost 
 Design XXX. will cost 
 Barn, in Plate 17, Figs. 4, 5, 6, 
 
 84,451 00 
 83,500 00 
 8650 00 
 8860 00 
 8250 00 
 
 63 00 
 60 00 
 121 00 
 80 00 
 70 00 
 98 00 
 80 00 
 63 00 
 52 00 
 15 00 
 36 25 
 28 00 
 157 68 
 46 00 
 54 00 
 70 00 
 34 40 
 3 60 
 2 50 
 2 00 
 1 80 
 1 40 
 1 80 
 105 00 
 
 10 00 
 84 00 
 42 63 
 10 92 
 5 00 
 21 00 
 12 80 
 1 00 
 52 
 25 
 
 - 34 00 
 
 28 
 
VENETIAN ARCHITECTURE. 
 
 We have often had occasion to observe the instinctive choice which the people inhabiting the dif 
 ferent parts of our widely extended Union, make of the architectural forms of the old world which most 
 nearly assimilate to their habits, and the requirements of the climate- We thus see that in all the vagaries 
 of architecture indulged in by the people in the neighborhood of New York—the Baronial Castles, Chi¬ 
 nese pagodas and Greek temples—that the prevailing form, or dominant tone, is very similar to the light, 
 graceful and voluptuous architecture of Italy, but more particularly of the Venetian school, which is dis¬ 
 tinguished by its profusion of columns, arches, verandas, and pilasters. The most eminent architects of 
 modern times were Venetians. The Venetian school of architecture has been compared with the Venetian 
 school of painting because it seems to address itself more to the eye and less to the passions than the other 
 schools of Italy. But the cause assigned we consider unjust, although the comparison is undoubtedly true. 
 There is certainly not less passion or thought in the works of Titian and his followers because of the rich¬ 
 ness and truth of their coloring, nor less of beauty and convenience in the works of San Micheli, Palladio and 
 Sansovino, because of their obvious elegance and luxury. The length of time which they have continued 
 in existence, and their reproduction in this country by our mercantile aristocracy, inhabiting a climate simi¬ 
 lar to their own, prove the truth and adaptedness of the architecture of the Venetians. And it is not a little 
 remarkable too, that our painters more nearly resemble the school of Titian than that of any other. Our 
 artists are, beyond dispute, superior, as colorists to those of any part of Europe, and the works of our great 
 portrait painter, Page, approach nearer to the pictures of Titian than those of any artist who has flourished 
 since the time of the great Venetian painter. 
 
 Inigo Jones, the greatest of English architects, who was a disciple of Palladio, introduced the 
 Venetian school of architecture into England, but it is ill adapted to that cold and humid climate, and un¬ 
 congenial to the character of the people. It is too light and elegant for beer-drinking, saturnine John Bull, 
 whose house must be “ heavy-wet,” like his favorite drink, dark looking, silent and dull. There is too 
 much open airiness about the arcades of the Venetian school of architecture either for the climate or social 
 habits of England. San Micheli, who was born in the year 1484, was the founder of the Venetian school 
 of architecture, and was one of the greatest masters of his art that Italy produced ; he designed a greater 
 number of works than any other architect who ever lived, many of which still remain as monuments of his 
 genius, and died in 1549. Sansovino who was cotemporary with San Micheli, was born at Florence, but. 
 
 he followed the Venetian School. Sansovini was held in so great esteem by his adopted city of Venice. 
 
 .1 29 
 
 VOL. II. 
 
30 VENETIAN ARCPITECTURE. 
 
 that on a particular occasion when it became necessary to raise a large sum of money for state purposes, 
 by taxing the citizens, he and Titian were the only ones who were exempted from taxation, by a special 
 decree of the Senate. The last great Venetian Architect was Vincenzo Scamozzi, who was the son of 
 an architect. Scamozzi published a work on architecture and died in 1 GIG. The Venetian school has 
 been naturalized in all parts of Europe, because its elements admit of a more convenient arrangement for 
 domestic purposes than any other ; it grew out of the demands of a society consisting of merchant princes. 
 The State of Venice, like our own, formed a democracy that demanded no stupendous monuments of regal 
 pride, but an infinite number of elegant and comfortable houses for the residences of the wealthy families 
 who composed the ruling classes of the State. We are more republican and more democratic than the 
 Venetians ; wealth is more diffused with us, there is a greater equality of condition with us, and we have 
 no powerful families; the only power that we acknowledge being that of talent. Hence our architec¬ 
 tural wants are much more moderate than were those of the Venetians; and while our houses abound in 
 as many conveniences and elegancies, they are but dwindled specimens in point of magnitude and splen¬ 
 dor, when compared with the palaces of the Venetian families. While they built of marble and porphyry, 
 we build of brick, wood, or granite ; and as, with us, a man rarely dies in the house in which he was 
 born, elegance and comfort are more studied in our domestic structures than grandeur and durability. 
 
 The three designs for Villas contained in the present number of our work, are all Venetian in char¬ 
 acter, and are admirably adapted to the habits of our people and the exigencies of our climate. It has 
 been said that the taste of Palladio was tempered by the care he bestowed on accommodating exterior 
 beauty to interior convenience, and by suiting the art to the wants of persons with moderate means, through 
 the medium of greatness without great dimensions, and richness of effect without great outlay. 
 
 This brief apology for Palladio is the highest eulogium that can be pronounced upon a modern architect, 
 and we have aimed in all our designs to deserve such an encomium. The plans in the present number of 
 our work have been designed with such views; the larger Design, No. XXXI., is for a bracketed Villa, of 
 wood, and with its open verandas, projecting eaves, circular headed windows, and balconies, though 
 extremely simple in details, forms a tout ensemble of unusual elegance and lightness. It is intended for a 
 large family, and abounds in all the luxurious contrivances which the present refined state ol our society 
 demands ; the rooms are spacious, the stairways broad, and the hall, which extends through the centre of 
 the house, is wide and lofty. A Villa like this is well adapted for the vicinity of our large cities; it is 
 imposing in appearance without being ponderous or costly. The other two Designs are in the same style, 
 but of smaller dimensions, and adapted to the wants of smaller families. Although they present the view 
 of wooden buildings, the plans and specifications are for brick. No. XXXIIJ. has a peculiarly ftovel and 
 elegant effect from the position of the Campanile tower, which always projects from the main building, 
 let it be viewed from which ever point it may. 
 
“Waldwht' is a Saxon word which means beautiful grove, and it has been most appropriately bestowed upon the 
 Cottage of which we have a fine engraved representation. Waldwic Cottage is one of the few remaining houses in the 
 country which have been consecrated by historical events. It was once, in ante-revolutionary times, the residence of a 
 wealthy English family, and during the war was at different times the stopping-place, or head quarters of Washington, 
 and the residence of the beautiful Theodosia Prevost, who afterwards became renowned as the wife of Aaron Burr. At 
 that time it was called the Little Hermitage, and many of her letters to Burr were dated here. It was while residing 
 here that, she first became acquainted with Burr, who was then stationed at Ramapo, not far distant. Davis, in his Life 
 of Burr, says, “ The house of Mrs. Prevost was the resort of the most accomplished officers in the American army when 
 
 they were in the vicinity of it..'’ Col. Munroe, in a letter to Mrs. Prevost, says that the lady Col. C-had promised him 
 
 to make a visit to the “ Little Hermitage;” and the house is frequently alluded to by other persons whose letters have 
 been preserved in the Burr correspondence. 
 
 But the house possesses sufficient interest from its beautiful situation in one of the loveliest and most fertile spots 
 in New Jersey, to entitle it to notice, apart from all historical associations. It is situated near Paramus, on the bank ol 
 the Plohokus river, about thirty miles from New York. It is surrounded by the loveliest scenery that can be formed by 
 a combination of rivers, forests, and cultivated plains. On the east it is flanked by a noble grove of oaks, on the north 
 by the primitive forest,, on the west by the river on which are erected within view, a grist mill, two paper mills, and a 
 cotton manufactory; on the south are the plains of Paramus and the valley of the Saddle river. Only a very small 
 part of the original building, which was a substantial first class country house, now remains. The present owner of 
 
 31 
 

 Waldwic Cottage, for whom it was designed and rebuilt, and to whom we are indebted for his refined taste and liberality, 
 in giving free scope to our designs in the construction of his Cottage, is Elijah Rosexcrantz, Esq. None but an architect, 
 can fully appreciate the value of this acknowledgment, for there is no other profession whose members are so liable to 
 annoyance and disappointment from the interference of their employers. Patients confidently put their lives into the 
 hands of their physicians; clients trust their property to the management of their lawyers; parents confide the educa¬ 
 tion of their children to teachers, and all trustingly resign the welfare of their souls into the keeping of their pastors; but 
 when it comes to the construction of a house, the most difficult and complicate of all arts, the one which requires the 
 most various learning and the clearest intellect, combined with natural talents for the business—then everybody feels 
 competent to the task of giving advice, of making suggestions and altering the designs of the professional architect. 
 As no one can have a greater interest in the cost and construction ol a house than the man who is to pay lor it and live 
 in it, it is but right that it should conform to his tastes and means. But whoever employs an architect should first 
 be satisfied of his capacity and honesty, and then having instructed him as to the kind of house desired, he should be 
 left to execute the plans of his employer; for as none but fools judge of work before it is finished, no sensible man will 
 attempt to make alterations in a house while it is in the process of construction, because no one but the architect who 
 designed it can see the fitness of all its parts, until it is completed. Many a good design has been spoiled by the hasty 
 alteration of the proprietor, and it may be set down as an infallible rule in building that any interference with the 
 architect on the part of the employer, will always result in his loss and disappointment. If a gentleman chooses to 
 spoil his house and waste his money, it is his own business, to be sure, but he has no right to injure the reputation of 
 another person by mixing up his own crudities with the designs of the architect he employs, and who will have to bear 
 the censure of any defects in the house which he may unjustly have the credit of constructing. 
 
 “ Waldwic” forms probably as good an example of a complete and well constructed farm Cottage Villa, as 
 the surrounding country can afford. The design of the house is after the Old English style, and it is finished inside 
 and out in the most substantial manner : the walls are constructed of hammer-dressed brown stone, from extensive 
 quarries in the vicinity, the timber of oak and chestnut, and the roof of cedar. The original house, like nearly all the 
 old houses in this part of the country, had a piazza on the western front. Annexed is a cut of the Ground Plan. 
 
DESIGN 
 
 XXXI. 
 
 VOL 2. 
 
 PLATE 20 
 
 PR INC/PAL STORY 
 
DESIGN XXXII 
 
 PLATE 21. 
 
 VOL.2. 
 
 SECOND STORY. 
 
 DESIGN XXXIII. 
 
 De.ifluod & I)Vl WWrriLEMU.il. 
 
DESIGN XXXII. 
 
 v\\w 
 
 DESIGN XXXIII. 
 
 ITALIAN VILLA 
 
 ITALIAN VILLA. 
 
 PLATE 22 
 VOL.2. 
 
DLSIGN XXXI. 
 
 EXTERIOR DETAILS. 
 
 PLATE 23 
 VOL.2. 
 
 ROOFS. 
 
 ifi>c'dWa •at' Coat' 
 
 HrlJ'h JIol 
 
 Store Jte/om 
 
 Mine Celia 
 
 -Fio3 
 
 I’eaefa He.' 
 
 Jioot Cellar 
 
 Ston? Room. 
 
 VI 
 
 r 
 
 [yw/v/AA^ 
 
 
 0 ^ 
 Iteil 
 
 ES 
 
 
 [ w ~i 
 
 / 
 
 
 Kknitfll. 
 
 oj Willi*ra 
 

 
 
SPECIFICATIONS 
 
 Of ihc Labor and Materials required in the Erection of Design XXXI. 
 
 M um BILL. . iecesmtto/ij fiw/ia/y maid: to tceeioe t& wa/Zj aneC/u'ad . dfone wa/Z 20 in. tA'c/i, /ft 
 
 /yA......d«i*i/£ /mu/futneAfion Jtone to a/Zt/c watZ „,„Jfiietd . He/ZeP iMrutimd aru/ cCm dXtd, jt^u 
 
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 - of//t/c m/amp w„/Z m a/Zr/, § //,. t/u/, a„cC/„ifj / 2 in. equate, o/ /an//or/ _ a//t/ oiitu'cCe dtae/. 
 
 e/,,y f/tecZ in wit//i/jet an tt .S a/ye . //am c/immyj, wit//0 foe /itacoi . 3 fop wool/fired, / foi 
 
 yl/tel. non/ / fell " i/.m/ .1 ©tffd 3 2?. a" a i/a aye, on,/ 3 to/itc well// woni/j, a// to / del conlfitete. 
 
 . ///ajt j'oy i//2fi/.it on /Jerone/ j/nrie.}, /t/,/, two oaotj of /anon woltn.7, on,/ /a,,/finid/ee/.. rc//i> 
 
 eei/y /i/zd&ice/, am/ wit/ t/r. wo// w/ifcioaj/ee/ two coafj -^ momd am//a//fiutdtoiy, /a /me/itajteP 
 
 caliiireJ. 2 of i/e,n enzte/t./ 
 
 CARPENTER'S BILL.. ^mme oy/ mi/7 end /tmZcz, j/zonyZyy/zz&zncz/ an/•Zzace/. . j/Z/j , yojfo, yt Z/foj anz/foim 
 
 ■me/ ZeanoJ, -4 Zy / 0, infcdi&j -4 Zy &, jZi/i/ an// jecan/ jfozy Zea/nj 3 Zy, / O, / / in. Zc/wccn ccn/tZJ 
 
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 /cue-}/ encZit/Z ati/Z / / -~4 /anyat/ an/y'coanc/ an/ zcZafo/ cZz/.z /line y.Ztn/., yud on zoi/Z w/if: Tea/ 
 
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 ceveze/ uti/Z Zed yttaZ/y yaZvziniyx/ Sinntz/ icon yiZifoj, on -mi/// yZczz/t . 3 in. Zzz/ zj oy/ /Ze Jemie . 
 
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 /ZicZ. z/ziuZZ: Zany, Z/Zt/y/ic/yZci-i my/icjf -ifoey, ztnzi ZZt/. '/anac in Jeconz/ . jy/nret: / ZtyZi n in//mu in reZ/z.z, 
 
 Zany Zy Zn/fo - /Zcct/fanP ioZ/t//y ZZcnt/, ricc/i/tc f/t n Zza/j, moec/z/zzi ZoiZ .u/ti, jicony/y Zany ane/yTufona/, 
 
 fo /ic.jf an/jzton/.iArzy wm/coJ _ y Ziin/dZuifo/j in/eeZZac . PPZ/oou / / 3 /ZiZ in/jZici/-dozy, <3 yaznefo, 
 
 a/Zici/cuZiz Zea/j . in/jcronZ.dozy, / /-2 /ZnZ, /yane/j, /Zz /yyunz/ cicat/ap 4it/,/ z/.ZZfo Ze moetizZ/ 
 
 ZcdZ jiz/e-i . Zany Zy S' Zy S Zn/fo, in/yfehi jfozy, zznz /-/ Zy 4- in/ jecon/ -dozy _ ceZ/aP /oo?j / / -4 /ZicZ, 
 
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 in. me dice Zc/.J,. ioi/Z tutZi/c yie iceZin/ Zno/j, fo /? z/oo u in/yfie d jfozy, an/,a //t/,,/oo 7-j in/ jeconzi jfozy . 
 
 S /n. dm ZcZi,. ini// mineczcZZne/j, fo ceZZtP/ oc-j . S / .2 Zy 3 in. men// / a. 'ccZi/MveJ, an/yizoycc/iny 
 
 rnouZ/cc/ cafos fo /Ze zZiozJ an/ eeinz/iui-J in/ Zac j/ jfozy, ant/ -4/2 Zy 2 in. nnia/z/x/aczcZi/zaved fo /Ze Zoom 
 an./loin/oi&J in Jecon/ jfozy, moc^ZZ/Zone 3 tn./y Z,2 in./ZtcZ m y^tzj/ ifozy, an/// / 4 in jccon/ j/o'Zy 
 
34 
 
 SPECIFICATIONS. 
 
 ^/etanc/a ^/oP an/ taoyf, off natta-ui cfeaP wZifefine fZin/, ionyue/ a nr/ytoove/, fZe'foinf) ^i/// einfZ wZifc 
 
 Za/an/ZZn/naiZ/ . infeiio Pff/oid offZedfyuaZify fine miZ/e/f/in/, ftafetZy /an/. . ZZZeinr/fa/ .>faitd , 
 
 fftom ff/tdi fa decant/ dfaty, mac/e ioifZ cut fat/dff, citcu/aP d funy, / in. maaZ/e/ in if etui/ dcio// 2 incZ 
 
 fat net/ ZaZidfcid an/ -4 /ft. neweZ. — tat/ fuzZafetd an/ neiaeZ, oyf dead one/ (c/ftf. ^/Zominya woo/. _ feivafe 
 
 dfaitd an/ ceZZai dfaitd enc/de/, we fZ cezcZ ae/oo 'f ^ af fZe fof . taao/ mernf/j fa fZeffitefZ/ce) in decanc/ dfoey, 
 
 an/Zot/ezd fa a//f/ Zeatf/j . cfodefi ant/fiedd/Sef d/Ze/, ant/ fa Zavc a dufffficien/ nurn Zee oyf Aoo/d atu/ 
 
 fund . ’'/?/./; ZZZj in ffitdf dfaty, wifZyoZ/enatZZfotceiainfuZd, -4 in deco n/ dfaty, eaifZ wZifcfoecefain 
 
 . (fy/itjf dfaty / 2 y, fi eef, derane/ dfaty / Offeef. . ce dap / jff. f in. a//in /Ze cZat tit/an ffini)Ze/ 
 
 PAINTING.. (ZZioo caafi ay/fate wZifc /ecu/am/ /tndeee/ at/faf an affeafet fimcd, an a//f/e eaoo/woe/ 
 
 etcceff inietiot^faatd, ma/yany, an / /Zrn/d . f/e Atffee /a /ave 3 caafi o^fiainf, f/e fade fa /e a (ZZ/.icnc/ 
 
 yteen . dfait tat/anc/ZtZed feu fo. Zefia/u/e/. 
 
 SPECIFICATIONS FOR DESIGN XXXII. 
 
 wa//t anc/ fitted ena/e . Z/eZiat maZZ /& in. t/c/c, 7 /i 6 in. /iy/. . f/feie d/one 
 
 dt/6 anc/ ZnfcZ, dff id anc/cofiny fa f/e ceZfit. . -//etc/, faced, § Zy / 2 . anc c/i/tiney eaifZ.*3 ffitefiZiced, ./ 
 
 ay/ fnem yfa P waa/ffiie, 2 yea fa anc/ one mat// mtnfZ. . ZZifciiftticfuie utaZf of/ dmoof/f, /at//tic/, / J 
 
 inc/ed f/ic/, fan/ wif/ cf/ieff/o/yainf) .i /town dfine laafet fa/ft, f/cin faafec/, Z inr/cd /y/. . caf /vtan 
 
 dfane di/Z anc/ Z\ifefd fa win/aiod an/c/aau in ffitdf anc/decan/dfaiic-J. . /tic/ waZf in f/e fiaa dfatied y^ueea/ 
 
 a «e iaif/ f/e fiatfifiand, faf/cc/ an/f/c-dfete/fu/a caafi aff/raion tnoefae anc//ate/y/fnfi/ec/ . f/e ce/faP cet/ny 
 
 f/tifeeec/ anc/ui/feioad/ec/ . a enaufc/ec/f/z-ifet coenice in f/e fiat/t . (//e?n/ei off w/tfe finef _ ffieof anc/ 
 
 decant/field off /canes 3 Zy f, / / in. /efiaecn/ cenfet-i . eoaff fieP 3 Zy §, -4y/f c/fatf feimmetd -4 int >/cj 
 
 f/ic/—.fiatfifiand of 3 Zy -4yaiif, / / in. Zefioeen/ cenfetd . Z/Z/oa^ cui y/o-t ZZ/Jediyn/\\\ I._ cornice ant/ 
 
 veranc/a, ad c/taian inf Z/Z/fafe 2 f . Za/an/y eai/ny f/e dame ad vetanc/c, diiffotfa/ Zy /civy Ztac/cfj . a/t 
 
 f/e y%oP anc/ veranc/a eoaf/i f/c dame coj fZoP ZZZZediyn/w\\. . ©'/Zaieit/ecf Zade, 2 in. f/b/ t in/yfit if dfaty, 
 
 anc/ / /-4 in decanc/ . dfaitd ecu d moa//t/jftinc/d, eai/j, neiae/d anc/ /a Zed fed . enc Zd.ec/dfaitd fo cc/fae. 
 
 Z^n f/e yfitdf dfaty 3 c/a u/Z loinc/autd, Z Zy/fj eacZ, / ~4 Zy / f . -4 dinyZ, § ZyZfd, / O Zy if, cn deca nc/ 
 
 dfaty, 2 c/ou/fe eainc/auid, § ZyZfd, an c/ /, / O ZyZfd, / / Zy / / . -4 denyZ, C? ZyZfi, / ff Zy / . 
 
 dad/-), / / .2 in. f/ic/, y/yec/ unf/ dinyZ f/ic/ne)d //^f.nd/m cy/cdd, anc/c/a/Z /any/y way /fd anc/ caec/. 
 
 Z/ioe / Zy/f tainc/autd in t/« ccZZit, decatec/Zy Zuffi, ZaZfs anc/indic/c dZuffct-d . ZZencficon eoZZ/iy /Zinc/) fa a// 
 
 fZe icuncfoiod aZoi‘e fZe ceZZct, mauZ/c/ ZofZ dic/es, anc/ Zany Zy wcZ//ffafe Zinyed, anc/dccatec/Zy fa. inf 
 
 jZadfc.ni.nyd . ///Zoo id, in f/itdf anc/deconci dfotied, / /-2 inc/d f/ic/, /> fane/, mauZ/ec/ ZofZ dic/e.), Zaey 
 
 Zy 4- Zy -f Zuffd, anc/decatec/Zy 3 in. matfise/ Zc/j . etiZifcforce fain//no /i in yfitdf dfaty, anc/ eninetaZ■ it?/ 
 
 dccon/. . //ZicZiiiavcd / /-2 in. fZtc/, ~4 in. wit/, en.auZ/ec/ . fZtce enoaZfc/eaoac/manf/d, eaifZ ZcatfZ 
 
 Zatc/td . cZieii aZZ/a /ive fZe neceddaty dZcZoe-J an/Zoo/d . (ZZeanf c/aP ZeZZetnfZ wZife fatceZin fuZZ. 
 
 . <&r*t dfaty / O ^f. ZyZ, decan/f yfi, ceZaP f ^f. / in., a/Zin fZe cZa-t. 
 
DESCRIPTION OF PLATES. 
 
 35 
 
 /Z/e Zu'cZ wa//s tu/Zed d snoot/ and oi/dwit/ /indeed oi/ and/tainted two coats of w/ite 4eadand Ze-n- 
 
 deedoiZ, d/aetedout/co /p as may /e deduced-. a //<& wooc/uaxl/, ended andoutset/, sees/ enciudeny //ends and 
 
 in te? ioP///aid, in Zaise /too coats of fale w/ite dad andyiuie /indeed oiZ...../Ze ZZi/idd to dave idiee coats of 
 
 doe/, /addoi/andvaenis/, d/aeted t/e dame co/p as oeeyieutiuctu/e >ioa// . d/aii laid to danse idee coats o t 
 
 ■van set's/ used luZ/cd. 
 
 ¥ 
 
 SPECIFICATIONS for design xxniii. 
 
 @ZZZ necedsa/y eacavaitond made. - Z/eZ/n laa/Zs a/ dtone, //? en. t/ic/, / /ft. / in. dey f /dee dto/ie 
 
 di/d, /sited, dt/id asset m/uny, to t/e cc/ai - /sec/, fiiei-s . one c/imney wit/2 feiey/iccd, once si ce//ei, ossc 
 
 i/s /site/, ss set/ z/ cmne, /oo/ed and eyed, andasie tsi seconddtossy, a//y/op woo dfiled..-- . .oneyiate andmad/t 
 
 esmsit/ set iss/ t/efiai/si' . d/esytcestisictesze wa/Zs, loafs andy/idfainy t/e dame ad foP /2L %s/yn XXXII._ 
 
 /posnici asid Za/o sties, as diasesst isi dd/sic 2d, ‘// r ays. 3, 2 cine/ 3 . &im/a, f/oi-s, dtaiid, /cede, c/oses, 
 
 edicts, yc. ad fesP /eO'diysi XXXII.. ///sse dote/Z. wes/dw esi y<MS eo’/y, SO /y/Sj, Sd /y. 20 _ one doa- 
 
 //, & dy/ts, 4 2 Zy 20 . one tl/fite, 4 2 diy/ts, 4-4 Zy 20 . tiesa, / /ey/ts, 4 O Zy 4Z?, and one, 2 
 
 Ziy/td, 42 Zy 20 . i/si dcconditoisy, one t/sytd wisidesw, 4 2 /ey/ts, 42 Zy 4&.... ...one doce/Z, 4O Ziy/td, 
 
 4 2 Zy 4/ . t/sso dsn//. 0 Zy/td, 42 Zy 4/ . t/eec, 2 /ey/ts, 4 2 Zy 4 c? . p/n tZikd dtoey of ca m- 
 
 y/.assiZ, 2 dse/ZZ lea'ndsiesd, ciic//Z/s *-•' /cents, 4 tya//t/e sad/ecd 4 4-2 en. tZicZ,ytajed we/Z. diny/ t/icZ- 
 
 sicsd dZeencZy/isd and Ztety Zy eoeey/ts assd coed _ fe/se 4 Ziy/t wi/idwd, 4 O Zy 4 2, in t/e cc/Ze-i, wit/ 
 
 y Zee si t sid id dZsettees . Z/seds usedfxmtisy t/ dassec e/d fop dZ/c-sey si XXXII. 
 
 DESCRIPTION OF THE PLATES. 
 
 PLATE 19. —Design XXXI. Geometrical elevations of the lawn and entrance fronts of a Villa in the Italian Style. 
 
 PLATp 20.—Design XXXI. Ground plans of the first and second stories, containing, on the first floor, seven rooms, vesti¬ 
 bule, hall, saloon, entry, two stair cases and five closets ; and, on the second floor, six sleeping-rooms, and 
 ten closets, dressing-rooms, &c. 
 
 PLATE 21.—Designs XXX11. and XXXIII. Ground plans of the first and second floors. 
 
 PLATE 22 .—Designs XXXII. and XXXIU. Perspective views of two small Villas in the Italian style. 
 
 PLATE 23—Exterior details for Design XXXI. Fig. 1. Main cornice; a, iron roof; b, planking; c, rafters; d, gutter ; 
 
 e, e, brackets ; f, fascia; g, g, g, sheathing. Fig. 2. k , planking of veranda roof; h, k, h, brackets ; /, 
 fascia; m, open fascia; n, antm cap ; o, o, section of antas; p, p, base; r, floor. Fig. 3. Section of sheath¬ 
 ing, full size. Fig. 4. Section representing the joining of the sheathing and veranda roof, full size. Fig. 
 5, represents the hips and valleys, and locations of the chimneys on the principal roof. Fig. 6. Lattice fill¬ 
 ing under the veranda. Fig. 7. The ground plan containing the several divisions of the cellar. 
 
 PLATE 24.—Exterior details for Design XXXII. Fig. 1. Main cornice and brackets. Fig. 2. Veranda cornice, railing. 
 
 and columns. For Design XXXIII. Fig. 3, Main cornice. Fig. 4. Balcony rail and brackets ; and Fig. 5. 
 the same, over the veranda or terrace. For Design XXXI. Fig. 5. Section of the architraves of the first 
 and second stories. Fig. 7. Caps for the windows and doors of first story.. 
 
102 cubic yds. excavation, 
 
 1425 cubic ft. stone work, 
 
 57880 brick in walls, &c. 
 
 121 ft. water table, 
 
 6 blue stone sills, ... 
 
 27 steps and coping, ... 
 
 15 brown stone sills. - 
 18 “ lintels, 
 
 1 polished blue stone hearth, 
 
 12 ft. blue stone for kitchen hearth, 
 
 2 grates, ----- 
 
 1 marble mantle, ... 
 526 super, yds. plastering, 
 
 57 lineal ft. cornice, - 
 3046 ft. timber, per h. 
 
 595 super, ft. partitions, 
 
 1309 “ “ sheathing and iron roof, 
 
 152 lin. ft. main cornice, 
 
 20 “ “ veranda “ - 
 
 15 “ “ projection “ - 
 
 2 veranda columns, 
 
 188 super, ft. of narrow floor and roof, 
 1088 “ “ interior “ 
 
 141 cubic yds. excavation, 
 
 1690 “ feet stone walls, 
 
 77509 brick in walls, &c. 
 
 143 lineal feet, water table, 
 
 5 blue stone sills, 
 
 27 feet coping and steps, 
 
 16 brown stone sills. 
 
 15 “ “ lintels, 
 
 1 polished hearth, 
 
 1 kitchen hearth, 12 feet, 
 
 1 grate, - 
 marble mantle, 
 
 673 yds. plastering, 
 
 72 feet cornice, - 
 3696 feet timber, per h. - 
 100 super, ft. partition, 
 
 1321 “ “ sheathing and iron roof, 
 
 110 lin. ft. main cornice, 
 
 45 “ wing “ 
 
 54 ‘ campanile, “ - 
 
 18 * veranda, “ - 
 
 57 “ balcony rail, cornices and bi 
 
 21 “ terrace rail and base, 
 
 2 veranda columns, 
 
 387 super, ft. narrow floor and roof, 
 1240 “ interior floors, 
 
 9 
 
 $9 
 
 18 
 
 10 
 
 142 
 
 50 
 
 9 00 
 
 520 
 
 92 
 
 45 
 
 54 
 
 45 
 
 50 
 
 3 
 
 00 
 
 14 
 
 3 
 
 78 
 
 1 50 
 
 22 
 
 50 
 
 1 30 
 
 23 
 
 40 
 
 
 
 50 
 
 16 
 
 
 92 
 
 10 00 
 
 20 
 
 00 
 
 
 20 
 
 00 
 
 25 
 
 131 
 
 50 
 
 25 
 
 14 
 
 25 
 
 2 00 
 
 60 
 
 92 
 
 u 
 
 8 
 
 93 
 
 io| 
 
 215 
 
 99 
 
 70 
 
 106 
 
 40 
 
 70 
 
 14 
 
 00 
 
 30 
 
 4 
 
 50 
 
 10 00 
 
 20 
 
 00 
 
 
 15 
 
 18 
 
 4 
 
 43 
 
 52 
 
 
 Desis 
 
 II 
 
 9 
 
 $12 
 
 69 
 
 10 
 
 169 
 
 00 
 
 9 00 
 
 697 
 
 58 
 
 45 
 
 64 
 
 35 
 
 50 
 
 o 
 
 50 
 
 14 
 
 3 
 
 78 
 
 1 50 
 
 24 
 
 00 
 
 1 30 
 
 19 
 
 50 
 
 
 2 
 
 50 
 
 16 
 
 1 
 
 92 
 
 - 
 
 10 
 
 00 
 
 
 22 
 
 50 
 
 25 
 
 168 
 
 25 
 
 25 
 
 18 
 
 00 
 
 2 00 
 
 73 
 
 92 
 
 li 
 
 11 
 
 35 
 
 i el- 
 
 217 
 
 96 
 
 55 
 
 60 
 
 50 
 
 75 
 
 33 
 
 75 
 
 45 
 
 24 
 
 30 
 
 40 
 
 7 
 
 20 
 
 ts, 80 
 
 45 
 
 60 
 
 1 10 
 
 23 
 
 10 
 
 5 00 
 
 10 
 
 00 
 
 8* 
 
 32 
 
 90 
 
 4 
 
 49 
 
 60 
 
 312 lin. ft. base, 
 
 15 steps and risers—principal stairs, 
 12 “ “ cellar, 
 
 6 front and rear steps, 
 
 6 double frames, sashes and casings, 
 8 single “ “ “ 
 
 6 cellar “ “ “ 
 
 12 doors, - - 
 
 1 cellar door, - 
 
 3 wood mantles, - 
 
 4 closets, shelved, ... 
 
 55 ft. tin leader, - 
 
 Balcony, - 
 
 54 ft. of blinds, - 
 
 36 “ “ ... 
 
 500 lbs. white lead, 
 
 22 galls, linseed oil, ... 
 
 3 “ boiled linseed oil, 
 
 2 “ spirits turpentine, 
 
 Putty, litharge, glue and colors, 
 
 20 days’ painter’s labor, 
 
 370 lin. ft. of base, 
 
 15 steps and risers, 
 
 11 steps t© third floor of campanile, 
 
 6 front and rear steps and risers, 
 
 5 square double frames, complete, 
 
 2 triple “ “ 
 
 4 circular double “ “ 
 
 6 square single “ “ 
 
 5 cellar frames, - 
 
 16 doors, frames and strings complete, 
 
 1 cellar door, - 
 
 2 wood mantles and hearth border, 
 
 5 presses and closets shelved, 
 
 62 feet blinds, 
 
 36 “ ... 
 
 76 “ tin leader, 
 
 550 lbs. white lead, 
 
 24 gallons linseed oil, 
 
 3 “ boiled “ 
 
 2 “ spirits turpentine, 
 
 Putty, litharge, glue, and colors, 
 
 22 days’ painter’s labor, 
 
 4 
 
 812 48 
 
 3 00 
 
 45 00 
 
 75 
 
 9 00 
 
 1 50 
 
 9 00 
 
 7 50 
 
 45 00 
 
 4 50 
 
 36 00 
 
 2 00 
 
 12 00 
 
 9 00 
 
 108 00 
 
 
 4 50 
 
 3 50 
 
 10 50 
 
 3 25 
 
 13 00 
 
 15 
 
 8 25 
 
 
 14 00 
 
 60 
 
 32 40 
 
 1 00 
 
 36 00 
 
 6 50 
 
 32 50 
 
 67 
 
 14 74 
 
 77 
 
 2 31 
 
 50 
 
 1 00 
 
 - 
 
 5 50 
 
 1 75 
 
 35 00 
 
 
 $1946 32 
 
 4 
 
 $14 80 
 
 3 00 
 
 45 00 
 
 75 
 
 9 00 
 
 60 
 
 8 40 
 
 1 50 
 
 9 00 
 
 8 00 
 
 40 00 
 
 9 50 
 
 19 00 
 
 10 00 
 
 40 00 
 
 5 00 
 
 30 00 
 
 2 50 
 
 12 50 
 
 9 00 
 
 144 00 
 
 
 4 50 
 
 3 50 
 
 7 -00 
 
 3 50 
 
 17 50 
 
 1 00 
 
 62 00 
 
 60 
 
 21 60 
 
 15 
 
 11 10 
 
 6 50 
 
 35 75 
 
 67 
 
 16 08 
 
 77 
 
 2 31 
 
 50 
 
 1 00 
 
 - 
 
 5 00 
 
 1 75 
 
 38 50 
 
 $2401 09 
 
 Design XXXI. will cost $7,656 00 ; 'Design XXX'15. will cost $1946 32; Design XXXIII. will cost $2401 09 
 
 36 
 
Let the over-rich, and those who are ambitious of being thought so, indulge to ever so ruinous an excess in uncom¬ 
 fortable magnificence in their town houses, they retire into the country at certain seasons to live cottagely, as Bishop 
 Taylor calls it, and enjoy themselves. Cottages are proverbial for love, and where there is love there must first be com¬ 
 fort. The cut at the head of this chapter is a view of a Grecian Cottage on the banks of the Passaic River in New Jersey 
 which was constructed with a design to combine all the arrangements that could be conducive to domestic convenience 
 in a small dwelling. Its style, the Grecian Doric, which is generally supposed to be adapted only to stately buildings for 
 public uses, does not deprive it. of its Cottagely character, for Cottages need not necessarilv be rude and rustic in appear¬ 
 ance, nor cramped in tbeir dimensions ; for, as it is said in the Restitution of Decayed Intelligences, “ albeit a Cot in our 
 language is a little slight built country habitation (such as, after the French we call cottage), yet as all things begin little 
 so that which first bore the name of a Cote might afterwards come to be the habitation of a worshipful family, and yet 
 retain the name of Cote still, which being no other originally in itself than is aforesaid, carrieth it honor in the antiquity 
 thereof.” 
 
 J CO “| lgeS f nerall y in ‘he purest and most winning form that state of social existence which certain new 
 
 Tangled philosopher, call the “ misery of the isolated household ;-the misery of tilling your own garden, of eating your 
 own fruit, of rocking your own child, of sitting at your own table, of entertaining your own friends, of poking your own 
 fire, and in the expressive language of the Bible, of sitting under your own vineand fig-tree. These are the miseries which 
 the well meaning disciples of Fourier are trying to reform the world of; but while self-preservation remains an instinct 
 and our sensat.ons arc individual, man will always prefer living cottagely to living in a phalanstery. With entire confidence 
 m the instinctive good sense of the people we shall continue making plans for “ poor men’s cottages” and rich men's villas 
 entertaining no fears that the systems of certain philosophers who mean well but reason badly, will ever induce mankind 
 to abandon the pure and natural delights which spring from living cottagely. A mode of existence which is so conform- 
 xble to nature should, in all its extrinsic surroundings, be equally pure and simple; and as a man’s house is the next mos, 
 
COTTAGES AND LIVING COTTAGELY. 
 
 38 
 
 noticeable thing to his person, it should be as free from oddities and eccentricities as his dress. But from a lack of taste, 
 or a most mistaken idea of economy in employing incompetent persons, or dispensing altogether with professional advice, 
 there are too many examples of costly residences, which are standing proclamations of the ignorance and ill taste of their 
 owners. If “ a thing of beauty is a joy forever,” these architectural absurdities are things to annoy forever all who see them, 
 and would be proper subjects of presentment as nuisances before an aesthetic grand jury. It is the practice with many per¬ 
 sons when about to build, to inspect all the new houses in their neighborhood, and borrow a cornice from one, a roof from 
 another, a pillar from a third, and a fanlight from a fourth, and with the jumble to form a structure, which has no distinct 
 character of its own, nor a resemblance to anything else; which is congruous only in its incongruousness, and as uncom¬ 
 fortable as it is uncomely. A notable instance of this patch-work architecture and most costly parsimony may be seen in 
 
 a church in_, erected not many years since, from the joint designs of the builder, and the pious committee appointed 
 
 to select a plan. Now, of all buildings in the world, a church should be free from contradictions and deceptions; it should 
 be a grand truth in itself, and by its purity of style, simplicity of details, beauty of proportions, and absence of trickery, 
 form a harmonious whole, which will impress the mind as an emblem of the spiritual truths proclaimed within its walls. 
 The church to which we allude, and it is but one of many similar examples that we might point out, is the reverse of all 
 this. The front of it exhibits parts of four different styles of architecture, which is quite as absurd as it would be for the 
 pastor to preach as many kinds of theology; it has a Roman pediment supported by Grecian Doric fluted columns, a 
 tower of Grecian character, with an embattled parapet like a Gothic Castle ; the gallery inside is supported by Doric co¬ 
 lumns : Corinthian pilasters support a Doric entablature, and Ionic capitals serve as supporters for Gothic lamps, while 
 the gallery is enriched with Byzantine ornaments. Such an undignified jumble as this could, of course only have been 
 the result, of most unchristian-like presumption, or equally unchristian-like parsimony. 
 
 We are by no means advocates of architectural pedantry, but, on the contrary, respect a bold departure from estab¬ 
 lished rules when a reason can be given for it; but the mistakes of ignorant imitators are entitled to no respect. The 
 beaut v of a fine landscape hits often been destroyed, and an abundance of good building materials and much valuable laboi 
 wasted for the sake of saving the trifling cost of professional advice. Cottages, which are intended to promote domestic 
 comfort, require the services of a professional architect, as much as buildings of greater pretensions. There should be 
 nothing to ruffle the felicity of their isolated households, which professional skill can prevent; and as leaky roofs, smokey 
 chimneys, ill-fitting windows which are literally wind- ys, inconvenient closets, break-neck stairs and the like, are great 
 disturbers of domestic tranquillity, those who wish to avoid them should make sure of the aid of a competent and honest 
 architect in the construction of their dwellings. The position of a house is by no means a trifling consideration, tor even 
 on a small plot of ground the difference of a few feet may secure a cheerful prospect ora warm shelter from prevalent 
 winds; yet even on these obvious points it is surprising to see the mistakes that are constantly made by intelligent people, 
 who depend upon their own judgment in such matters instead of employing professional assistance. Every spot of ground 
 has its peculiar advantages and disadvantages, and to make the most of the one and overcome the other requires the aid 
 of professional skill; for it is very certain that those who make it a business and a study must have a quicker eye and a 
 better judgment in the laying out of grounds than those who do not. 
 
 The art of landscape gardening is an essential part of the accomplishments of an architect, for the main beauty of 
 a rural dwelling is its harmonizing with the scene of which it forms a part. The same house that looked picturesque and 
 beautiful on the top of a hill would look extravagant and whimsical on a plain; a country house with a southern front 
 should have a projecting roof and a piazza ; but one fronting the north would look more cold and cheerless by the addi¬ 
 tion of an overhanging roof or a veranda. Yet nothing is more common than to see houses in the country with 
 gloomy-looking piazzas on the north side which is always in shadow, while the back part is left to scorch in the sun with¬ 
 
 out even the protection of a hooded window to cast a shadow. 
 
 The cottage of which we give a representation at the head of these remarks, is in a style which beautifully har¬ 
 monizes with the scene in which it is placed. It is situated in the town of Lodi on theleft bank of the Passaic river, in 
 \ew Jersey, and is constructed of wood in the Ionic order. The position of the house is elevated, and the hills at the back 
 rise considerably above the roof, which is nearly flat. It is surrounded by fruit trees of various kinds, and the general as¬ 
 pect ,.i the building corresponds with the highly cultivated grounds in its vicinity. The main body of the house has two 
 
COTTAGES AND LIVING COTTAGELY. 
 
 39 
 
 full, stories 11 feet and 9 feet inside. Thr principal floor contains a hail 10 feet wide, two drawing-rooms each 17 by 20 feet; 
 a Dining room and a Parlor, each 17 by 16, a pantry and ante-hall, with principal stairway. In the second story there are 
 four chambers and two bedrooms; in the basement are a kitchen, two bedrooms, a store room, two pantrys, dairy, cellar, 
 scullery and fuel room. The grounds in which this very elegant and commodious cottage is built, are laid out in a most 
 tasteful manner and well stocked with choice fruit trees and a great variety of ornamental shrubbery. The house fronts 
 the south-west, and the library and breakfast room are on the eastern side. 
 
 The designs XXXIV., XXXV. on plate 26, in this part of the Architect, are cottages in the English style, intended for 
 suburban residences for small families and for the better classes of laborers and mechanics. They are arranged with a 
 view to economy of space and materials, and while beauty of aspect has not been neglected, no external ornaments have 
 been added which tend to an unnecessary increase of cost. 
 
 Good taste in architecture, like good taste in all other things, is the result of education, and must, of course, be 
 progressive; the gradual advancement made by mankind in the construction of their dwellings, from the time when they 
 lived in mud hovels up to the present, when they live in marble houses, has been very slow, but it has been sure and 
 constantly improving. Let us not vainly imagine, therefore, that we have arrived at perfection, because our houses so 
 much excel those which were inhabited by our grandfathers; we are still in a transition condition, and, while we 
 remain contented with our present improvements, we may rejoice that our children will be better housed than ourselves. 
 But the advancement of society is not uniform; while one man shoots far ahead in the race of improvement, another lays 
 behind, and scarcely advances a step from the position occupied by his ancestors. Yet no individual can separate 
 himself wholly from the rest of mankind ; he may cling with idolatrous fondness to the ways of his fathers, but he cannot 
 wholly resist the pressure of circumstances by which he is surrounded. lie may build bis house to resemble in externals 
 the forms of dead centuries, but interiorly it must conform to the times in which he lives. We build churches after 
 medieval patterns, but we fill them with modern conveniences. Wilton carpets and gas lights harmonize but oddly with 
 Gothic arches, yet we cannot sacrifice the comforts to which we have been educated to our reverence for old ceremonies 
 Just where Gothicism interferes with our comforts our admiration for its forms ceases. Precisely the same rule holds 
 good in our dwellings as in our churches ; we may imitate some of the picturesque points of old houses, but we admit 
 nothing that interferes with our sociable enjoyments, and in this we are true to ourselves, and admit that we care more 
 for present comforts than for the ways of our ancestors. The man cannot imitate the child if he would ; neither can the 
 present imitate the past. We have been irresistibly forced forward, and so gradually that it would be difficult to mark the 
 point where our advancement commenced, or name the precise nature of our improvement, but we have only to look 
 back a few years and we see that the tide of human progress has floated us onward into regions that were unknown to 
 our fathers. Still, as we have remarked, this advancement is very far from being uniform ; the few get ahead and the 
 many lag behind. 
 
 The annexed engraving is the representation of a house recently erected in the suburbs of New-York, in a 
 charming situation, where nature has so beautified the scene that it would 
 seem impossible for man to deface it, by such an unsightly erection as this. 
 Yet this extremely plain dwelling, so inconveniently arranged, so destitute of 
 beauty, so wanting in the requisites to health and enjoyment for a family of 
 refined habits, is a rather favorable example of common country houses, and is, 
 moreover, a considerable advance on the dwellings occupied by the same class 
 that inhabits this, but a few years since. The little outhouse, so obtrusively 
 conspicuous, and in such unpleasant neighborhood to the main building, offen¬ 
 sive as it may be now, would have been regarded as an evidence of refinement 
 once. Dr. Johnson, in his tour to the Hebrides, while on a visit at the. castle 
 of a Scotch lord, laments the absence of such a convenience as this. If we conlil look into the interior of this homely 
 country house we should find all its arrangements to harmonize with its ugly outside. The windows, the door, and the 
 chimney; the absence of a piazza, the lack of all ornamentation, of vines and shrubbery, bespeak a degree of ignorance 
 of the means of enjoyment, of niggardliness and contracted views, that ere long will be looked upon with incredulity 
 
40 
 
 COTTAGES AND LIVING COTTAGELY 
 
 The cheapness of travel, which induces our people to go abroad, and the troubles of Europe which are forcing to our 
 shores hordes of foreigners, have a most salutary effect upon our habits, and, together with the circulation of popular 
 works on architectural subjects, have had a marked influence upon the character of our domestic architecture. The 
 great advance made in public taste during the past five or six years, as shown by the improved style of building, both 
 in town and country, is as gratifying as it must be surprising to those who do not watch narrowly the causes of the ra¬ 
 pid mutations of society in this free, and happy because free, country of ours. As every little helps in this, as in other 
 matters, we may, without arrogance, presume that the circulation of our work, which has steadily increased since the 
 publication of the first number, has not been without some influence; and we shall strive to render the succeeding 
 numbers still more subservient to the good cause which we have had in view from the beginning, which has been to 
 disseminate true principles of architecture as applied to rural and suburban residences, and to create a distaste for such 
 ill looking and ill contrived dwellings as the above, by furnishing plans of houses which are not only more beautiful in 
 appearance, more convenient in the arrangements, but more economical in their construction. 
 
 A recent English author remarks, in a rather grand style, that the cottage orne is a nondescript kind of building 
 which requires only a minimum of mind on the part of the architect; and if the majority of these buildings were to be 
 taken as models of the requirenda of small families of moderate means, living in the country, we should not be disposed 
 to dispute the correctness of his judgment; but because such houses rarely exhibit a cultivated taste and scientific 
 judgment, it is no reason that they do not fairly belong to the province of the architect, and are as worthy of attention 
 as the more pretending villa. To secure comfort in the interior, and beauty in the exterior, of a small country house, 
 requires something more than a minimum mind, as is sufficiently plain from the great number of ill-looking and incon¬ 
 venient houses which we see, whose defects of situation and construction are evidently not the results of poverty but of 
 io-qorance. We have given an example of a plain country house, in which no attempt is made at ornamentation, or 
 beauty of aspect, and we should be glad to give an example of an opposite kind, where an attempt at picturesqueness 
 and richness of effect has produced an infinitely more disagreeable result, from a prodigality of ornament and ignorance 
 of the true principles of construction. Honest poverty is dignified and worthy of respect, but ignorant pretensions 
 and shabby gentility are only entitled to contempt. Not far from the house of which we have given a representation 
 on the preceding page, is a pretensious building of the class to which we allude, which, although large and costly, 
 is yet so cut up and divided into towers, balconies, and galleries, as to have an appearance of meanness and discomfort 
 which an inspection of the interior fully justifies. To heighten the absurdity of the effect, it is built upon so small a 
 plot of ground that the lawn in front is scarcely wide enough to contain a geranium pot; and the gardener engaged by 
 the proprietor to lay out the “grounds,” observed that he could stand on one of the towers and sprinkle the entire garden 
 with his watering-pot. If the author to whom we have alluded had in his mind a cottage orne like this, of which there 
 are a good many examples in every part of the Union, he was quite right in saying* that such buildings required a 
 minimum of mind in the architect; and he justly added that the landscapes of Gaspar Poussin contained hints enough 
 to stud a province with them. A good many of the cottages and villas in the suburbs of our large towns appear to 
 have been transferred from old landscapes and picture-books, and it is not unlikely that their proprietors understood 
 “ landscape gardening” to mean the imitation of landscape paintings. A wealthy actor is building himself a granite 
 mansion on a conspicuous site upon the banks of the Hudson, which looks as though the design had been copied from 
 Macbeth’s castle, as exhibited on the stage. The travellers on the Hudson, as they pass this odd looking structure, 
 if they have ever been frequenters of the theater, will be prepared to see it suddenly pulled apart, at the sound of the 
 prompter's whistle, and the round towers with their embattled parapets sliding off in opposite directions behind the 
 trees on either side. As copies of Claude’s landscapes are rather more frequently brought over here than those of 
 Gaspar Poussin, we hope that those who prefer going to a painted landscape for a design of a country house to employ¬ 
 ing an intelligent architect to furnish one, will give the preference to Claude, as his architectural embellishments are infi¬ 
 nitely more beautiful than the gloomy looking villas and castles in the landscapes of Poussin. But the better way will 
 be to avoid both, and call in the aid of a professed architect. 
 
AtAM or 
 CELLAR. 
 
 L 
 
 Scale. 
 
 PL AtV OE CELLAR 
 
 SEC0RL7 STORY. 
 
 ELL? ST STORY. 
 
DESIGN XXXIY. 
 
 PLATE .26. 
 
 VOL.2. 
 
 COTTAGE 
 
 i'ntilis/i Style 
 
 DESIGN XXXV. 
 
 D..i4n.d4D.I bVW-lLlt.nlon COT T A G E Hay» * K««ff Lhh. 93 William St. SY 
 
 inolisA Style 
 
Pantry 
 
 JSed Ac 
 
 
 "Kitchen 
 
 Moot./ A' (it 
 
 BA S£M£fiJ T 
 
 Men (a/c f/ ( o, rUlCf 
 
 flee/ JSootrt 
 
 ('/rnmht */• 
 
 STOfit 
 
 /Mbrary 
 
 '/erttnrf,. 
 
 f/RST 
 
 srotrr 
 
 a*. 
 
 K null'll 
 
 DESIGN.XXXVI. 
 
 VOL.2 . 
 
 PLATE 27. 
 
 A/ajfc-rertet 
 FulT jur 
 
 J'/b-Ut fa ft 
 
DESIGN XXXVI. 
 
VOL 2. 
 
 3/10UHD /’/or. 
 
 PLATE. 29. 
 
VOLUM 2 . 
 
 PLATE .30. 
 

 
SPECIFICATIONS 
 
 Of the Labor and Materials required in the Erection of Designs XXXIV. and XXXV. 
 
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 -4 wt/A 2 AyA/d r /yAzdd 4 2 Ay 4 A and 4 2 Ay 4 A? - -4 in easAccAAtr, 3 AyA/d, 7 Ay 42 . AAndd, wi/A 
 
 d/n/ionazy dAt/J, Auny id aAA/A Azzye windxwd . AAooZd 4 4—4 in. /AitA, AyaneA, moaA/cdon/ One'deiA, 
 
 A any Ay yia/cni Aed/j anddecazed Ay 3 4-2 in. moz/ece Ac/ed wi/A rriizicza A AnoA) . aAA/Asyam Ad and cadinyd 
 
 /iMoyiczAy ?nad andyieei e/yi . ddec JAAt/c 23 - ©fAin/Ad oyf wood . cAdc/d wi/A dAc Acd and AooAd . 
 
 (©Aa/eziaAd aAA oyf /Ac A)/ yetsiA/y. ©AAA/Ac woodroozA, iridicA andou/iide, ineAediny /Ac AAndd, /o Aavs /wo 
 coa/i / dzctAcaAPymin/ made we/Ayaze wAi/e AadandAndecdoiAco/ozedwe/A oAeornc yctZw and Atn/i A/acA. 
 
 AAtd/yn XXXVI. Sweaoa/e au, 3 yAc/dcey, Aoujc cAvaied-4^/. $ in. adorn /As. ymdiny.. .. _ /AaAi oyiyaaz-iy 
 
 d/dne. Aid in moz/az, 3 yfe/ A/yA, and AzicA 3 incAcj /AicA /o t/c diAAi _ yiczd oA AzicA., & i/icAcd /AicA, Oft/ 
 
 d/oneyfoanda/iond . /AfrzsAow diA/j, d/yu, coftiny, and Ai/cAcn Acaz/A oyf AAe/e d/ons . veined mazA/e 
 
 nian/A in /Ac fiazAz . AAFAid/eziny in yfezdi senddccond diozici : 2 coa/d oyAAzown/fnot/aPand AatdyfiniiAd, 
 
 in/ Aademetii, 4 coai oyA Aza wn/ on/ At/A, d Ayyicd and wAi/cwadAd. . a nea/ coznice in /Ac ytav Az. AAAei 
 
 ou/udd zewtAAyAe/Adin/wi/A AzicA on /A ecAyc . 'AAAmme o^yune /4mAz / diAA, yiod/d, yiA/cd, yfzaminy and 
 
 /zimmeP Acamd -4 Ay § . yAAoP Aeaznd 3 Ay &, 43 in . zooyA Acazzw 3 Ay 3, andzayA/ezd 3 Ay 3, ee/ 
 
 2 ye § in . dAeyiczd oyA cedar, 3 yAce/ ayiaz/. . main zooyA, winyt andyiozcAed covered wi/A Ae-J/ cedar dAinyAd, 
 
 on Aazd wood At/A. _ 'veranda zooyAo^fiazzoio cAaPyine yi/anAt,yzooved, and ionyetedyiee/ in we /A wAi/e Aad, 
 
 a/zdAAnd naiAd. . (AAediny oyA naz-zow, cAaPyune Aazdi, 3-3 /AicA, yAaned and zaAAe/ed, sene/ Ated no/ 
 
 aveP3 in. /o zoea/Acz . AAoznicei andvcran'Az, anise and 4/i/nminys at zsytzs icn/edin AAAAAA/e 23 . (AAAwzj 
 
 yood doemd niiA/cdyAtnA, Aid in coeotdcj... _ (AA/aiid encAjded. . .JAAaje, door, yarn A, and canny j 
 
 /a ie made/ad in AAAAt/e 27 - 3 4-2‘ moz/tce AcAd, wi/Amineza/AnoAx /o aAA/Ac doom . /AnyAez-j/ j/ozy. 
 
 2 wtndowd, 4 3 AyA/d, -4, 40 AiyA/d-, 2, & AyA/d, and-4, -4 AeyA/i, aAA42 /y 4& .... dad Aco 4 4 -2 e n. 
 
 /AicA. . //An decond d/ozy, A window/, 3 AyA/d, 4 2 Ay 43 . in Aaremcn/, 3 AyA/d, 4 2 Ay 4-4, dadnn 
 
 4 4-4 /AicA. . in yAizd/ and decond d/ozicd Auny Ay weiyA/j and cord. AAent/its/ AAnc/d /o /At winder wj 
 
 n yAizd/ anddetdnd d/ozied, andytancA , dAu//ezd 4o Aatemen/ windoiM _ 2 woodwan/Ad, and Atari3 Aordcrs 
 
 j2Aan/ty and AAAina cOade/dAeAocd. . 37AAa/&zittAj o.yf■,/At Acj/ yaaA/y and /Ac wczA set a/ and .)»/b/sn/tu/ 
 
 . (cfTwo coa/J oyf y.tezd wAe/c Aad and Andced oiiyiee/ on/ in.udr aatd on/, s./ sy/ 1 n/>;tni s^Ajow and■jAr/yAcd. 
 
 oAadeda AeyAdyzay . /Ac cornice) and AAendd Zb At dAadcd deizAeP/Ado ///'■ Ad'y <■/ /Ac Aot. 
 
 note-Jt. 
 
 41 
 
FORM OF CONTRACT. 
 
 Al'ticlcs of wlqrccmcnt, made itii &u*alf.fft duf of (Pitot*. am l/awam/. aytltam/mZ 
 
 a„r/ fit/jtt. ty eam/tluam StUll of lte<$*y. <3aunff am/Mi to of tad 
 
 M //a, aflte frnf feat. am/ <&am«c/ (S/t P/ftm/a//, meuan. am/ (t'taiC-i Ptor/ma-n, caefat/a, of it fnm 
 of S/?im/a// f P&ctmem, tuit/eu, of C Sa.Jllelon, SPtc/imoadCPoun^ am/ tu afmdatc/, ofOe .itcond 
 
 f/u/, '/‘/'fluei-itl/ 
 
 d?ta/ itefatlu of ite eeconc/fat/, fp and it// comtdsialton/ of ite coienanfa and aylcemenh d&totnaftoP 
 norma/, on it fat! of it fatty of itc faitfait, dolt aym foP itmx/ml, itlP eaxcatou, admlnidllatou 
 ant/ a-utynd, to t/o fP it fatly of it f t it fiazf, in it /eat manner, a//ltd toot/ of t/e CboHye talc an 0 / 
 
 oaltuddhiyi, at ©tfa 'Mly/ftn. d/’taten Stjtmd f on tat ©ft. JO. colnep of - itteet an,/ 
 
 JJTfic/zZlOnd /TcZZaCC J , (lot dCt fit,t in t/e annexe// /dykeciyficatiozz and yz/md, made /y // ■ Cd/- GJan/jt,. 
 ©z/zc/itect. /To /amt}//att/eiP own /tw/zcP coot one* c/ayc-d a// t/e matezia/s w/ic/ may /e zeyuized/o/ 
 
 t/ddame, inc/udiny cvezzyt/ny/ito/ia-ie/ / /ddone, wit/yzzoyzcPnmteua/j, tn a woz/man/i/e mannez, and an/ 
 aecozdance wit/ t/e yezzeza /ydand and e/vationd, to t/e datujfecctum oyf t/e o zoneP. ©Tzzd t/at t/e/tatty 
 oyf t/e decond /ant yfuzt/eP ayzeed to t/e a/i/iomtment oyf t/e yfizdt yiazt oyf a ja/iczcntondent, w/o d/a// /ave 
 yzoweP to zyect any toot/, and mateziadi w/ic/ in /id opinion id deemedim/iezyfect and not ayzeeiny wit/ t/ 
 yzGand anddyzeciyficationd, andw/ode deciiion/it id ayzecdd/a// /dyfzza/andconc/uive, at /etuieerd t/dyzaztie-i. 
 ©c/nd t/e fiazty oyf t/e decondyzazt /uit/eP ayzeed to yfinid/ andcom/i/te t/e cot/aye and oat/ni/dinyd, cac/ 
 in a//ltd yiaztdj ood oP /^oze t/e /Twenttet/ oj/©dytzzi/next, acc/dnti /yy/ize exceyzted. 
 
 ©c/zzd in/ co ndideza tio n/ t/e tzue andy/ait/^/a/yzez^ozmance oy/ a//and dinyuiaP t/e a/ove dttfiu/ztwnd 
 
 andayzeements, on/ t/e yzazt oyf t/e yiazty oy/ t/e decondyzazt, t/e yiazty ay/t/e yfizdt yzazt dot/ayzeeyfoP /izn 
 deiyf, /id exeeatozd, adminidtzatczd and addiyn-d, tofzazy oP cau-jc to /eyzaic/ to t/e yiazty o^t/d decond yzazt t/e 
 dam oyf one t/oaiand, t/zee /undzed andj/'fty dcZ/uz-i, in yoaP devczo/fiayment) asty/a/tawd t/eyzazty oy^ 
 
 t/e decanct tzaztfizovidiny a ceztiy/ica/e in wiitinyy/zom t/e diyzezintendnt t/at t/e woz/t and matezia/j aze yocd 
 and t/eyiazymcnt due. 
 
 y/ffetd t/e /zazne d/z///e zaiiedon t/effoanda/ion zoa//f, (/Two (d/fundzedand <//iyty dfo//tzd / / / J it J. 
 T/f/en/t/ yfzamed aze det, didiny on, aazd iooyf d/iny/d, //ica P//f/nd>ed and pT/y^ty C/Jo /a z> / <0 2 JO J. 
 y/f/eodt/e autiide id com/z/te, one coat oyf jfaint on, t/e yf/oP /lid, yiazfitiond det, tat/ed and dczatc/ 
 can ted, da-i/ct in an dc/imnezf toy/iedout, /T/?ce ////endzcdand ©/iyftzy CTo/fait / j0 - f PO J, and 
 
 y/%n t/e contzact on t/e yzazt oyf t/e decond yzazt d/a///c comyz/te, accozdiny to d/tc/yz/ind and dizectiond 
 at may /auc /een yiuen /zy t/ duyzezintendent, t/ /ateznce o^ t/ contzactyzzice, /Civc ///undzee/ -~lJ //ezd 
 
 /0POO J. 
 
 ed/f i } mutaa/fy undezdtood /zy a//t/eyzaztied, t/at t/e /owjc d/a///e corny/tc, accozdiny to t/e tzue intent 
 and nteaniny oyf t/e yztatz-i and dyeciyficaiioztd, and t/at t/eze d/a/f/e no c/azye oP c/zinz ^oP any a/tezation 
 oP extza woz/z antedd t/e ayzceznen t.yfxp due/ extza woz/i d/a// tfe ene/ozded an t/id contzact, anddiyned /zy t/e 
 zti&t /ezeto, /eyfoze t/e dizzy oyf daidextza. z/ioz/.. 
 
 42 
 
DESCRIPTION OF THE PLATES. 
 
 PLATE 26 — Contains the first and second story and cellar plans for Cottages, Designs XXXIV. and XXXV., and a section 
 plan of a doorjamb and architrave, half full size. 
 
 PLATE 2 G.—Perspective views of two Cottages in the English Style—Designs XXXIV. and XXXV.—which are very 
 convenient for small families. XXXIV. contains five good rooms, and four good sized presses, closets, &c. 
 a cellar, and large wash room or kitchen sufficiently lighted, in the basement—first story, 9 feet, attic, 8 
 feet, and basement, 7 feet. 
 
 PLATE 27.—Contains the first and second stories and basement plans of a small Cottage Villa, Design XXXVI.; also. 
 
 section drawings of interior detail. Fig. 1, of base for first story ; Fig. 2, of base for second story ; Fig. 3, 
 plan showing the connection of a door, jamb, butt, plastering, and moulding secured by nails and screws; 
 also the position of the butt to throw the door over the moulding, flat against the wall; Fig. 4, face eleva¬ 
 tion of a door, for the first story ; Fig. 5, section of stile, panel and moulding ; Figs. 1, 2, 3 and 5, full 
 size, and Fig. 4, |- of an inch to the foot. 
 
 PLATE 28.—Geometrical elevations of the front and side of a small Cottage Villa in the Semi-Italian style, Design XXXVI.. 
 
 to be erected at New Brighten, Sfalen Island, for Geo. R. Ward, Esq. This cottage is also intended for 
 a small family. The first floor has a large parlor or living-room, a nursery or library, bed-room, two 
 closets, two porches, and four verandas. Second story, two good sleeping-rooms ; and the basement, a 
 kitchen, bed-room, pantry and cellar. The first story ceiling 10 feet, second story 9 feet, and basement 
 7 feet, G inches, all in the clear when finished. 
 
 PLATE 29.—Ground plot for Waldwic Cottage (of which a wood cut and plan was given in the last number). These 
 grounds are to be laid out and executed, and the out-buildings all placed according to this plot. The house 
 is sufficiently elevated above the general surface, to give the required effect to the lawns, walks, &c.; the 
 slopes are to the east, south, and west. A, the cotlage ; B, octagon ice-house, 12 by 12, 9 feet deep, and 
 G feet above the surface, all in the clear ; C, smoke-house, 10 by 10, 3 feet below the surface and G feet 
 above, in the clear—ice and smoke houses to be built of stone; D, wood-house, 22 by 25 (to be set 15 ft. 
 nearer the ice-house); E, corn-crib, 12 by 30 ; F, coach-house, 25 by 30 ; G, barn, 30 by 40, to have a 
 stone basement, 8 feet in the clear, for horses, cattle, &c.; II H, hog pen and yard, 20 by 27, with a 
 good substantial stone wall, 4 feet high, and sunk three feet below the surface ; I I, fowl house, 20 by 22 ; 
 in two apartments, one story and attic, and stone basement, with sashes for light and winter sun—each 
 apartment to have a yard adjoining ; Iv, barn yard ; L, water troughs, supplied by a hjalraulic ram ; 
 M M M, gates made and hung to stone posts, to swing both ways; N N, grape arbor and trellis; O O, 
 vegetable garden on a bank sloping southerly; P, stone wall, three feet thick, on a line with the rear of 
 the barn, the upper side filled to the top with earth, and on the top a low open fence from the fowl yard, 
 south 200 leet; Q Q, carriage road; R R, cart roads; S, bleaching lawn ; T T, foot walks ; U U, grass 
 lawn, interspersed with forest and fruit trees, sweet scented flowers, evergreens, and shrubbery; V, V, 
 flower beds, for hardy plants and annuals; W, hardy running roses, creepers, honeysuckle and other vines ; 
 hop vines from near the corner of the corn crib to the farm gate, and around the ice-house, the entrance 
 to the ice-house on the east and to the smoke-house on the west. 
 
 PLATE 30.— Elevations and profiles of wood fences in six different styles, drawn to a scale of £ of an inch to the foot ; 
 
 the balusters in Figs. 1, 2, 3 and 4, l£ inches square ; Fig. G. 3 inch by £ in. ; the g te and corner pos s 
 cased and capped—all the intervening posts to be squared and made smoot'i for painting—the gates made 
 like the frame, and hung bv heavy straps, hooks and bol > and secured by s >rin.r latches. 
 
 ' * 43 
 
E S T I M A T E 
 
 Of the Materials and Labor required in the erection of Design XXXVI. 
 
 50 cubic yds. excavation, 
 
 - 
 
 9 
 
 4 50 
 
 112 ft. plain cornice, - 
 
 35 
 
 39 
 
 20 
 
 605 cubic ft. stone work, 
 
 - 
 
 12 
 
 72 60 
 
 12 veranda anta?, .... 
 
 1 50 
 
 18 
 
 00 
 
 9578 hard brick laid, 
 
 - 
 
 10 00 
 
 95 78 
 
 164 ft. veranda ceiling, ... 
 
 4 
 
 6 
 
 56 
 
 7160 salmon “ “ - 
 
 - 
 
 7 00 
 
 50 16 
 
 72 ft. lattice, - ... 
 
 6 
 
 4 
 
 32 
 
 553 yds. plastering, 
 
 - 
 
 25 
 
 138 25 
 
 35 steps and risers, - 
 
 1 35 
 
 47 
 
 25 
 
 66 ft. plaster cornice, 
 
 - 
 
 24 
 
 15 84 
 
 101 lights, glazed sashes, 12 by 18, 
 
 27 
 
 28 
 
 0s 
 
 29 steps and coping. 
 
 - 
 
 14 
 
 4 06 
 
 32 “ “ “ 12 by 15, 
 
 23 
 
 7 
 
 36 
 
 7 door and window sills, 
 
 . 
 
 10 
 
 2 80 
 
 36 “ “ 12 by 14, 
 
 20 
 
 7 
 
 20 
 
 12 feet kitchen hearth, - 
 
 
 16 
 
 1 92 
 
 1516 ft. floor, - 
 
 4 
 
 60 
 
 64 
 
 1 marble mantle, 
 
 - 
 
 
 20 00 
 
 26 window frames complete, 
 
 4 75 
 
 123 
 
 50 
 
 Crane, hooks and eyes, 
 
 - 
 
 
 2 50 
 
 6 cellar “ “ - 
 
 3 00 
 
 18 
 
 00 
 
 
 
 
 — 
 
 2 wood mantles, .... 
 
 3 00 
 
 6 
 
 00 
 
 
 
 $408 41 
 
 2 closets shelved, .... 
 
 5 00 
 
 10 
 
 00 
 
 
 
 
 
 93 ft. of blinds, .... 
 
 70 
 
 65 
 
 10 
 
 3403 ft. timber, framed, 
 
 - 
 
 2 00 
 
 68 06 
 
 24 ft. shutters, - - - - 
 
 60 
 
 14 
 
 40 
 
 168 joist and wall strips, 
 
 - 
 
 16 
 
 26 88 
 
 410 ft. base, - - - 
 
 5 
 
 20 
 
 50 
 
 170 ft. sleepers, 
 
 - 
 
 6 
 
 10 20 
 
 60 ft. 3 in. leader,. 
 
 13 
 
 7 
 
 80 
 
 1850 ft. narrow siding, - 
 
 - 
 
 5 
 
 92 50 
 
 Painting,. 
 
 
 92 
 
 00 
 
 1324 ft. roofing, 
 
 - 
 
 9 
 
 119 16 
 
 
 
 
 
 116 feet bracketed cornice, 
 
 - 
 
 50 
 
 58 00 
 
 
 
 $950 
 
 71 
 
 ESTIMATE 
 
 FOR 
 
 FENCES, ON PLATE 30. 
 
 
 
 
 Fig. 1. 16 posts, 
 
 - 
 
 18 
 
 2 88 
 
 Fig. 4.—8 posts, 
 
 25 
 
 2 
 
 00 
 
 275 ft. 2 in. plank, 
 
 - 
 
 4 
 
 11 00 
 
 17 1^- in. plank, 
 
 30 
 
 5 
 
 10 
 
 200 ft. 3 by 8 timber, - 
 
 - 
 
 2 
 
 4 00 
 
 225 ft. timber, 
 
 2 
 
 4 
 
 50 
 
 8 l£ plank, 
 
 - 
 
 30 
 
 2 40 
 
 4 lbs. nails, 
 
 6 
 
 
 24 
 
 140 ft. l£ plank, 
 
 - 
 
 4 
 
 5 60 
 
 125 ft. 2 in. plank, 
 
 4 
 
 5 
 
 00 
 
 52 ft. | in. boards, 
 
 - 
 
 4 
 
 2 08 
 
 129 ft. 1^ in. plank, 
 
 4 
 
 5 
 
 16 
 
 9 lb. nails, 
 
 - 
 
 6 
 
 54 
 
 25 ft. f in. “ 
 
 4 
 
 1 
 
 00 
 
 Carpenter’s bill of labor, 
 
 - 
 
 
 38 00 
 
 Carpenter’s bill of labor 
 
 
 30 
 
 00 
 
 Per hundred feet, 
 
 
 
 $66 50 
 
 Per hundred feet, 
 
 
 $53 
 
 00 
 
 Fig. 2.—16 posts, 
 
 - 
 
 18 
 
 2 88 
 
 
 
 
 
 170 ft. 2 in. plank, 
 
 - 
 
 4 
 
 6 80 
 
 Fig. 5. —8 posts, ... 
 
 35 
 
 2 
 
 80 
 
 143 ft. 1^ in. plank, 
 
 - 
 
 4 
 
 5 72 
 
 18 £ in- boards, 
 
 18 
 
 3 
 
 24 
 
 70 ft. £ boards, 
 
 - 
 
 4 
 
 2 80 
 
 4 lbs. nails, 
 
 6 
 
 
 24 
 
 300 ft. timber, 
 
 - 
 
 2 
 
 6 00 
 
 225 ft. timber, 
 
 2 
 
 4 
 
 50 
 
 10 lbs. nails, 
 
 - 
 
 6 
 
 60 
 
 393 ft. 2 in. plank, 
 
 4 
 
 14 
 
 72 
 
 9 1^- in. plank, 
 
 
 30 
 
 2 70 
 
 Carpenter’s bill of labor, 
 
 
 35 
 
 00 
 
 Carpenter’s bill, 
 
 - 
 
 
 35 00 
 
 
 
 
 
 
 
 
 
 Per hundred feet, 
 
 
 $60 
 
 50 
 
 Per hundred feet, 
 
 
 
 $62 50 
 
 
 
 
 
 Fig. 3.—8 posts, 
 
 . 
 
 25 
 
 2 00 
 
 Fig. 6.—16 posts, 
 
 18 
 
 2 
 
 88 
 
 19 1^ in. plank, 
 
 - 
 
 30 
 
 5 70 
 
 9 l£ plank, ... 
 
 30 
 
 2 
 
 70 
 
 250 ft. timber, 
 
 - 
 
 2 
 
 5 00 
 
 7 lb. nails, ... 
 
 6 
 
 
 42 
 
 144 ft. 2 in. plank, 
 
 - 
 
 4 
 
 5 76 
 
 200 ft. of wall strips, 
 
 1 
 
 2 
 
 00 
 
 143 ft. 1^ in. plank, 
 
 - 
 
 4 
 
 5 72 
 
 200 ft. £ in. boards, 
 
 4 
 
 8 
 
 00 
 
 5 lbs. nails, 
 
 - 
 
 6 
 
 30 
 
 Carpenter’s bill of labor, 
 
 
 18 
 
 00 
 
 Carpenter’s bill of labor, 
 
 - 
 
 
 36 00 
 
 
 
 
 
 
 
 
 
 Per hundred feet. 
 
 
 $34 
 
 00 
 
 Per hundred feet, 
 
 
 
 $60 48 
 
 
 
 
 
 Design XXXIV. will cost $821 00 
 
 ; Design XXXV. will cost $730 00; Design XXXVI. will cost $1359 12: 
 
 Grecian 
 
 Cottage on page 37, $4230 00. 
 
 44 
 
THE ANGLO-NORMAN STYLE OF ARCHITECTURE. 
 
 The principal Design in this part of our work is an attempt to adopt the cumbrous yet picturesque 
 style, usually called the Anglo-Norman, to the conveniences of the modern Villa. The peculiar style of 
 ornamentation which characterizes the remains of Norman buildings in England and on the continent, 
 distinguish them in a very marked manner from the earlier and later styles of the so-called gothic archi¬ 
 tecture. The zig-zag and wavy ornaments in which the arches of doors and windows in Norman buildings 
 abound, impart to them an effect of barbaric magnificence which may be adopted in our ornamental cot¬ 
 tages and villas, when judiciously managed, with very pleasing results. The Norman is so called because 
 it was introduced into England by William the Conqueror, and continued the prevailing style of Archi¬ 
 tecture for the next two hundred years, during which there was a greater rage for building magnificent 
 ecclesiastical houses than had ever before existed, or since been known in that island. But the style was 
 not originally Norman, it was Romanesque or Byzantine, and is variously called upon the continent by 
 these names, and frequently by English writers is denominated Lombardic. But as the term most common 
 ly used by English authors is Anglo-Norman, we adopt that name. 
 
 Although England abounds in remains of Norman buildings, and of the twenty-two cathedrals in 
 the island, fifteen are partly Norman in construction, there is not one entire structure remaining which was 
 built in that style, unmixed either with the Anglo-Saxon, which preceded it, or the early English which 
 followed it. The general peculiarities of the Norman Style are semi-circular arches, columns of very 
 large diameter relatively to their height, a great profusion of ornaments, and massive square towers. 
 The intersection of the semi-circular range of arches, which it is supposed by some writers gave the first 
 hint of the pointed arch, is peculiar to the Norman style, and was used to break up the tame masses of 
 flat wall which necessarily occurred in their immense structures. The entrances to their churches and 
 other buildings, were most lavishly decorated with all manner of strange devices, mouldings, wreaths, 
 faces of men and monsters, beasts, and often with figures both indecent and revolting from their libidinous 
 expression. But the general effects of these profuse ornaments are far from being unpleasant. It is 
 very remarkable that even in the earliest remains of the Norman Style there are traces of the pointed 
 arch which did not come into general use until the 13th century. 
 
 As we have attempted to adapt the Norman Style to modern domestic uses, perhaps it will be not 
 
 improper to give a very brief description of those structures, built partly for residences and partly for 
 6 45 
 
46 
 
 THE ANGLO-NORMAN STYLE OF ARCHITECTURE. 
 
 purposes of warfare, in which the style was first introduced into England. The Anglo-Norman castle was 
 both a house and a fort; it was generally, indeed always, so far as we have any knowledge, irregular in 
 form, and of great extent, surrounded by a fosse, or deep ditch, and crossed by a draw-bridge, which was 
 defended by a wall with turrets upon it called a barbican. Between the ditch and the principal building 
 was another wall of great thickness, and very high, with embrasures, and on the inside were constructed 
 the buildings for the convenience of the retainers and officers of the castle. On the top of the wall, 
 and on the tower, which was generally tw r o or three stories high, stood the defenders of the castle in time 
 of a siege with bows and arrows, stones and other implements to crush their assailers. Within the inner 
 walls were the chapel, for in those days the priest and the warrior leaned upon each other as they do in ours, 
 and the great tower, which was the residence of the owner of the castle, and in it also resided the consta¬ 
 ble or governor. This tower was generally four or five stories high, the wall of immense thickness and 
 pierced only with very narrow slits, which could admit but little light into the dismal apartments : 
 and as the means for procuring light by artificial means were extremely limited, we may be sure that 
 the inhabitants of those gloomy castles led most cheerless lives. Underground, deprived of light 
 and wholesome air were the dungeons in which prisoners were confined; and many a despairing wretch has 
 ended his life in those grim vaults which now lie crumbling in decay, overgrown with noxious weeds, and 
 only known to owls and bats. So, too, have the customs and memories of the men who erected, inhabited, 
 and perished in those dismal holds gone to decay, and their very names are covered -with the rubbish of 
 the past. From the fact of the dungeons being in the principal tower, it was itself called the donjon or 
 keep. In Dallaway’s Discourses upon architecture is a very curious table, giving the dimensions of some 
 of the principal donjons or keeps erected during the Norman era in England ; the largest was that of Col¬ 
 chester, which was 140 feet long by 102 broad ; the Tower of London, which was erected by William 
 the Conqueror, is 116 feet by 96 feet. 
 
 Let us be grateful that we live in an age when a man’s house though built of shino-les is more 
 securely defended from the encroachments of the strong oppressor, than were these immense structures of 
 stone and timber, which, with all their defences, their barbicans, ditches and dungeons, could not protect their 
 residents from their stronger foes. While decorating our small but cheerful houses with the picturesque 
 remnants of these savage ages, when so little was known of the true aims of life, and when the rule of 
 right was might, let us remember that the destiny of mankind is as far from being developed in our condi¬ 
 tion as it was in these troublous times; centuries hence there will be those who look back upon us as we 
 now look back upon our rude ancestors of the Norman era, whose style of ornamentation we have bor¬ 
 rowed for one of our peaceful villas. 
 
MARINE COTTAGE 
 
 The little cottage of which we give a wood cut above, was built last year for Augustus W. Clason, Esq. of West¬ 
 chester. It stands upon a neck of land containing about 750 acres, known for years as Clason’s Point, which juts 
 out into the Sotind at about twelve miles from the city of New York. On the west and the east the river forms two 
 bays. The house is situate on a little swell of land rising gradually from the water, and affords one of the finest water 
 prospects conceivable. The bay windows on the east command a view of the Sound to Whitestone, the front (the south) 
 catches, through trees, glimpses of the water; an old wood of oaks and elms now hides and now shows the building 
 from the west; a village, with its irregular roofs, and church spire, at a distance of some miles, bounds the view to 
 the north ; the creek, gradually narrowing from the bay, creeps slow and sinuous through the meadows, dotted at 
 intervals with small tree-crowned hillocks, losing itself among them at last. The little streams impart that hushed and 
 tranquil character to the landscape which gives such a charm to English scertery, and contrasts strongly with the 
 adjacent breadth and boldness of the parent waters. The grounds contain fifteen acres, of which about five are wood¬ 
 ed with a very old growth, and the rest lie in grass. It is intended to throw walks through the lawn and adorn their 
 borders, but not to set apart any one spot for a garden. 
 
 This cottage combines many of the most desirable qualities of a summer residence, while it. is sufficiently com¬ 
 pact and well adapted to the exigencies of our climate in winter. It is precisely of that character which meets the 
 wants of the greater part of those who build houses in the suburbs of our cities, and is capable of being enlarged or 
 reduced without destroying its harmony of parts. The material of which it is built, is wood, but the style is well adapted 
 for either brick or stone. The bold projection of the roof saves the necessity for a veranda, which, on a small house, 
 always has an awkward effect, giving it the appearance of a veranda with a house attached to it, rather than a house 
 with a veranda. A writer in one of our agricultural periodicals, who probably had seen but lew of the designs con¬ 
 tained in the Architect, complained that the cottages were too small for the majority of families living in their 
 own houses. But the above cottage is a refutation of the complaint, and the greater part of our designs will be 
 found adapted to the wants of families in comfortable circumstances, and to combine whatever may be required 
 to meet a cultivated taste in external appearance, with the economical conveniences which our habits demand. 
 
 17 
 
>W, 
 
 EXTRACT FROM SPECIFICATIONS 
 
 Of Designs XXXVII. and XXXVIII. 
 
 DESIGN XXXVII,.( "ZZoun/ationd an/ ceZZ waZ/s oyf yooZyuazzy dtone, / ^t, Z in. ZeyZ, an/ /§ inched 
 
 tZicZ, ZuZ in couzsed aZove tZe duty/zce a^Z t/e yzoun/ _ t/e watez-taZZ Z in. ZiyZ. _ .windaw.di/td an/ 
 
 cZimney-iofui yZun cut /town atone . (ZZuye&dtzactuxe waZZs yoo/, dmooiZ, ZateZ ZticZ, toe/ c/ode 
 
 yacnts an/y/ZidZ. . oatiicZc Zoom an/ win/owd atcZeeZ an/ tecedde/. (ZZZe main too^ covet#/ witZ d-maZZ 
 
 dZctei . tZe entzance towe/* wit/tec/ ceeZzz dZinyted - iZe octayon, dyaate an/ toe.cn/ towezd, Zay win/owd, 
 
 an/ tooy/i ove7 tZe //tatty, Zitc/en, an/ a /loetion a/oininyt tZe toon/ to-wet, wit/ ya/vaoiiyZ icon an/ 
 
 iton Za/zd. . cotnicedi yecczeoyicts, cot/eZ taZZd, an/ coiumnd, to Ze mae/e o^ Zcdt c/afi w/iteyiine, ad in 
 
 Z/sZcte 3 3. &itdtan/ decon/yZZo/’temZzd, 3 Zy / 3 . tZie/yZZot^an/too^, 3 Zy § . .yaztitions, 3 Zy 
 
 / yoidt, / 2 in. Zetween centetd. (ZZiaatd, in y/izst an/ secon/ dtoty, o^ c/at, nazzow, ye/Zsw yiine, 
 aZZatZ/jZZotd o^ t/e Zcdt yeea/ty toZiteyiine. iZn yZi7.it an/ deconct dtazics, tZe dad/es / 3/ tZicZ, det 
 wit/ clown y/cdd, in /izman/yZotm, Zany Zy taide/cadt Zttttd, an/dccute/ Zy ytty ZaZ/s / aZZotZc/ 1 dctd/ed 
 
 t 3-§ tZicZ . tZeyZuzmC' ma/ oyfy/tnZ. . tZe oatuZ mouZZinyd an/ antes decetze/to t/e ZticZ wot/. . 
 
 /Znteiio'PcZooozd, ttimminys r n/Zase, ad /town an ZZZiate 3~t. ZZZi/iny d/uttezd to aZZtZe win/oios in yZiidt 
 an/ decon/dtozies, /lancZct an/ niou/Ze/, dame as tZe c/oozs, an/ to /ate cadt wetyd, /add dZcaves an/ ZocZo 
 
 . a/Zt/e ZocZd in t/e Zouse to Z mo-ztice, toitZyazeetain Zna/d. ZZ^icn dtaizs Zom yninciya/^tooPto attic, 
 
 wit/ mouZ/e/ dtyid, dteiny, an/dZietiny . maa/ZeZ tat/,5 in. Zy 2 / .2, an/ 2 / 2 mouZZetZa/udtezd 
 
 . taiZan//a/zstezd oyf Z/icZ waZnut, yio/csZecZ. ©ZZZt/c woo/wozZ, outside an/ inset/, caxcyit sZiny/es, 
 
 j/Zo7d, taiZ an/ ZzZudtstd, to Zave two yoo/ coats oyZ yiute -w/ite Za/ an/ oiZ, an/ a tZiid coat oy ZyZt 
 /town on/ t/e outsi/e, an/a vtzy ZyZt tint oyf /a/, on t/e induZe. 
 
 DESIGN XXXVIII.- Zoaocavationd d t .2 ^eet /ye. /ZeZtaP -wct/Zi o^dtone t& in. tZicZ an/7^t. ZiyZ. . 
 
 one cZimney -witZy/uPyZizeyZeces / incZu/iny one in tZe ce/tai . to ZeyfinidZe/into zooms z'yf teyuite/J . out- 
 
 di/e waZZsyfe/ic/in zoit/ ZzicZ on tZe cc/ye. ©/ZatZZ znantZ in tZe yiaz/7* . ZZie stone ZeaztZs zn/tZe ZitcZen 
 
 an/c/ani/zs. (ZTZzce coats ytadteiiny, /at/^inis/e/ _ cotniced in t/eyiatZz^am/yozcZ. (/Ztame o^ 
 
 doanJ timZiP - t/e di/Z, yosts an/yiates, d Zy 3 . intezticd, °4 Zy Z . .yfizst teeP ay//cams 2 Zy / O . 
 
 decon/ tiez, 2 Zy 3, t Z in. Ztween centetd. . za^tets, 3 Zy Z, an/co/Zii^/easns, 2 Zy / 0, 30 in. ayiast . 
 
 dtucZ/iny, 3 Zy ■/, / Z in. Zotween centetd. </Zt/ed covets/ wit/-nattow, cZa'P tonyue/an/yteoo-vee/y/cnZ, 
 tZyoints y/iZie/ we e/f w Zite tea/ an/ ZZn/naitcc/. (ZZZe zooyf cavste/ wit/ Zest cec/aT* dZenyZd, t/tee tZicZ, 
 
 on oa/. ZetZ - t/e cotniced, yiaiayct an/ eotetio'P mouZ/inyd t/e dame / Zdd siye J ad^oT* /ZZ/csiyn 37 . 
 
 (ZZZootd oyf/dtyiine ytan/. (ZZas/ed, / .// t/ic/i, set wit/ e/oaZZ tZic/nedd ©Zmczican y/ess, an/Zuny 
 Zy Zatts to yitayietdj/zamed, an/ dec/cte/in t/eiyfizotstony Zy /ZzencZyze'y ZoZts, an/in/ decon/ stoty Zy. Z/teZes 
 
 an/ Zo/ts.. —..ce/Z(P dasZed, / / -d tZicZ, Zuny Zy Zestts an/decuie/ Z/y Za/ts.., ZZ/aozs, / /-2 incAcd tZic/e., 
 
 in y/izdt dtozy, an/1 /-/ tZicZ in tZ/ decon/, a t? 7 fe tyt ^ /i ane’Zd, moee ZZrZ ZotZ si/ s, wit/y/un 
 
PLATE 31. 
 VOL.2. 
 
 ANGLO NORMAN VILLA. 
 
 hawn Front. 
 
 DESI6N XXXVII. 
 
 Entrance Front. 
 
Corf too 
 
 . Shire Rco. 
 
 
 Red.Room 
 
 hitch cn 
 
 SerraniM 
 
 -S'/X - 
 
 Kiiohen 
 
 Reentry 
 
 .ffi r 
 
 Chtna 
 
 Closet. 
 
 SUitnrav. 
 
 Seel Room 
 
 Jfininq Room 
 
 lirawing Room. 
 
 library 
 
 Closet. 
 
 PR/MC/PAl STORY. 
 
 ttaUsry 
 
 tint Room 
 
 
 Red Room, 
 
 C hamier 
 
 \reiyr 
 
 
 R e/t Room 
 
 Chamber 
 
 Ha// 
 
 Chamber 
 
 Chamber 
 
 
 27 vermin 
 
 Room 
 
 SECOND STORY. 
 
 RROf/lf STCT/ON 
 °C Rrmetpa/ Corn we 
 
 boa/e as on R/ate J3 
 
 -Fig. I 
 
 rroc/ i£ secr/o/v Of 
 
 the Cornice Cor the Octet a on 
 Tower. 
 

DESIGN XXXVIII. 
 
 VOL.2 . 
 
 K 
 
 
 rotrt/i CJF.A//CI > Koof 
 
 t 
 
 ill* 
 
 r 
 
 
 -mi' 
 
 GffOUHD flOOA 
 
 
 
 v 
 
 
 [X 
 
 
 
 Corbel 
 
 
 
 
 
 S' 
 
 
 
 
 
 f 
 
 | 
 
 I [••:i| : ;| 
 
 : u 
 ■ 
 
DESCRIPTION OF PLATES. 
 
 49 
 
 azcfadf AeevAj, Znfatf /Zany Ay A&tt ca<tt AuMj , an A .tecuzecA Ay motftce A>cA<j, wtiA Ay At mtnezaAAnoAa 
 
 . AacAeeA cau'nys /naAA'/Ac cAaw ancA wtneAowa . AAAcue, / m. AtyA, maa&eA.. . (^AtaZw cAuiecA on AotA 
 
 d «Ae.j Ay zoom yiaztitton-i . o/ien Jtt/ut to ceAAzz. AAEuntmy . 2 coatj wZtA wAzte AaJ ancA otA, tAe aa/otcAe 
 
 dAaoAecA a Ay AtyzeencoA oAzaA; tAe ZnaecAe, Aa^yA coAoz 
 
 DESCRIPTION OF THE PLATES. 
 
 PLATE 31.—Design XXXVII. Geometrical elevations of the lawn and entrance fronts of a Villa in the Anglo-Norman 
 style of architecture. This villa has been designed for Doct. Samuel M. Elliot, of Staten Island; the site 
 on which it is to be erected is one of those elevated ridges o( land on the north side of the Island, sloping 
 so gracefully to the river, and embracing some of the most beautiful views of country, harbor and river 
 scenery. 
 
 PLATE 32.—Design XXXVII. Ground plans of the first and second stories, with descriptions and dimensions of the rooms 
 and profile sections of cornices. Fig. 1, for the octagon tower — a, merlin cap; b, embrasure; c, embrasure 
 cap ; d, iron roof; e, planking; f rafter; g, plate; h, plancere; i, bed mould ; j, bracket; k, foot mould , 
 l, wall. Fig. 2, principal cornice—a, roofing; b, rafter ; c, plate; d, gutter back ; e, bottom ; /, front and 
 g, the cap mould ; h, nailing joist; k, frieze ; m, truss bracket; and n, foot moulding. 
 
 PLATE 33.—Design XXXVII. Exterior details. Fig. 1, parapet and cornice to receive the iron roofing — a, cap mould of 
 the parapet; b, embattled frett; c, base ; d, cornice; e, e, e, truss brackets ; f foot bead. Fig. 2, cornice 
 column and corbel table for the entrance tower — a, roof; b, crown moulding ; c, and d, label corbel table; 
 e, e, and /, arches; g, abacus; h, round reeded cap; i, astragal; j, round shaft; k, base mould ; /, and n, 
 base. Fig. 3, m, o,p, p, corbel table; q, foot bead ; r, zig-zag frett mould ; s, foot moulding, and t, wall. 
 Fig 4, column, cornice and parapet for the piazza— a, cap of the parapet; b, triangular frett; c, cornice : 
 d, d, nebule moulding; e, frieze; f, fascia ; g, ornamented and moulded cap of the column ; h, h, octagon 
 shaft; i, base. Fig. 5, cornice for the round and water towers— a , roof; b, cornice ; c, bed mould ; d, d. 
 blocks, and e, wall. 
 
 PLATE 34, — Design XXXVII. Interior detail. Fig. 1, elevation of a door and trimmings for the first story ; Fig. 2, eleva¬ 
 tion for a window for the first and second stories; Fig. 3, base for the first story; Fig. 4, base 
 for the second story ; Fig. 5, architrave for the first story, and Fig. 6, for the second story: a, Fig. 1, star 
 moulding for the doors and windows in drawing room, dining room and hall ; b, diamond moulding for 
 the doors and windows in porch, library and stairway; the frett moulding, in Fig. 2, for the windows and 
 doors in principal rooms and hall in second story ; Fig. 7, sections of the frett moulding. 
 
 PLATE 35.—Design XXXVIII. Perspective view and two geometrical elevations of a cottage villa, in the Anglo-Norman 
 style of architecture, designed for, and to be erected on a plot of 3^ acres of ground near the site for Design 
 XXXVII. 
 
 PLATE 36. — Design XXXVIII. Geometrical ground plan of the first and second stories—representing in a familiar man¬ 
 ner the location and dimensions of the rooms; a framing plan of the first floor ; a geometrical section of 
 the tower cornice and profile section of the heights of stories. 
 
THE COLOR OP HOUSES. 
 
 
 House painting is not usually reckoned among the Fine Arts, but it requires the eye of an artist to select the best 
 tint for a habitation ; fashion generally decides the point for the majority of people, but it is the decision of the artist 
 that sets the fashion. In a country like ours, where wood forms the chief building material in the rural districts, and 
 paint must necessarily be used as a preservative, it is of great importance that those who do not possess the faculty of 
 discrimination in colors should know what pigments will answer the best purpose for beautifying as well as preserving 
 their dwellings. Alison in his ridiculous treatise on the sublime and beautiful, says that no tint is beautiful in itself; 
 but that color depends altogether upon the associations connected with it for the sensation which it produces, by which he 
 proves himself as unqualified to write upon the subject as a blind man. All colors are not only beautiful but alike beau¬ 
 tiful ; if any one doubts this let him look at a rainbow and decide which tint gives him the most agreeable sensation. The 
 Greeks painted their marble temples in polychrome ; and, at a little distance, their fluted columns must have had the 
 appearance of upright rainbows. In all countries, where the habits of the people are primitive and the atmosphere is 
 pure and transparent, the people have delighted in the use of brilliant colors ; as witness the temples of the Greeks, the 
 pagodas of the Chinese, the mosques of the Turks, and the dwellings throughout India and the East; in our own country 
 towns, the favorite colors for houses are white, green and red ; but in our cities where the practice prevails of copying 
 after English models, there has been a fashion of late years of painting houses the dull and sombre hues which character¬ 
 ize English dwellings, and which are well adapted to the cloudy atmosphere of the British Islands. The use of red sand¬ 
 stone has lately led to nearly all the houses in the vicinity of New-York being painted a dirty chocolate color, whether 
 built of brick, wood or granite. It is a ridiculous custom, for although the tint of red sandstone is very far from being 
 disagreeable to the eye, yet the attempt to imitate it by a mixture of colors must necessarily be unsuccessful, from the 
 paint presenting a glossy surface. To obviate this defect a custom prevails of powdering the fresh paint with fine sand, 
 which produces a very pleasant effect at first; but,the rain soon washes off the sand and leaves a wretched poverty- 
 stricken aspect to the house. The better Way, in painting a house, is not to attempt to imitate any particular material, 
 but to beautify it by giving it a cheerful and pleasing appearance. For this purpose some light and bright colors are neces¬ 
 sary ; such as will wear best should have the preference. A pure white relieved with green blinds, at, one time was almost 
 universal, but the effect is too glaring when new, and when weather-stained and old it has a very shabby and cheerless 
 look. A slight tinge of green, yellow or red, produces the pleasantest tints for country houses. Leaden color is very ob¬ 
 jectionable for a house, as it almost neutralizes the effects of shadows, without which there can be nothing picturesque 
 in the appearance of a building. That part of a house which remains in shadow should always be painted a warm 
 bright tint, let the other parts of it be colored as they may. As a dwelling-house should always be made to wear a cheer¬ 
 ful and comfortable aspect, this matter of color is of much greater importance than, at the first glance, may generally 
 be supposed the case ; and therefore, those who have not the faculty of distinguishing colors and are consequently indif¬ 
 ferent to their effects, should not venture to exercise their own judgments, but seek professional advice in such matters. 
 A dark green is an extremely pleasant color to the eye when we look upon a meadow or a forest, but a house painted 
 such a color would be hideously ugly ; yet a house covered with ivy, or any other green vine is one of the pleasantest 
 sights that the eye can rest upon. It is not, therefore, the color that is objectionable, but the fault is in the pigment and 
 the evenness of surface which the smooth paint presents. When a house is covered with green leaves, the surface is 
 broken up by an infinite number of shadows and glancing lights, which prevents the glare occasioned by a broad unva¬ 
 ried surface. For the same reason any other bright positive color, would be equally objectionable. A soft neutral tint 
 will always be found the most grateful to the eye when it is spread over a broad smooth surface. But if any one 
 should have the courage to attempt the decoration of his house after the manner of the Greeks in the time of Pericles, 
 when Grecian Art was at its perfection, by polychromatic coloring, it would be better to use positive tints, as red, blue, 
 orange and purple. r „ 
 
 t 
 
The interior of a house should always be painted of a warm neutral tint. Pure white is too cold and cheerless 
 for a dwelling room, and is, moreover, so liable to stains, that its appearance of purity and cleanliness, which is a great 
 recommendation with neat house-keepers, very soon wears off. But we shall reserve our remarks on the painting and 
 decorating of the interiors of houses for a separate chapter. 
 
 The purity of our atmosphere, and the absence of coal smoke, admit of houses being painted a pure white, and, 
 where lead and oil%re alone used in the open air, the color will grow whiter from exposure ; but in the interior of a 
 house it will become a dingy yellow from being deprived of light and air. White lead improves by age and should not 
 be used for wood work unless at least a year old ; linseed oil also becomes purer and better from age, and should be at 
 least two years manufactured before used. Much harm results from the employment of incompetent workmen in the 
 painting of houses, as from their inexperience in mixing paints, and their inability to distinguish between good and bad 
 materials, the employer often throws away his money, and defaces the appearance of his house in the attempt to beau¬ 
 tify it by a coat of paint. 
 
 In painting a house any light color particular care should be taken to kill the knots in pine wood, as it is techni¬ 
 cally termed, or the effects of the first painting will be greatly marred. The best method of destroying the turpentine 
 contained in pine knots is by spreading upon them freshly slaked lime which will effectually burn it out. After this has 
 been done the knots must be covered with a sizing composed of red and white lead and glue. 
 
 In painting the outside of a house there should be no turpentine mixed with the paint, excepting in the case of 
 white paint, and then only in the last coat, not more than one part turpentine to four parts oil should be used, as oil has 
 a tendency to discolor white. 
 
 White lead forms the basis of all pigments for house-paintings excepting black, which is generally-composed of 
 lampblack ; but a new mineral substance has recently been discovered in New Jersey, which forms a beautiful jet 
 black, and resists the action of the atmosphere and water, better than any paint yet made. It has already been exten¬ 
 sively used on ships, and will probably entirely displace every other kind of black paint before long. Not much black 
 paint is ever used on houses, although it is most extensively employed for fences and iron-work ; and as it is important 
 to use a material that will resist the action of the atmosphere in ornamental iron-work, which is so soon destroyed by 
 rust, the discovery of this new mineral pigment is a matter of importance to builders. We have seen some specimens 
 of this new paint, which were remarkable for brilliancy of color and hardness of surface. A steam mill has been 
 erected lor manufacturing this article, and we shall be able to give more definite information respecting it before we 
 conclude our remarks upon this subject. • 
 
 There is no style of building in which polychromatic coloring could be introduced with finer effects than that of 
 the Anglo-Norman, of which Designs XXXVII. and XXXVIII. offer good examples. The zig-zag ornaments in this style, 
 painted of some bright color and relieved by a dark back ground, would produce as rich effects as the ornamentations 
 of a Moorish palace. A country house painted in this manner would harmonize admirably with the gorgeousness of our 
 parti-colored forests in Autumn. The singularly beautiful effect of a cottage covered with woodbine, when the leaves 
 have been turned to bright crimson and orange tints by the first frosts of October, must have been noticed by those 
 who have an eye for the dazzling beauties of bright colei's. Something like this could be produced by painting a house 
 in polychrome. 
 
 Rudely constructed country houses, whether of stone or wood, and barns and other out houses, may be greatly 
 improved in appearance by a coat of whitewash, which has the double effect of preserving the wood while it beauti¬ 
 fies it; a very pleasant tint may be produced by mixing a little yellow ochre in the white wash. But unless buildings 
 are whitewashed at least once a year it would be better to leave them bare, for nothing can look more neglectful and 
 shabby than a building with the white wash half pealed off. 
 
 It is difficult to give particular directions on a point like that of the color of houses, which is, after all a matter of 
 taste, and we offer these hints not for the benefit of those who have any taste of their own, but for those who have not, 
 who, we are forced to believe, form a very large class of the people. In such matters that which pleases best is the best 
 and we would advise every one to think more of pleasing himself in the decoration of his house than of conforming to 
 the fashion, or to the dicta of any self-established arbiter in the art of living. 
 
\ 
 
 
 52 
 
 COLOR OF HOUSES. 
 
 The colors and tints proper for house-painting, such as browns, drabs, yellows, pea green, greys, and imitations of 
 stone color are made by mixing, with white lead and linseed oil, the following colors, which should first be finely 
 ground in oil. 
 
 Drabs —Chrome yellow, lampblack and red ; or Venetiau red and burnt umber, with white. 
 
 Brown Stone color —Spanish brown, chrome yellow and lo-mpblack, 
 
 Grey Stone —Lampblack and Venetian red, 
 
 French Grey —Indian red, Chinese blue and ivory black, 
 
 Sage color —Raw umber, Prussian blue and Venetian red. 
 
 Slate color —Black, and Venetian red. 
 
 Dark Blue —Prussian blue, 
 
 Sky Blue —Ultramarine or Prussian blue, 
 
 Violet —Vermilion, blue and black, 
 
 Lilac —Drop black, ultramarine and crimson lake, or Indian red. 
 
 Peach Blossom —Carmine and ultramarine, 
 
 Rose color —Crimson lake and vermilion, 
 
 Salmon color— Chrome yellow and Indian red, or burnt sienna, 
 
 Straw color —Yellow ochre and orange chrome, 
 
 Buff color —Venetian red and yellow ochre, 
 
 Pearl White— Ultramarine, crimson lake, and ivory black, 
 
 French White —Indian red, ivory black, Chinese blue, or ultramarine, 
 
 Fawn color —Yellow ochre and Spanish brown; or V. red, blue and umber, 
 
 Pea Green— Yellow and blue ; or chrome green, 
 
 Green —Prussian blue and chrome yellow. 
 
 Olive Green— Chrome yellow and black ; or raw umber and blue. 
 
 Bronze Green— Black and green, or chrome yellow and black. 
 
 Orange —Chrome yellow and vermilion. 
 
 Chocolate— Spanish brown and black; or Venetian red and black. 
 
 There are various other modes of producing the above shades, but simplicity and economy are the objects we 
 have in view. The gradation of shades produced by a varied proportion of these colors is almost indefinite. 
 
 Small quantities of the coloring-matter should first be added to the lead, and continued till the right shade is 
 procured. Enough should be mixed at one time to cover all the wood-work required with one coat. 
 
 ESTIMATE 
 
 Of the Materials and Labor required in the erection of Design XXXVIII. 
 
 1184 super, ft. floor and roof (for tinning), 
 1014 “ ft. of partition, ... 
 
 
 
 53 
 
 28 
 
 
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 15 
 
 21 
 
 lg, 
 
 25 
 
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 30 
 
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 18 
 
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 108 
 
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 00 
 
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 25 
 
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 75 
 
 
 75 
 
 9 
 
 00 
 
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 103 
 
 00 
 
 
 $1481 
 
 93 
 
WYNNE TUN. 
 
 The above cut is a view of the seat of E. Bement, Esq., on the north side of Staten Island, near New Brighton, 
 and is a good instance of the fine effects that may sometimes be produced, by a moderate outlay, in altering a common¬ 
 place dwelling-house into a well arranged and spacious villa. The main body of the house is one of those convenient 
 and roomy structures of two stories, with a mansard roof, which were the beau ideal of a country house some twenty 
 five or thirty years since, in the neighborhood of New York. There are numbers of them still remaining in good repair, 
 built upon commanding situations, which require, but slight additions to make them imposing in appearance and eqwal 
 in conveniences to the finest villas that have been erected during the past ten years. The tower, which connects the out 
 house with the main building in the above design, adds greatly to the architectural effect, and furnishes a series of con¬ 
 venient apartments besides affording a look-out which commands a prospect of unsurpassed beauty. The various plans 
 which might be adapted to one of these plain houses are innumerable ; by the addition of a tower, a veranda and an 
 extension of the root, a very ordinary looking mansion may be converted into a beautiful and picturesque, villa. Of 
 course it is necessary in such cases that the alterations should conform to the position of the house, and the character of 
 the surrounding scenery, and it will, therefore, be impossible to furnish any general rules by which the builder can be gov¬ 
 erned. Although a fine villa may be erected any where, bv those who have taste and means, yet there are few who have 
 the good fortune to possess a situation which combines so many of the requisites and natural advantages for a country 
 seat, as distinguish the residence of Mr. Bement. Although within a half hourV sail of New York, it is in the midst of 
 one of the loveliest rural neighborhoods that the country can boast of, and without being subjected to any of the annoy¬ 
 ances of a great city, it is so situated as to be within the reach of all the advantages of a busy metropolis, and the evi¬ 
 dences of close contiguity to a teeming commercial mart such as ships, steamboats and the thousand various water 
 crafts that carry freight, float noiselessly past, and enliven the scene without disturbing it. The villa stands on the bank 
 of the river, or Kill van Ivull, near to the water, and is relieved by a back ground of orchards and distant hills. In the 
 vicinity of New York which abounds in charming situations and picturesque views it would be difficult to find a spot in 
 which there is so much to admire and so little to disapprove 
 
 vol ii. 7 53 
 
 I 
 
 
CHEAP HOUSES. 
 
 In these days of rapid movements, when emigrants to new countries carry their dwellings with 
 hem, all prepared, like a four-post bedstead, to be put up and occupied whenever they come to a suitable 
 spot for founding a new empire or a new city, plans for cheap houses, that may be erected in a hurry, 
 and afterwards ornamented at leisure when the prime necessities of life have been duly provided, are, ol 
 course, often called for. It is to meet the exigencies of such a condition that we have determined to 
 devote this number of the Architect to plans for impromptu Cottages which shall combine all the requi¬ 
 sites for health and comfort in a new settlement, and yet be sufficiently durable to be improved, orna¬ 
 mented, and beautified when time and means will permit. A house may be large, costly, and imposing in 
 appearance, and yet be ill-contrived and uncomfortable; or it may be small in dimensions, plain in ap¬ 
 pearance, and yet so arranged as to be both convenient and durable. On Plate 38 we have given four 
 designs for cheap Cottages, two of them perfectly plain, and two with simple but becoming ornaments. 
 Designs XLI. and XL1I. are for two small houses, intended to be built of the cheapest materials, and so 
 framed that they may be transported any distance, either by water conveyance or railroad. The two Cot¬ 
 tages below are the same buildings with a few simple external additions, which so change their appearance 
 that they seem to be dwellings of a very different character. Houses, like men and women, may be dressed 
 up and made to look genteel and elegant, without changing their intrinsic merits materially; the changes 
 in the Cottages in Designs XII. and XIII., however, do materially improve their character; in these 
 Designs by adding the dormar windows, the garret chambers are made more light, roomy, and cheerful; 
 the projecting roof casts a cooling shade in summer, and affords a protection against the beating winds 
 and rains of winter, while the porch to the door gives a shelter from both heat and cold, and furnishes ar. 
 agreeable resting-place in the cool of the evening. The eye at once discovers the uti'itv and be beauty 
 of the improvements, but as shelter is the prime object that must first be secured ,r. t -a.r the 
 
 ornamentation can be attended to afterwards; but it should not be neglected whenever opportunity will 
 permit. It happens, unfortunately, that in new settlements the importance of beautifying houses is neg¬ 
 lected a long while after the means and opportunity render it easy. 
 
 Cheap houses must, of course, be built of cheap materials, and the cheapest materials are generally 
 those that can be obtained from the soil where the building is erected, whether of clay, stone, or wood. 
 Much attention has recently been given to the subject of sun-dried bricks, called, by the Spanish Mexicans, 
 adobies; these were the primitive materials of the earliest structures of which any remains have been dis¬ 
 covered, and their fitness and durability are proved by their early use and their immense duration. In the 
 excavations made by Mr. Layard, recently, at the long lost city of Nineveh, he discovered sun-dried bricks 
 
 which had been used in building more than three thousand years ago. It is remarkable that a material 
 
 54 
 
CHEAP HOUSES. 
 
 55 
 
 which almost every soil will furnish, and which can be so readily employed, and will endure so long, should 
 have been so little used by the squatters and settlers of our new territories. The Hon. Joel R. Poinsett, 
 formerly our minister at the capital of Mexico, stated that he saw' buildings of sun-dried brick in that 
 country which had been erected over three hundred years, and were still in good order; in different parts 
 of the United States, Canada, and the north of Europe there have been many buildings erected of this 
 simple and easily-obtained material, which have proved much superior even to buildings of burnt bricks. 
 As the process of burning clay renders it porous, it consequently absorbs a much greater quantity of water 
 than the sun-dried bricks, which are, therefore, much preferable on account of their dryness in wet weather. 
 
 As the manner of making the sun-dried bricks is so extremely simple, and the materials of which 
 they are composed can readily be obtained, it will be an important item of information with the settler 
 in a new country to know how to procure the means of building himself a substantial house. 
 
 Any soil will be found suitable for making bricks to be dried in the sun, except sand or gravel, 
 and can us Lilly be obtained in making the excavation for the cellar of a house. A proportion of two parts 
 clay or loam, to one of sand or line gravel, and of straw about one hundred pounds, cut in lengths of five 
 or six inches to three hundred and fifty bricks ; the clay should be removed to a level spot, and mixed by 
 treading with oxen or horses, which can be done in two or three hours. A better material even than 
 straw, to mix with the clay when it can be obtained, is salt hay, on account of its toughness and du¬ 
 
 rability. We have seen it used in mixing mortar in the place of hair. 
 
 The moulds for the bricks should be made of boards, strongly fastened at the corners, and holes bored in 
 the bottom to facilitate the discharge of the brick; when placed to dry, the bricks should be laid upon theii 
 sides, and dry sand sprinkled upon them to prevent them from cracking in the sun; in two or three days turn 
 
 them u >on the edge,and let them remain three to five days, according to the power of the sun, when they 
 
 should be piled up so as to admit of a free circulation of air, and protected from the rain. In two weeks they 
 will be lit for use. If a cellar is to be made, the wall should be of stone, and two feet of the top laid in 
 lime mortar or cement; the latter would prevent dampness. Inlaying the bricks, clay mortar may be used, 
 but mortar of lime and sand would do better. The roof should, in all cases, project from two to four 
 feet, according to the height of the building. If one or two full stories, the roof may be flat, but if a story 
 and a half it must be high to relieve the lateral pressure on the walls. The coating or plastering on th*.- 
 outside of the walls should be of the best description ; it may be made of equal parts of lime, ashes, sand 
 and clay, and thoroughly mixed with water, having a strong infusion of glauber salts. 
 
 Another good plastering composition, preferable, perhaps, to the above in a climate where the saline 
 atmosphere will effect the walls, can be made as follows : to ten gallons of water add a peck and a half of 
 rock salt, boil it and skim oft’ the impurities, then take a peck and a half of unslacked lime, slake and sift it 
 and put it into the hot brine ; to this add two pounds of alum, one pound of coperas, a pound and a half of 
 pearlash, and one peck of clear sand. 
 
56 
 
 CHF.AP HOUSES. 
 
 The house proper, deserves more care and calculation in its structure than a packing-box. It is 
 the case in which a man places the objects that arc dearest to him, in which he shuts himself from the world 
 to enjoy that portion of it which he can call his own; it is his sanctuary in time of trouble, his retreat 
 from oppression, the scene of his first struggle for life and his last glimpse of the world; surely, if a man 
 may be pardoned for bestowing his affections, and devoting his time to the beautifying and perfecting of 
 any sublunary object, that object is his house. In old times, when men had but an imperfect know¬ 
 ledge of the earth they inhabited, and their means of transportation were slow, expensive, and uncer¬ 
 tain, wherever they built they expected that they and their children w ould dwell forever; the men 
 who hewed their habitation out of the solid rock, could have anticipated neither a change of resi¬ 
 dence or circumstances; repairs, to them, were things never dreamed of; and alterations were un¬ 
 known ; progress was an idea which had not then entered the thoughts of mankind, and, in building, 
 their instincts hardly soared above those of the beaver. It has taken the world a weary long while to learn 
 the art of adapting themselves to their circumstances, and even now much remains to be learned ; it 
 is to supply some of the deficiencies of thought which still exist in respect to the adaptation of mens' 
 houses to their altered habits, that we have undertaken to publish the Architect. 
 
 There have been numberless works published on Rural Architecture, but none, that we are ac¬ 
 quainted with, have been published on City houses; yet no one will deny that there is sufficient room for 
 architectural improvement in the streets of our cities, where faults of taste are more obtrusive than in the 
 country, and errors in the principle of construction are attended with greater evils. The sanitary condi¬ 
 tion of the inhabitants of towns depends in a great degree upon the construction of their dwellings, and 
 the mistakes committed by ignorant builders have been the cause of a disastrous waste both of life and 
 property. There has been a manifest improvement in the facades of street blocks during the past ten 
 years, and in some cases, there have been examples of a refined taste and an inventive genius in the 
 construction of private dwellings, which give indications of a new school of architecture which may 
 with propriety be denominated the American. But, in the common houses of the retired streets, we 
 have seen but little improvement; the smaller class of dwellings, designed for men of moderate means, 
 which seem to be regarded as beneath the legitimate care of the professed architect, are susceptible of 
 being greatly improved, not only in external beauty, but in the arrangement of the interior. It is our 
 design to furnish plans for the construction of houses of this kind, as well as those of a more costly des¬ 
 cription; and when the series upon which we are now engaged shall have been completed, we shall com¬ 
 mence another series, in which Street Architecture, or town houses, will be treated of in a popular 
 manner, and adapted to the residences of the middle class. 
 
 The “ Street Architect,” will contain, besides plans of single houses, and for large blocks, 
 designs for shop fronts, stores, club-houses, and every other description of building, except churches, 
 adapted for city use. 
 
DESIGNS XLI k XLII 
 
 PLATE 38. 
 VOL. 2. 
 
 TWO PLAIN COTTAGES. 
 
 DESIGNS XLI & XLII. 
 
 THE SAME 
 
 ORNAMENTED. 
 
DESIGNS X L' XIII & XLlll. 
 
 DESIGN XIII I 
 
 DESIGN.,-*LI & X III. 
 
 i :i- 
 
 w 
 
 mm 
 
 III 
 
 III 
 
 S 1 
 
 ll 
 
 4k. - 1 ~ 
 
 - 
 

DLSIGN XLIII. 
 
 VOL.2 . 
 
 PL AT L .41 . 
 
DESCRIPTION 
 
 OF THE PL ATES. 
 
 PL1TE 37 >—Design XXXIX. Isometrical plans, frame and detail sections of a cheap house, which may be erected as 
 
 follows: timber of any kind, sawed and put together strong, as represented in framing plan, sided with 
 common boards, rabbited and laid 8 inches to weather. Roof covered with split shingles, laid 3 thick, on 
 rough boards ; barge boards, 4^ in. wide, laid close to the siding, or project 0 inches, as in Fig. 1, or 12 inches 
 and moulded, as in Fig. 2 — a, shingles ; b, roof boards ; c, fascia ; d, bracket ; e, plancere; f, rafter ; g, h, mould¬ 
 ing; 6 windows, 8 lights each, 10 by 12 glass, sashes, l£ thick, hung by butts and secured by short bolls; panel 
 shutters to the outside, hung and secured to frames. Figs. 4 and 5 — a, a, jamb ; b, b, sash; c, c, moulding; d. 
 lining ; e, e, siding ; f hang stile ; g, g, shutter ; h, panel ; i, sill; the first floor is divided into three rooms, by 
 partitions made of boards, tongued and grooved, and planed both sides; doors each 4 panels, hung to the 
 partitions, and the casings rabbited—see Fig. 3 ; the floors of l£ sound plank, the upper floor laid fact*, side 
 down and planed on the top, the beams planed on three sides ; the sides of the room to be lined on the stud¬ 
 ding with £ tongued, grooved and planed boards ; the spaces between the studs may be filled in with clay or 
 loam, mixed with hay or straw, and some lime if convenient; a flue, 8 by 8 in., built with brick, on a good 
 foundation, and topped out 2 feet above the peak ; a step-ladder to the attic—Figs. 1, 2, 3, 4 and 5, to be 
 made half the full size. 
 
 PLATE 38.—Designs XLI. and XLII. are perspective views of two cottages. The one on the left, on the top, is of the plainest 
 character, without ornament or projections of any kind ; that on the right has the roof projecting over the sides 
 and gables, about ten inches ; the two at the bottom of the plate are the same cottages in dimensions, but 
 ohanged in external appearance by adding a porch over the front door, caps to the lower windows, dormar 
 windows—roofb projecting over the sides and gables, 18 inches, with drapery in the gables of one, and 
 brackets in the other; also, the foundation raised two feet above the surface. 
 
 These two cottages are to be built with good materials—the frames of spruce or pine—siding, £ boards, 
 8 inches wide; roofs of best pine shingles on rough boards; windows to have shutters in first story; 
 doors with four panels and good rim locks; moulded casings to all the doors and windows; moulded 
 base, 5 inches high; the closets with proper shelves ; floors <jf l£ plank; partitions of 2 by 4 strips ; strong 
 step-ladder to cellar, and close stairs from first story to attic; cellar of good stone, laid in lime and sand 
 mortar, 1G inches thick ; chimney of brick, with a large fire-place in the front cellar and a 12 by 12 inc) 
 flue above, with three 6 inch iron stove pipe rings inserted ; all the walls and ceilings in the house to be lathed 
 and plastered one good heavy coat of best brown mortar, slipped and whitewashed; two brick hearths, 
 one in parlor and one in cellar. 
 
 PUTE 39._Ground plans and sections of Designs XLI., XLII. and XLIII.—the latter a double house, convenient for the ac¬ 
 
 commodation of two families ; an attic may be added with little expense by raising the posts 5 feet, which 
 will give two rooms and closets each—see section; the dimensions of XLI. to be 10 by 22, and XLII. 
 18£ by 24^—each one story, attic and cellar—see section. 
 
 PLATE 40.—Design XLIII. Two geometrical elevations, in the Italian style, for a double house, with the general appear¬ 
 ance of a villa, to be built with wood as follows: frame of sound sawed timber, strongly framed ; posts, 
 sills, plates, trimmers, and framing beams, 4 by 8 and 4 by 9 ; beams, 2 by 9 and 2 by 10, 12 inches between 
 centers ; rafters, 3 by G and 3 by 4; studding, 2 by 4 and 3 by 4 ; the sides covered with clear boards, tongued 
 and grooved, and the joints opened 1 inch ; roof covered with best leaded tin on plank ; veranda roof with 
 narrow tongued and grooved clear plank; floors of l£milled plank ; doors paneled, and hung by broad 
 butts, and secured by 4 inch mortice locks; window sashes, 4 inch thick, hung to the frames by parliament 
 hinges and secured bj French latches and bolts ; blinds to the outside; stairs to the cellar enclosed ; from 
 first to second story open, and 3 by 2 inch moulded rail. 4 in. turned balusters, G inch turned newel, all ol St 
 
58 
 
 DESCRIPTION OF PLATES. 
 
 Domingo wood; base, l£ thick, 6 inches high, moulded ; closets all to be shelved ; mantles of wood in second 
 story, and veined marble in first: cellar walls of stone, 18 inches thick; two chimneys with 5 fire places each, 
 the flues topped out 5 ft. above the roof; the cellar to be divided by an 8 in. hard brick wall; also 10 eight 
 inch hard brick piers to support th; girders ; and seven piers for veranda columns ; the center partition to 
 be filled with soft brick laid on the flat, in rnortar, to the rafters; the outside studding to be filled in with 
 soft brick set on the edge, in mortar, to the plates; 4 neat grates set in the first story; all the rooms and 
 halls, lathed and plastered two coats of brown mortar, and hard finished; 6 inch cornices in 4 rooms of first 
 >.tor\. Painting: two coats of best paint, colored a light shade of straw color on the outside, and white 
 inside ; blinds, a dark drab ; veranda floor and steps, light drab ; tin roof, white. 
 
 PLATE 41 * Details of Design XLIII. Fig. 1, section of the main cornice and brackets. Fig. 2, section of the veranda 
 cornice, brackets, open fascia and the cap, shaft and base of column. Fig. 3, section of the steps, newel, 
 balusters and rail for a pi iin staircase. Fig 4, ground section of architrave and plinth for the first story, and 
 Fig. 5, casing for the second story. Fig. 0, profile section of moulded base for the second story, aud Fig. 
 7, for the first. Fig. 8, profile of the wall, floor timber, roof, cornice, height of stories, &c. Fig. 9, eleva¬ 
 tion of a window for the second story, representing the interior and exterior trimmings. 
 
 PLATE 42. Details, Figs. 1,2, 3, 4, and 5, for building with sun-dried brick; the outside walls 18 inches thick,9 feet from 
 the first floor to the plate—outside dimension-, 18 feet 6 inches, by 24 feet. Fig. 1, represents the ground 
 plan or section, divided by 7 inch brick partitions into 3 rooms, the floor timbers resting upon the projection 
 of the foundations or cellar walls. Fig. 2, a profile section of the roof and second story beams connected 
 with, and secured to, the walls. Fig. 3, section of the head, sill and side of window frames. Fig. 4, sections 
 of the cap and sill for the outside door. Fig. 5, dimensions and proportion of brick for outside walls. 
 .Moulds for making the bricks should be of the following sizes: for walls 24 inches thick, 18 by 12 by 6 ; 
 20 inches, 15 by 10 by 5 ; for 18 inches, 18 by 9 by 6 ; 16 inches, 16 by 8 by 6; 15 inches, 15 by 12 
 by 6 ; 12 inches, 12 by 12 by 6 ; 8 inches, 12 by 8 by 6, or 16 by 8 by 6 ; and 7 inch walls, 12 by 7 by 6 •, 
 the last named size is the best for partitions—the beams all to be 2 by 10, with one tier of bridging ; door 
 jambs, 8 inches wide, to receive the plastering ; doors made plain, and either batten or panel ; the base, 
 steps, floors, &c. the same as in XLI.; the roof to be steep ; rafters, 3 by 6, secured by 2 by 8 collar beams, 
 8 feet from the second floor, the plates anchored ; second story beams dovetailed in the wall plate; good 
 split shingles, laid on rough boards ; strips, 2 by 4 inches, built in the wall, to secure such trimmings for in¬ 
 side and out, as may be required—all the outside trimmings to have two coats of brown paint, and the 
 inside two coats of white ; the floors two coats of yellow ochre and oil. Figs. 6, 7, 8, and 9, represent a 
 plan of building the outside of the house with common timber, joist and £ boards in panel work. Fig. 6, 
 ground section of the joist, post, and panels for the sides of the house. Fig. 7, the floor, sill and beam con¬ 
 nected with the foundation. Fig. 8, face section of the panel work in connection with the sill. Fig. 9, 
 profile section of the roof, plate, tie beam, &c.—all the timber for this style of building, must be sound, 
 seasoned and clear of shakes, worm holes, and defective knots ; the grooves in the studs to be £ in. deep, 
 and the panels put in with white lead; the sills, posts and studs to be planed ; all the doors, windows, 
 base, steps, closets, plastering, chimney, &c. to be same as for Design XLI. 
 
ESTIMATE 
 
 Of the Labor and Materials required in the erection of Design XXXIX. 
 
 3 by G ; 2 beams, 12f ft. long, 3 by 8 ; 
 
 14 posts, 12 ft. long 
 
 2 sills, I 85 ft. “ 3by6;5 “ 12f"ft. “~2by8; 
 
 2 “ 12^ ft. “ 3 by 6 ; 2 c. beams, 5 ft. “ 3 by 6 ; 
 
 2 c. sills, 12f ft. “ 2 by 6 ; 5 “ 5 ft. “ 2 by 6 ; 
 
 2 plates, 18f ft. “ 4 by 6 ; 14 rafters, 9 ft. “ 3 by 5; 
 
 5 beams, 12f ft. “ 2 by 9, 
 
 Total—878 feet of timber, - - - $135 $11 85 
 
 20 joists for the end, studding, and braces, 12 2 40 
 
 74 tongued, grooved and beaded boards for lining and 
 
 partitions,. 20 14 80 
 
 120 boards for siding and trimmings, - 17 20 40 
 
 15 planks, If in., for water table, corner boards, 
 
 steps, &c.. 28 4 20 
 
 36 hemlock boards for the roof, - - 11 3 96 
 
 $2 50 
 14 
 
 4 bunches (or 2000) pine shingles, 
 
 48 lights, 10 by 12, glazed sashes, 
 
 9 pairs 3 in. plain butts, 6 c. ; 6 short bolts, 10 
 3 rim locks, 5 in.,81c.; 1 gross If No. 10 screws, 30 
 30 lb. 4d.; 251b. 12d.; 40 lb. 10d.; 35 lb. 8 d. nails, 5 
 1 pair shutter hinges, 31c.; 4 sett fastenings, 12 
 175 cubic feet of stone work in foundations, 10 
 795 common brick, laid in chimney flue, 10 00 
 78 lbs. pure white lead, 7c.; 4 galls, oil, 70 
 
 1 gall, spirits turpentine, 60 ; 4 lb. ochre, 10 
 
 5 days’ painter’s labor, - - - 1 75 
 
 20 days’ carpenter’s labor, - - - 1 50 
 
 64 yds. excavation, 
 
 904 ft. stone work in cellar and foundation 
 1506 brick in chimney, 
 
 2565 brick, 18 by 9 by 6 , laid in the wall, 
 576 “ 12 by 7 by 6 , “ partitions, 
 
 120 yards cement plastering outside, 
 
 87 yds. of lath, brown, and slipped plastering 
 145 yards of wall plastering, 
 
 1638 ft. of timber, 
 
 15 joists for lintels and roof brackets, 
 
 915 ft. of shingle roof, on boards, 
 
 65 yds. excavation, 
 
 747 ft. stone work, 
 
 2382 bricks in chimney, 
 
 274 yds. plastering 
 1500* ft. timber, - 
 122 joist, ... 
 
 96 planks. If in. 
 
 25 “ “ 
 
 828 ft. floor, - 
 
 236 ft. base, ... 
 
 650 ft. roof, - 
 
 16 boards for fascias, 
 
 52 j r ds. excavation, 
 
 700 ft. stone work, 
 
 223 yds. plastering, 
 
 1120 brick in chimneys, 
 
 1180 ft. timber in frame, 
 
 60 joists, ... 
 
 50 wall strips, 
 
 552 ft. of roof, 
 
 1100 ft. siding, 
 
 4 doors, ... 
 
 6 windows, 5 25 ; 3 windows, 2 50, 
 12 steps and risers, enclosed. 
 
 Estimate for Design XL. on Plate 42. 
 
 [WALLS OF SUN-DRIED BRICK.] 
 
 10 
 
 6 40 
 
 20 boards for frame and gable, 
 
 40 
 
 8 00 
 
 9 
 
 81 36 
 
 672 ft. floor, ... 
 
 4 
 
 26 88 
 
 9 00 
 
 13 55 
 
 100 ft. base, 3c. ; shelves, hooks and pins 
 
 3 50 
 
 9 20 
 
 3 2 
 
 89 78 
 
 4 doors, complete, 
 
 - 5 00 
 
 20 00 
 
 3* 
 
 20 16 
 
 6 windows, complete. 
 
 - 5 25 
 
 31 50 
 
 12 
 
 14 40 
 
 2 “ in cellar, 
 
 - 2 00 
 
 4 00 
 
 g, 20 
 
 17 40 
 
 2 step ladders, each, - - 2 
 
 50, 3 50 
 
 6 00 
 
 8 
 
 11 60 
 
 Painting woodwork, 2 coats. 
 
 . 
 
 12 00 
 
 4 
 
 24 57 
 
 
 
 
 12 
 
 1 80 
 
 
 
 8474 20 
 
 8 
 
 75 60 
 
 
 
 
 [SIDES OF WOOD PANELED.] 
 
 
 
 10 
 
 6 50 
 
 6 windows, ... 
 
 - 5 00 
 
 30 00 
 
 10 
 
 74 70 
 
 3 ... 
 
 - 2 50 
 
 7 50 
 
 10 
 
 23 82 
 
 4 doors, - 
 
 - 5 00 
 
 20 00 
 
 20 
 
 54 80 
 
 Mantle, shelving, hooks, &c., 
 
 
 7 00 
 
 1 60 
 
 24 00 
 
 Steps to cellar, - 
 
 
 3 00 
 
 13 
 
 15 88 
 
 Stairs enclosed to cellar, with a door. 
 
 . 
 
 12 00 
 
 30 
 
 28 80 
 
 Painting, inside and out, two coats, 
 
 - 
 
 36 00 
 
 22 
 
 5 50 
 
 20 days’ carpenter’s labor, making and putting u 
 
 P 
 
 4 
 
 33 12 
 
 the frame and trimming, 
 
 1 50 
 
 30 00 
 
 3 
 
 7 08 
 
 
 
 
 8 
 
 52 00 
 
 
 
 $474 90 
 
 20 
 
 3 20 
 
 
 
 
 Estimate for Design XLI. 
 
 
 
 10 
 
 5 20 
 
 Step ladder to cellar, 
 
 _ 
 
 3 00 
 
 10 
 
 70 00 
 
 202 ft. base, .... 
 
 3 
 
 6 06 
 
 20 
 
 44 60 
 
 Painting, two coats, - 
 
 
 30 00 
 
 10 00 
 
 11 20 
 
 
 
 
 2 
 
 23 60 
 
 
 
 8374 12 
 
 18 
 
 10 80 
 
 Add, 
 
 
 
 15 
 
 7 50 
 
 4 dormer windows, complete, 
 
 14 00 
 
 56 00 
 
 8 
 
 44 16 
 
 4 window caps, ... 
 
 2 00 
 
 8 00 
 
 4 
 
 44 00 
 
 Front porch, - 
 
 . 
 
 10 00 
 
 5 00 
 
 20 00 
 
 Brackets, - 
 
 . 
 
 5 00 
 
 
 39 00 
 
 
 
 ■ - 
 
 1 25 
 
 15 00 
 
 
 
 $453 12 
 
 $10 00 
 6 72 
 
 1 14 
 
 2 73 
 
 6 50 
 
 1 72 
 17 50 
 
 7 95 
 
 8 26 
 
 • 1 on 
 
 8 75 
 30 00 
 
 $159 88 
 
CO 
 
 ESTIMATES. 
 
 84 cubic yds. excavation, 
 
 863 cubic ft. stone work, 
 
 1830 hard brick, for chimney, 
 
 329 yds. plastering, 
 
 2124 ft. timber in the frame, 
 
 50 joist, .... 
 
 41 wall strips, - 
 1008 feet of shingle roof, 
 
 1398 feet siding, 
 
 128 feet eave and gable cornice, 
 824 ft. floor, .... 
 290 ft. base, - 
 
 9 windows with frames complete, 
 8 doors complete, 
 
 146 yards excavation, 
 
 1810 ft. of stone work, 
 
 7500 hard brick, in walls, tiers, &c. 
 17000 salmon and soft brick, laid, 
 
 2 setts crane eyes, 
 
 10 steps, 30 ft., 
 
 4 veined mantle pieces set complete, 
 4 grates set, 
 
 1067 yds. plastering, 
 
 208 ft. cornice, 
 
 6955 ft. limber in the frame, 
 
 165 joist in frame and partition, 
 
 175 wall strips in frame and partitic 
 2792 ft. siding, 
 
 1895 ft. tin roof on plank, 
 
 104 ft. tin leader, 
 
 406 ft. veranda roof, 
 
 9 veranda columns, 
 
 38 ft. open fascia and cornice, 
 
 48 ft. plain cornice, 
 
 197 ft. main cornice, 
 
 36 brackets, 3^ by 2^ ft., 
 
 12 front and rear steps, 
 
 324 ft. veranda floor, 
 
 2384 ft. common floor, 
 
 888 ft. base, 
 
 14 steps and risers, principal stairs, 
 2 step ladders to cellar, 
 
 4 wood mantels and hearth borders, 
 8 closets shelved. 
 
 
 Estimate 
 
 for Design XLII. 
 
 
 
 . 
 
 10 
 
 88 
 
 40 
 
 14 steps and risers, first story, 
 
 81 25 
 
 817 50 
 
 . 
 
 10 
 
 86 
 
 30 
 
 Steps to cellar, .... 
 
 - 
 
 3 50 
 
 
 - 81 00 
 
 18 
 
 30 
 
 Shelving closets, - 
 
 - 
 
 6 00 
 
 
 20 
 
 65 
 
 80 
 
 Painting 2 coats, - 
 
 
 47 50 
 
 . 
 
 2 
 
 42 
 
 48 
 
 
 
 — 
 
 _ 
 
 18 
 
 9 
 
 00 
 
 
 
 593 14 
 
 . 
 
 15 
 
 6 
 
 15 
 
 
 
 
 . 
 
 8 
 
 80 
 
 64 
 
 Add, 
 
 
 
 . 
 
 
 48 
 
 93 
 
 4 dormer windows complete, 
 
 - 14 00 
 
 56 00 
 
 . 
 
 25 
 
 32 
 
 00 
 
 4 window caps, - 
 
 - 2 00 
 
 8 00 
 
 - 
 
 3j 
 
 28 
 
 84 
 
 Front porch, - 
 
 - 
 
 10 00 
 
 - 
 
 4 
 
 11 
 
 60 
 
 Brackets, - 
 
 - 
 
 5 00 
 
 - 
 
 - 4 50 
 
 40 
 
 50 
 
 
 
 — 
 
 - 
 
 5 00 
 
 40 
 
 00 
 
 Total, 
 
 
 8672 44 
 
 Estimate for Design XLIII. 
 
 
 10 
 
 14 
 
 60 
 
 Amount brought up, 
 
 
 1041 
 
 44 
 
 . 
 
 10 
 
 181 
 
 00 
 
 28 doors complete, 
 
 - 7 50 
 
 210 
 
 00 
 
 
 - 10 00 
 
 75 
 
 00 
 
 19 window frames, sash and blinds complete, 10 50 
 
 199 
 
 50 
 
 
 - 8 00 
 
 136 
 
 00 
 
 6 cellar frames and sashes complete, 
 
 - 3 50 
 
 21 
 
 00 
 
 . 
 
 50 
 
 1 
 
 00 
 
 
 
 
 
 - 
 
 16 
 
 4 
 
 80 
 
 
 $1471 
 
 94 
 
 
 - 22 00 
 
 88 
 
 00 
 
 
 
 
 
 - 
 
 - 8 50 
 
 34 
 
 00 
 
 550 lbs. pure white lead. 
 
 - 7 50 
 
 41 
 
 25 
 
 - 
 
 24 
 
 256 
 
 08 
 
 22 galls, raw oil, 
 
 70 
 
 15 
 
 40 
 
 . 
 
 22 
 
 45 
 
 76 
 
 5 “ boiled “ - 
 
 80 
 
 4 
 
 00 
 
 
 
 
 
 Litharge, glue, and colors. 
 
 
 5 
 
 00 
 
 
 
 $836 
 
 24 
 
 4 galls, spirits turpentine, 
 
 60 
 
 2 
 
 40 
 
 
 
 
 
 23 days* painter’s labor. 
 
 1 75 
 
 40 
 
 25 
 
 - 
 
 2 
 
 139 
 
 10 
 
 
 
 
 
 . 
 
 18 
 
 29 
 
 70 
 
 
 
 8108 
 
 30 
 
 >n 
 
 15 
 
 22 
 
 65 
 
 By adding an attic, the breast 5 ft. and ceiling 6 ^ 
 
 
 
 _ 
 
 4 
 
 111 
 
 68 
 
 feet high, divided into four bed rooms, two store 
 
 
 
 
 11 
 
 208 
 
 45 
 
 rooms, and four closets, the cost \\ 
 
 ill be as fol- 
 
 
 
 . 
 
 12 
 
 12 
 
 48 
 
 lows : 
 
 
 
 
 . 
 
 9 
 
 36 
 
 54 
 
 3430 soft brick, 
 
 - 8 00 
 
 27 
 
 44 
 
 . 
 
 - 6 50 
 
 58 
 
 50 
 
 440 yds. plastering. 
 
 - 20 
 
 88 
 
 00 
 
 . 
 
 60 
 
 22 
 
 80 
 
 1004 ft. timber, 
 
 2 
 
 20 
 
 08 
 
 - 
 
 40 
 
 19 
 
 20 
 
 50 wall strips, 
 
 15 
 
 7 
 
 50 
 
 - 
 
 30 
 
 59 
 
 10 
 
 40 joists, ... 
 
 18 
 
 7 
 
 21 
 
 . 
 
 - 1 40 
 
 50 
 
 40 
 
 655 ft. siding, 
 
 4 
 
 26 
 
 20 
 
 . 
 
 - 1 20 
 
 14 
 
 40 
 
 15 steps and risers, 
 
 - 1 50 
 
 22 
 
 50 
 
 . 
 
 7 
 
 92 
 
 6 S 
 
 348 ft. base, 
 
 4 
 
 13 
 
 92 
 
 . 
 
 4 
 
 95 
 
 36 
 
 10 doors complete, 
 
 5 00 
 
 50 
 
 00 
 
 
 5 
 
 44 
 
 40 
 
 10 windows, “ - 
 
 5 00 
 
 50 
 
 00 
 
 
 - 1 50 
 
 51 
 
 00 
 
 Shelving 4 closets, 
 
 - 2 00 
 
 8 
 
 00 
 
 . 
 
 - 3 50 
 
 7 
 
 00 
 
 Painting, ... 
 
 - 
 
 18 
 
 00 
 
 
 - 4 50 
 
 18 
 
 00 
 
 
 
 
 
 
 - 2 50 
 
 18 
 
 00 
 
 
 
 8338 
 
 84 
 
 Design XXXIX. will cost, 8159 88 
 
 “ XL. sun-dried brick, 474 20 
 
 “ “ wood, panel sides, 474 90 
 
 “ XLI. plain, 374 12 
 
 “ “ ornamented, 453 12 
 
 “ XLII. plain, 593 44 
 
 “ “ ornamented, 672 44 
 
 “ XLIII. two stories, 2416 48 
 
 “ “ “ with attic, 2755 32 
 
PERMANENT DWELLINGS. 
 
 The author of the Seven Lamps of Architecture says, in the seventh chapter of that work, which he 
 calls The Lamp of Memory : “The idea that a house must be large in order to be well built, is alto¬ 
 gether of modern growth, and is parallel with the idea that no picture can be historical, except of a size 
 admitting figures larger than life.” To combat and overcome this “ idea of modern growth,” that houses 
 must be large in order to be durable and comfortable, or even picturesque and elegant, is one of the aims 
 which we have sought to accomplish in the Ahcjiitect, both by the designs which we have furnished, and 
 the text that has accompanied them. It is gratifying to have our own ideas confirmed by so high an au¬ 
 thority in art as that of the author of the Seven Lamps , who is entitled to rank with the best writers on 
 aesthetics, than any age or any country has yet produced. Ostentatious pride may sometimes display itselt 
 in useless amplitude in building, but the common sentiment of the human family coincides with the aspira¬ 
 tion of Lady Mary Wortley Montague :— 
 
 “ Grant me, O, God ! I cried, a little farm, 
 
 In summer shady, and in winter warm.” 
 
 What more need the most aspiring mortal, desire than this. Comfort is the first thing to be secured in 
 a domestic dwelling, and after this, ornament becomes a necessity to a cultivated mind. The author of the 
 Seven Lamps goes a step beyond this, and insists that a dwelling must not only be comfortable and fit, but 
 that it must be indestructible. 
 
 “ It is in becoming memorial or monumental,” says the most accomplished author, to whose work we 
 have alluded, “ that a true perfection is attained by civil and domestic buildings ; and this partly as they are, 
 with such a view, built in a more stable manner, and partly as their decorations are consequently animated by a 
 metaphorical or historical meaning. As regards domestic buildings, there must always be a certain limitation 
 to views of the kind in the power, as well as in the hearts of men; still I cannot but think it an evil sign 
 of a people when their houses are built to last but one generation only.” 
 
 One generation only ! A dwelling-house with us which outlasts a generation, is regarded as a hoary 
 and venerable relict of past times. As in these days of scientific discovery and active invention, the habits of 
 society change as rapidly almost as Time wings his flight, it is impossible that houses should be built so as 
 to anticipate the wants of the next generation. An old house, with its crumbling memorials of a past age 
 and its sanctifying memories of reverential occupants, is truly a fine object to contemplate ; but its unwhole¬ 
 some damps and worm-eaten timbers are not calculated to add to the comforts of a new generation, whose 
 
 wants and pleasures were not consulted when it was built. 
 
 8 
 
 VOL II 
 
 fil 
 
PAINTING THE INTERIOR OF HOUSES. 
 
 64 
 
 in colors is, if possible, more valuable to the house-painter than to the artist who is engaged in painting from nature: 
 for he has no means of relieving the strong contrast between two colors by the introduction of lights and shades. It 
 is very difficult, as artists are well aware, to introduce a light blue in a composition, so that it may be harmonious. 
 Orange is its contrasting color ; but both are brilliant and calculated to attract the eye. To meet this difficulty atten¬ 
 tion must he paid to the tone. Suppose that blue is to be the predominating color, the orange may be of the gravest 
 tone; but it is by the introduction of light and shade that all the discordances of coloring are avoided. The house 
 painter, on the other hand, has not generally an opportunity of obtaining effect in this manner, and, consequently, the 
 selection of colors and lines is to him all-important.” 
 
 If it is all-important to a house-painter to be well-instructed in his art, it is of greater importance still that he 
 should be to his employer. But, as our space will not admit of a treatise on the philosophy of color, and the art of 
 mixing pigments, we can do little more than to give a few hints for the guidance of those who lack taste rather than 
 knowledge in such matters. 
 
 The exhibition of artistic knowledge is very rare in the decoration of even the most costly houses in the country, 
 but there is often an ambitious display of ornamentation in the so-called style of Louis Quatorze that is more offensive 
 than the chilly white walls so common both in town and country dwellings. It is very obvious that the same style of 
 coloring cannot be properly used for rooms appropriated to different uses, yet but little discrimination is usually shown 
 in this important particular. A parlor which is used for the reception of company and on festive occasions, should be 
 gay, brilliant., and free from all vulgar or homely objects, the dominant tone of color should be bright and warm. The 
 family sitting-room, on the contrary, should be warm, rich, and mellow, quiet and soothing. The hall or vestibule 
 should be of a sober and a cooler tint; while the bed-rooms should be light and cheerful, without being bright or garish. 
 It has lately become the fashion to bestow a profusion of grotesque ornaments on dining-rooms, where such a style of 
 decoration is extremely misplaced. People enter a dining-room for the sole purpose of enjoying the. pleasures of the 
 table and it is therefore pure surplussage and waste of material and labor to expend them in the production of objects 
 which, if regarded at all, only serve to distract attention from the only object on which it should center. The dining¬ 
 room of a private dwelling-house should, therefore, be the least ornamented or showy apartment in it. If people would 
 but give themselves the trouble to expend a little thinking upon the painting and decoration of their houses, we should 
 not so frequently see rooms furnished so incongruously in regard to the uses for which they are designed. There are 
 some very tidy housekeepers who prefer pure white paint, and walls as white and as chilly in aspect as snow, for the 
 reason that they show the least speck of dirt; while there are some who prefer a very dark brown or dismal blue for 
 the opposite reason, that dark colors do not show the dirt. But the better way is to suit the eye and the sense of fitness 
 in the service for which it is designed, and to keep clean for the sake of cleanliness without any regard to looks. 
 



DESCRIPTION OF Til E PLATES. 
 
 PLATE 43.—Designs for a Vinery and Green-House connected (now being erected near Morristown, N. J.) The vinerv 
 
 to be heated by a hot air flue, and the green-house by hot water in pipes, both from one fire. The vinery 
 
 is 18 ft. by 34 ft.; green-house, 16 ft. by 30 ft., and potting room, 11 ft. by 32 ft. ; front of grapery 5 ft. 
 high, and of green-house 8 ft. ; elevation of roof 38 degrees, or 9^ in. to the foot; the sashes 2 in. thick 
 and lapped in three lengths to the vinery, and two lengths to the green-house—the upper sashes to 
 slide on cast rollers, and secured with strong cords through 3 in. pullies ; all the glass in the roof sashes 
 to be double thickness English crown, glazed with pure white lead and oil putty, the joints to lap one 
 eighth of an inch ; the upright sashes glazed with double thickness Winslow glass; the end sashes and 
 front sashes of the green house to be double hung by weights and cord ; the front sashes of vinery with 
 
 butts on the top, and the division sashes to fold and hang by butts. The roof of potting room and portico 
 
 to be covered with shingles on tight boarding ; the sides with tongued and grooved boards, planed and 
 
 nailed on upright, with 1 inch by 3 inch battens over the joints ; two entrance doors to the potting room 
 and three 8 light windows, 10 by 14. . The foundation walls of stone, 20 inches thick, sunk 3 ft. 6 in. below 
 the surface, and laid up with lime mortar; the back wall of vinery may be of stone, 18 in. thick, or of 
 brick, 12 inches thick; the back wall of green-house of brick, 12 in. thick. The floor of potting room 
 paved with hard brick, and the walls of green-house flagged with blue stone. 3 ft. wide. Soil 2 to 3 
 feet deep in the spaces enclosed by the walks of green-hquse and flue of the vinery ; fire-place made 
 with common hard brick to receive the grate bars, and fire chamber with fire bricks, covered 
 with heavy tiles ; the hot air flue (See Plate XLVIIJ., Figs. 4 and 5) 10 by 14 inches in the clear, the 
 bottom and sides of good smooth hard brick, laid in best lime and mortar—the bottom to rest on bricks 
 set 2 in. apart, and raised lYom the stone foundation 3£ inches—the flue to be covered with plain and pan 
 tiles, alternately from the fire chamber to the smoke flue in the rear wall—this flue to continue in the wall 
 diagonally, and discharge directly over the fire; a vertical smoke flue from the fire chamber to be carried 
 out with the other, two ft. above the roof; a damper in each flue about 3 ft. from the fire chamber—that 
 in the vertical flue to shut off the smoke draft, giving free heat to the vinery, and the one in the hot air 
 flue to shut off the heat from the vinery. The green-house to have a cast iron boiler or water back, with 
 3 in. iron pipes to continue on the outside of the walk and return to the boiler—the pipe to be raised 4 to 
 6 in. from the surface. A round reservoir in the potting room, made of wood and bound with iron, 
 raised 2 ft. from the floor, to hold 500 galls of water, and supplied by a hydraulic and force pump, from a 
 spring or well, or a rain water cistern ; a strong pipe leading from the reservoir to the water back. 
 
 PLATE 44 —Ground plan section and detail drawings for Design XLVI., Figs. 1 and 2 ; the floor plan of first and second 
 stories in isometrical perspective, representing the several divisions and dimensions. Fig. 3, section 
 through the cellar hall, first story hall, and bed-room, and principal bed-room in second story. Fig. 4, 
 profile section of main cornice, and Fig. 6, connection of veranda to the house. 
 
 PLATE 45 ,—Perspective views of a cottage in the Anglo-Swiss style, Design XLA., and a cottage villa in the Italian 
 style, Design XLIV. The cottage may be built with brick walls, 8 in. thick, furred on the inside for 
 lathing and plastering, and the outside painted two coats of drab paint—the wood-work painted the same 
 shade of color. When brick are procured with difficulty the frame and covering may be made of wood 
 
 _the frame of hemlock or spruce timber ; sills, posts, and plates, 4 by 6 ; beams, 2 by 8 ; rafters, 2 by 6 ; 
 
 sides covered with 6 in. tongued and grooved boards, nailed on horizontally—the joints filled with white 
 lead; cornice boards and window-frame casings to nail on the outside; floors of milled plank; roof 
 covered with cypress shingles, the corners cut; doors, if thick, 2 panels ; sashes, 1^ thick, hung by butts 
 
66 DESCRIPTION OF THE PLATES. 
 
 and secured by latches, painted on the outside and inside a peach-blossom color. The cottage villa to be 
 built with wood: the frame of good sound, square timber ; posts, plates, sills and framing-beams, 3 by 8 ; 
 first and second tier of beams, 2 by 8, 16 in. between centers ; roof tier, 2 by 7, 2 ft. apart, and the beams 
 3 by 8; sides covered with 1^ tongued and grooved plank and overlaid with clear f boards, 6 in. wide, 
 the joints tongued and grooved, and opened ^ by ^ an inch ; the roof plancere of narrow tongued and 
 grooved clear boards ; contalevers of clear seasoned pine ; roof covered with best leaded tin (14 by 20) on 
 milled plank; window-sashes, 1| thick, double hung by weights and cord; doors 6, Impanels; stairs 
 enclosed both sides; floors of pine milled plank ; partitions set with 2 by 4 wall strips; cellar wall of 
 stone, 16 in. thick, 7 ft. high ; brick chimney with two fire-places, and two marble shelves on iron bronze 
 brackets ; two stories plastered two coats each of brown mortar and hard finished. 
 
 PLATE 46.—Perspective views of a cottage villa in the Italian style. Design XLV'I., and a cottage in the English rural style 
 
 Design XLVII. The latter cottage designed to be enclosed with rough tongued and grooved boards, 8 in. 
 
 wide, with t by i grooves on the outside, one inch from the joint, and covered with 1 by 3 in. battens, 
 beveled both edges, and thoroughly nailed on the joints, well painted with white lead and oil before nail¬ 
 ing ; the roof made in the same manner ; boards clear and sound and planed ; the roof brackets 2^ in. 
 thick; all the windows 8 lights, 10 by 14 and 10 by 12 ; the sashes, 1^ thick, double hung by cord and 
 
 weights; doors and panels ; 5 in. rim locks, mineral knobs; floors of spruce milled plank ; partitions, 
 
 2 by 4 strips, 16 in. between centers; outside painted 2 coats of Ohio drab mineral paint and linseed 
 oil, mixed with an equal quantity of white lead, ground in oil; the cellar wall 6 ft. 6 in. high, 16 inches 
 thick, laid in best lime and sand mortar; all the walls and ceilings lathed and plastered two coats of 
 brown mortar, slipped and whitewashed ; a chimney, with two fire-places and two grates. 
 
 PLATE 47. —Ground plans, section and details of Design XLV. Fig. 1, section of the gable, moulded barge boards and 
 hip-knobs. Fig. 2, profile section of the same. Fig. 3, section showing shingling, finish of rafter and 
 eaves brackets. Fig. 4, face view of the same, with section of rafters. Fig. 5, face and profile of gable 
 brackets; and Fig. 6, elevation of a section of front porch with bracket, plan of the column, &c. 
 
 PLATE 48.—Detail drawings for the vinery. Fig. 1, section of the sash roofing : a , a, rafter ; b, b, upper sliding sash ; c, c, 
 middle sash ; d, d, lower sash ; e, e, check strip ; f,f, rafter cap ; g, rafter dovetail, secured to the main 
 plate ; h, main plate ; j, lower plate and gutter; k, sash upright and rafter supporter; Z, slip sill, cut to 
 receive the vine ; m, shelf sill; n, main sill; o, o, stone walls. Fig. 2, section of principal rafter and sash 
 stiles, half full size. Fig. 3, section of a double window jamb, the plan of making, &c. Fig. 4, cross 
 section of the hot air flue, and Fig. 5, face section of the same. 
 
TABLE 
 
 SHOWING THE CAPACITY OF CISTERNS, WELLS, Sic., IN GALLONS, IN PROPORTION TO THEIR DIAMETER AND DEPTHS 
 
 CAPACITY IN GALLONS 
 
 Diam. in feet. 
 
 Depth 1 ft 
 
 Depth 2 ft. 
 
 Depth 3 ft. 
 
 Depth 5 ft. 
 
 Depth 10ft. 
 
 Depth 12 ft. 
 
 3 
 
 44.1 
 
 88 
 
 132 
 
 220 
 
 441 
 
 529 
 
 3* 
 
 60.2 
 
 120 
 
 180 
 
 301 
 
 602 
 
 722 
 
 4 
 
 78.6 
 
 157 
 
 235 
 
 393 
 
 786 
 
 943 
 
 H 
 
 99.5 
 
 199 
 
 298 
 
 497 
 
 995 
 
 1194 
 
 5 
 
 122.8 
 
 245 
 
 368 
 
 614 
 
 1228 
 
 1473 
 
 5j 
 
 148.5 
 
 297 
 
 445 
 
 742 
 
 1485 
 
 1782 
 
 6 
 
 176.8 
 
 353 
 
 530 
 
 884 
 
 1768 
 
 2121 
 
 6 5 
 
 207.4 
 
 414 
 
 622 
 
 1037 
 
 2074 
 
 2488 
 
 7 
 
 240.6 
 
 481 
 
 721 
 
 1203 
 
 2406 
 
 2887 
 
 n 
 
 276.2 
 
 552 
 
 828 
 
 1381 
 
 2762 
 
 3314 
 
 8 
 
 314.2 
 
 628 
 
 942 
 
 1571 
 
 3142 
 
 3770 
 
 85 
 
 354.7 
 
 709 
 
 1064 
 
 1773 
 
 3547 
 
 4256 
 
 9 
 
 397.7 
 
 795 
 
 1193 
 
 1988 
 
 3977 
 
 4772 
 
 9* 
 
 443.1 
 
 886 
 
 1329 
 
 2215 
 
 4431 
 
 5317 
 
 10 
 
 490.9 
 
 981 
 
 1472 
 
 2454 
 
 4909 
 
 5890 
 
 11 
 
 594. 
 
 1188 
 
 1782 
 
 2970 
 
 5940 
 
 7128 
 
 ’ 12 
 
 706.9 
 
 1413 
 
 2120 
 
 3534 
 
 7069 
 
 8482 
 
 “ Solids are measured by cubic yards, feet and inches ; 1728 cubic inches making a cubic foot, and 27 cubic feet 
 a cubic yard. For all sorts of liquor and dry measure, the standard has been declared by an act of the British Parlia¬ 
 ment, in the year 1824, to be the imperial gallon, the capacity of which is determined by weight in the following man¬ 
 ner:—According to the act, the imperial standard gallon contains 10 pounds avoirdupois weight of distilled (or rain) 
 water, weighed in air, at the temperature of 62° Fahrenheit’s thermometer, the barometer being at 30 inches ; the 
 pound avoirdupois contains 7,000 troy grains ; and it is declared that a cubic inch of distilled water (temperature 62 ; 
 barometer 30 inches) weighs 252.458 grains. Hence the contents of the imperial standard gallon are 277.274 cubic 
 inches. 
 
 “ The dimensions of liquid and dry measures are in pints, quarts, gallons, pecks, bushels and quarters ; or, 2 
 pints a quart, 4 quarts a gallon, 2 gallons a peck, 4 pecks a bushel, 8 bushels a quarter. 
 
 “ Divisions of superficial measure are in inches, feet, yards, rods, acres and miles—or, 144 inches a foot, 9 feet 
 a yard, 272^ feet a rod, 160 rods an acre, 640 acres a mile. 
 
 “Divisions of lineal measure are inches, feet, yards, fathoms, rods, furlongs, miles, leagues, and degrees—or, 12 
 inches a foot, 3 feet a yard, 6 feet a fathom, 5$ yards or 16£ feet a rod, 40 rods a furlong, 8 furlongs a mile, 3 miles a 
 league, 60 miles a degree.” 
 
 TO FIND THE AREA OF A CIRCLE. 
 
 Multiply the square of the diameter by .7854, or the circumference by .07959, or the circumference by the 
 diameter, and divide the product by 4; or multiply £ the diameter by £ the circumference, either of which will give the. 
 true number of superficial feet, or inches, and parts. 
 
 EXAMPLE. 
 
 Dia. 3 ft. multiplied by 3.1416 equals 9.4248 ft. which is the circumference. Half the diameter multiplied by 
 half the circumference, furnishes the area of the base which is 7.0086 superficial feet, or cubical feet, when the depth is 
 one foot ; and this product multiplied by 6^ gives the whole number of gallons the cistern or vessel' contains ; and in 
 the same manner, by using the above given decimals, the capacity of any circular vessel, cistern or well, may be 
 obtained. 
 
 67 
 
ESTIMATE 
 
 Of the Materials and tabor required in the Erection of Design M.1V. 
 
 
 8 10 
 
 812 
 
 80 
 
 2 closets, shelved, 
 
 82 
 
 75 
 
 5 
 
 50 
 
 
 10 
 
 83 
 
 70 
 
 2 wood mantles, 
 
 - 
 
 3 
 
 6 
 
 00 
 
 . 
 
 8 00 
 
 40 
 
 00 
 
 224 ft. base, 
 
 - 
 
 5 
 
 11 
 
 20 
 
 . 
 
 20 
 
 77 
 
 40 
 
 40 ft. 3 in. leader, 
 
 - 
 
 13 
 
 5 
 
 20 
 
 . 
 
 6 00 
 
 30 
 
 67 
 
 125 ft. cornice, 75c. 
 
 16 brackets, 60c. ea. 
 
 
 103 
 
 35 
 
 . 
 
 40 
 
 
 80 
 
 36 “ “ 65c. 
 
 8 “ 50c. ea. 
 
 
 27 
 
 40 
 
 
 2 00 
 
 51 
 
 96 
 
 28 “ “ 70c. 
 
 12 “ 40c. ea. 
 
 
 24 
 
 40 
 
 . 
 
 18 
 
 27 
 
 54 
 
 11 doors, complete, 
 
 - - 7 
 
 50 
 
 82 
 
 50 
 
 . 
 
 27 
 
 29 
 
 97 
 
 24 steps and risers, 
 
 1 
 
 25 
 
 30 
 
 00 
 
 
 18 
 
 2 
 
 16 
 
 2 double ant®, 85 00 ; and 2 single, 2 
 
 00 
 
 14 
 
 00 
 
 
 4 00 
 
 40 
 
 00 
 
 
 
 
 
 
 . 
 
 10 
 
 5 
 
 60 
 
 
 
 
 8719 
 
 35 
 
 - 
 
 15 
 
 7 
 
 20 
 
 
 
 
 
 
 Estimate for Design XLY. 
 
 128 cubic yds. excavation, 
 
 837 cubic ft. stone work, 
 
 5000 bricks for chimneys, &c. 
 388 sq. yds. plastering, 
 
 5112 salmon bricks for filling, 
 2 window sills, 
 
 2598 ft. timber, framed, 
 
 153 joist, 
 
 111 milled floor plank, 
 
 12 narrow “ 
 
 10 window frames, complete, 
 35 lights, 12 by 14 glass 
 48 “ 10 by 13 “ 
 
 9b cubic yds. excavation, 
 
 192 cubic ft. stone work, 
 
 2 )91 bricks for chimney, and laid, 
 
 37(41 salmon bricks for filling, “ - 
 ! 35 sq. yds. plastering, 
 
 1837 ft. timber, framed, 
 
 4 5 joist, 
 
 50 milled floor plank, 
 
 11 narrow “ 
 
 5 window frames, complete and glazed, 
 2 “ “ “ “ 
 
 3 dormer “ 
 
 1 closet, shelved, 
 
 OR, THREE-COAT WORK. 
 4 casks of Thomaston lime, 
 
 2-3 “ lump 
 
 \ “ plaster, 
 
 4 bushels hair, 
 
 2000 lath, 
 
 7 loads common sand, 
 
 '2\ bushels white “ 
 
 13 lbs. nails (3d), 
 
 4 days’ mason’s labor, 
 
 3 “ laborer, 
 
 Cartage, 
 
 Or, 25 cts. per square yard. 
 
 N. B.—The cost of the Vinery and Green-house will be given in detail on page 75 of this work. 
 
 68 
 
 8 
 
 8 
 
 8 70 
 
 122 ft. base, 
 
 5 
 
 6 10 
 
 
 10 
 
 19 20 
 
 12 steps and risers, 
 
 1 25 
 
 15 00 
 
 8 
 
 00 
 
 16 72 
 
 48 ft. barge board, 
 
 30 
 
 14 40 
 
 6 
 
 00 
 
 22 58 
 
 1 porch, complete, 
 
 
 25 00 
 
 
 20 
 
 27 00 
 
 1 grape arbor, 
 
 
 10 00 
 
 2 
 
 00 
 
 36 74 
 
 14 brackets for raking cornice, 
 
 70 
 
 9 80 
 
 
 18 
 
 13 50 
 
 18 “ level, “ 
 
 20 
 
 3 60 
 
 
 27 
 
 18 50 
 
 5 doors, complete, 
 
 7 50 
 
 37 50 
 
 
 18 
 
 1 98 
 
 1728 cypress shingles, 
 
 15 00 
 
 25 92 
 
 5 
 
 75 
 
 28 75 
 
 60 hemlock boards for shingling, - 
 
 12 
 
 7 20 
 
 8 
 
 00 
 
 16 00 
 
 Painting, 
 
 
 60 00 
 
 14 
 
 00 
 
 42 00 
 
 
 
 — 
 
 
 
 2 75 
 
 
 
 8461 06 
 
 
 
 TABLE. 
 
 
 
 YARDS OF LATH, 
 
 COST OF MATERIALS AND LABOR FOR 100 
 
 YARDS OF LATH, 
 
 ISH, 
 
 
 
 PLASTER AND SLIPPED, 
 
 
 
 
 
 
 OR TWO-COAT WORK. 
 
 
 
 81 
 
 00 
 
 84 00 
 
 3 casks lime, 
 
 81 00 
 
 83 00 
 
 1 
 
 50 
 
 1 00 
 
 6 loads sand, 
 
 30 
 
 1 80 
 
 2 
 
 00 
 
 1 00 
 
 3 bushels hair 
 
 20 
 
 60 
 
 
 20 
 
 80 
 
 2000 lath, 
 
 2 00 
 
 4 00 
 
 2 
 
 00 
 
 4 00 
 
 13 lbs. nails, 
 
 7 
 
 0 91 
 
 
 30 
 
 2 10 
 
 3 b days’ mason’s labor. 
 
 1 50 
 
 3 25 
 
 
 10 
 
 25 
 
 2 “ laborer, 
 
 1 00 
 
 2 00 
 
 
 7 
 
 91 
 
 Cartage, 
 
 
 1 19 
 
 1 
 
 50 
 
 6 00 
 
 
 
 
 1 
 
 00 
 
 3 00 
 
 
 
 818 75 
 
 
 
 1 94 
 
 Or, 18f cts. per square yard. 
 
 
 
 
 
 825 00 
 
 
 
 
 Design XLIV. wil 
 
 cost, - $710 35 
 
 
 
 
 
 XLV. 
 
 ‘ - 461 06 
 
 
 
 
 
 XLVI. 
 
 ‘ - 740 00 
 
 
 
 
 
 XL VII. 
 
 - 495 00 
 
 
 
Thf. above wood-cut represents a design which was furnished in the third number of this Volume. There 
 have been three houses built after the plan, and the design has been found to unite the light and graceful elements of 
 Persian buildings with the more solid and substantial features of the English cottage villa. In a favorable situation, 
 the design has an extremely pleasant and novel effect; it may be constructed of wood or brick, to suit the fancy or 
 convenience of the builder, and it would be found equally well adapted for light brown free stone. 
 
 No attempt can of course be made in a small villa to give anything like an idea of Persian architecture, the 
 ancient and modern styles of which unite the grandest and most fanciful forms. The ancient architecture of Persia, of 
 which there are sufficient remnants to give a perfect idea of its character, was like those of ancient Egypt, from which 
 it was, doubtless, imitated. The City of Persepolis, the ancient capitol of Persia, was destroyed two thousand years 
 ago; but time and the ravages of marauding barbarians have left enough of the stupendous structure, called chil-minar, 
 supposed to be the palace destroyed by Alexander in a drunken debauch, to enable us to form a correct idea of what 
 this magnificent palace must have been in its perfect condition. The ruins have been minutely described by Sir Robert 
 Kerr Porter. The modern architecture of Persia, from which we have borrowed the forms introduced in the above de¬ 
 sign, does not differ materially from that of the other Mahometan countries of the East. The city of Ispahan, in its 
 prosperous days, was one of the most magnificent of the old.world, and although its achitectural grandeur was of a 
 showy and unsubstantial character, enough of its former greatness still remains from which many valuable hints may 
 be borrowed by the architects of the Western world. Nearly all of the houses of this showy city are constructed of 
 sun-dried bricks, of which we have given some account in another part of this work; the public edifices were constructed 
 of kiln-burnt brick, often fancifully colored and glazed, or covered with inscriptions from the Koran. The houses of 
 the Persian cities which are occupied by the officers of the Sha and by opulent merchants have many peculiarities that 
 might be advantageously copied in our dwellings. Ispahan was as famous for its immense Caravanseres as New- 
 York is for its great hotels. It is said that there are in Ispahan no less than 1802 of these Eastern hotels or Caravan- 
 seres, many of which were on a much more magnificent scale than our Astor House, although a different kind of enter¬ 
 tainment was offered in them to visitors. Domes, minarets, and verandas are the external signs of the Persian style of 
 architecture, while the interior of these luxurious dwellings abounded in immense mirrors, gilded ornaments, arched 
 apartments, lattice work, fountains, and marble pavements. The growing opulence and natural taste of our “upper 
 classes” is fast verging towards a style of domestic dwellings which have more solidity and comfort, and much of the 
 luxurious profusion which characterize those of Persia. 
 
 vol. n. 9 69 
 
AMERICAN HOUSES. 
 
 Although we cannot, in the United States, lay claim to any national style of Architecture, yet in 
 adapting to our own necessities the architectural forms which were originated by other nations, we must, ol 
 necessity, so vary them as to give them, to a certain extent, an American expression. As our people 
 become older they grow more independent of the countries whence they emigrated, and gradually make 
 their habitations to conform to the peculiarities of soil and climate where they reside. Thus in another 
 century, the architecture of different States will be greatly varied, although there is but little difference 
 discernible now iu the houses of the Northern and the Southern-States. Fifty years ago there was no 
 difference between the house of the Carolina planter, and the New-Engfand farmer, because both came 
 from the same country and reproduced here the houses which they had been accustomed to dwell in in 
 their father-land. New-York long retained distinctive traces of the Dutch origin of its first settlers, while 
 in Louisiana may still be seen the gloomy quadrangular houses, looking like small fortresses, which were 
 first erected by the Spaniards, with their grated windows, court-yards, and covered galleries. The French 
 left numerous traces of their national taste in the houses which they erected when they took possession of 
 the State, and these contrast oddly with the plain and economical buildings erected by the emigrants from 
 the Eastern States, after the transfer of the territory to our own government. Neither the Spaniards, nor 
 French, nor Yankees, erected buildings suitable to the soil and climate, but only such as they had been 
 accustomed to in their original homes, and the same was done in other parts of the Union, but in none other 
 Ire the different national peculiarities so strong as in New Orleans, because, in none other was there the 
 same succession of diftbrent races. The present inhabitants of the soil will, out of the various styles in¬ 
 troduced by their ancestors, form one which will have characteristics of its own, adapted to their habits and 
 necessities. The same change is constantly going on in the older parts of the country, and New-England, 
 like New-York and Pennsylvania, is continually growing more original and less like Old England. Plate 
 No. 50, second Volume, and Design XLVIII., presents the side and front elevations of a Villa in what we 
 must call the American Style. It is unlike any other, but yet is made up, as it necessarily must be, ot 
 manv distinct parts, borrowed from different nations. The whole forms an American house, or villa, adapt¬ 
 ed to the soil and climate of the New-England and Middle States, and capable of being so modified, that 
 it will be found equally well adapted to Louisiana or Texas. It has, as will he seen, Swiss brackets, En¬ 
 glish gables, French windows, Italian Verandas and Balconies. 
 
 “ Tllese different elements harmonize admirably together, and form a perfectly congruous and conve¬ 
 nient whole, which may be constructed of either wood or stone. 
 
 On plate No. 53 are presented two designs, in which there is less variation from the original styles 
 which have been adopted, but which are still sufficiently Americanized to render them well adapted 
 
AMERICAN HOUSES. 
 
 71 
 
 to any part of our Union. The first of these designs, No. XLIX., is a Villa in the Tudor style, with a veranda 
 and balconies ; it displays the picturesque and solid features of the old English country house, while the 
 heavy drip stones of the windows are converted into an ornamental dressing. Design No. L., on the same 
 plate, is a Villa in the Greco-Italian style, with a bold projecting roof, highly ornamented brackets, and 
 balconies. This style is better adapted to a sunny climate than to the snowy region of New-England. It 
 offers a very striking contrast to the Tudor, or old English, and is admirably adapted to the highly culti¬ 
 vated neighborhood of our cities and large towns. 
 
 It has often been made a reproach to our national character that we mutate all other people in our 
 architecture, while we have nothing that we can claim as our own. But so far from this being a reproach, 
 it is rather a credit, that having a knowledge of the old world’s experience we have the intelligence to avail 
 ourselves of the wisdom of our ancestors. It would be as unwise to reject the inventions and discoveries 
 in art of those who have gone before us, as to reject all the articles of foreign growth which add to the 
 luxuries of the table or the comforts of daily life. There is an affiliation in art, as there is in language, 
 and the common origin of the human family from the same source may be traced more clearly in the archi¬ 
 tectural remnants of extinct nations, than in the languages of the various people of which we have any 
 knowledge. There are many nations of whose existence we only know by their ruined monuments, whose 
 language has utterly perished, and by these fragments of their manners we know that they were akin to 
 ourselves. Our architecture, like our language, is made up of borrowings from the rest of the world, with 
 a portion of our own inventions ; and notwithstanding that it is so diverse in its character it will be found 
 that we have invented more than we have imitated. If any of the great architects of antiquity were to 
 visit our houses, they would confess that we had so materially improved upon the models which their 
 genius has furnished us, that our domestic dwellings and public buildings are as worthy of the name of 
 
 original edifices as any that antiquity can boast of. 
 
 In all the interior arrangements of our houses, if not in the mere grandeur of external show, there 
 cannot of course, be any comparison of ancient with modern domestic buildings; and it is for their habit¬ 
 ableness_their comfort-affording capacities alone, that houses are valuable ; lacking these qualities they 
 
 lack everything. We can well afford to allow the pre-eminence of outside grandeur to the ancients, while 
 we can claim 1 thousand aids to pleasure and health which they never dreamed of. 
 

 DESCRIPTION OF THE PLATES. 
 
 PLATE 49.—Ground plans of cellar, first and second stories and longitudinal section of Design XLVIII. The erection of 
 this Design will require materials of the best quality and as follows: the cellar wall of quarry or bank 
 stone, laid up 18 in. thick, and 7 ft. high, from the foundation—the dwarf walls may be 12 in. thick or of 
 brick 8 in. thick—all the piers of hard brick, 8 in. square—broad foundations of stone for walls, chimneys 
 and piers; two chimneys with 6 fire places and one flue, 8 by 12, from the first floor, with an opening to 
 the cellar for ventilation—all the flues plastered and topped out the. same as represented on Plate 51, 
 Fig. 5 ; all the outside walls filled in with brick set on the edge; the first and second stories lathed and 
 plastered two coats of brown mortar and hard finished—the cellar ceiling and attic lathed and plastered 
 one coat and slipped; plaster cornices in the drawing-room and dining-room; two marble mantles and 
 grates in first story and fire places for wood-fires in the kitchen and chambers; blue stone hearths, 3 ft. 
 by 7 ft., in the kitchen, and 16 in. by 3 ft. in chambers; stone, brick and hearths laid in lime and sand 
 mortar. Frame of sawed pine timber ; the sills, posts, and plates., 4 by 9 ; framing beams, 4 by 8 ; inter¬ 
 ties, 4 by G ; first tier of beams, 3 by 9, second tier, 3 by 8, attic beams, 2 by 8 ; all 10 in. between cen¬ 
 ters ; rafters, 3 by 7, and collar beams, 2 by 8, 2 ft. 8 in. between centers ; floor timbers of gallery 3 by 7; 
 studding, 3 by 4, 16 in. between centers ; water table to project 3 inches; corner boards If in. thick ; siding 
 of 5-8 narrow clear white pine, rebated and lapped 5 and 6 in. to the weather ; the roof covered with 
 clear white pine shingles, laid three thick on hemlock boards; veranda roof made with narrow clear planks, 
 grooved both edges 5-8 deep and If tongues put in with white lead; for cornices, brackets, gutters, veranda, 
 balconies, &c. see details on Plate 51 ; four 3 in. leaders to conduct the water from gutters to waste; 
 floors of galleries laid with narrow clear tongued and grooved pine plank, blind nailed ; interior floor of 
 good sound milled pine plank, clear of large and loose knots ; base in attic f thick, 4 in. high; for first 
 and second stories see Figs. 10 and 11, Plate 51. Principal stairs, from first story to attic, 3 in. moulded 
 rail, If fancy turned balusters, 6 in. newel—all of mahogany ; back stairs one story, 4 in. newels, 2 in. 
 round rail and If turned balusters, of mahogany, and all the steps moulded ; doors in the first and second 
 stories of main house to have curved heads and 4 panels each—if in. in first story and If in. in second—all 
 double faced; all the other doors If in. thick, 4 panels, moulded one side—all the doors in first story of 
 .main house secured by 4f in. mortice locks with American porcelain knobs, “ blue star” pattern—in second 
 story, 4 in. mortice locks and white porcelain knobs ; in wing, 6 in. rim locks with mineral knobs; doors 
 hung by 4 by 4 butts in first story ; 3f by 3f in second story ; and 3 by 3 in wing—and the architraves 
 and casings the same as drawn on plate 59; window frames suitably made, to receive the sashes hung by 
 parliament hinges, and secured by French grip bolts in first story, and blind vertical bolts in second story 
 and wing, and 4 in. bolts to attic and cellar ; sashes If in. in first story; If in. thick in wing and second 
 story ; and If in. thick in cellar and attic—French glass in all the sashes, double thickness in first story ; 
 blinds moulded both sides, hung by welded straps and plates, and secured by patent fastenings to all the 
 windows above the cellar ; inside plank shutters hung by butts, and secured by bolts to the cellar windows; 
 pantries, closets, and presses shelved in the usual manner; wood mantles to three fire-places, and borders 
 to all the hearths. All the wood-work inside and outside except shingle roof, mahogany, and interior floors 
 to be painted two coats of pure white lead and linseed oil—the second coat shaded a French gray ; the 
 blinds three coats of bronzed green ; stair-rails and balusters to have three coats of varnish. 
 
 PLATE 50.-— 1 Geometrical elevations of the front and one side of Design XLVIII. 
 
 PLATE 51.—Details of design XLVIII., Fig. 1, section of gable projection, ground section, and brackets; Fig. 2, profile 
 section of the cornice, showing the gutters, moulding, plancere, fascia, plate, rafter, blind-bracket, sheathing 
 and shingling; Figs. 3 and4, sections of the roof, cornice, brackets, post, rails, balusters, and floor-fascia of 
 
 72 
 
DESIGN X LV III. 3 
 
 PLATE .49 
 
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DESCRIPTION OF THE PLATES. 
 
 t O 
 
 the veranda or gallery ; Fig. S, ground plan and face section of chimney top ; Fig 6 , ground plan of a 
 window frame; Fig. 7, of the front door; Fig. 8 , of a passage door in second story ; Fig. 9 , of a passage 
 door in first story ; Fig. 10, section of base for second story ; Fig. 11, base for first story ; Fig. 12, section 
 of plaster cornice for the drawing and dining rooms. 
 
 PUTE 52,-Ground plan of the first and second stories of Design XLIX. and L.; the basement walls for these designs to be 
 o stone, 7 ft. high, and 18 in. thick. Water-table of brown stone, 8 in. high ; cut wash 2,V inches projection ; 
 sills all of brown stone, cut and polished; superstructure walls of hard brick, 12 in. thick, laid close and 
 with flush joints for painting; arches over the windows and doors. The roof of Design XLIX. of American 
 slate; the dormer windows, balconies, veranda, window heads, and gable coping,° all of wood-painted 
 brown stone color, and the brick-work the same color ; the roof of Design L„ to be covered with best quality 
 galvanized iron with ridge joints, the brackets, windows, balconies, porch ante; and covering, all made of 
 wood and painted two coats of brown paint, shaded the color of the brown stone. 
 
 PLATE 53.— Perspective views of two villas: Design XLIX, in the Old English or Tudor style,—and Design I, in the 
 Greco-Italian style. 
 
 PLATE 54 . Details (Fig. 1, 2, 3, 4, 5, and 6 ) of Design XLIX., and (Figs. 7, 8 , 9, 10, 1 1 , 12 , 13 , and 14) of Design L Fju- 
 1, and 2, section of corbel stone and gable coping; Fig. 8 , cross section of cornice ;—show!,,, "fhe'mou1,1- 
 ings, gutter, lining, fascia, plate, rafters, sheathing, and slating; Fig. 4 , isometrical view and ground plan 
 of the chimney, with a section of the main roof and gable ; Fig. 5 , plan and section of window-frame and 
 label moulding; Fig. 0 , section of balcony rail, filling, and floor; Figs. 7 and 8 , profile section of main 
 cornice, representing the fascia, plate, rafter, plancere, crown moulding, roof planking.and covering, and 
 the side and face of the bracket; Fig. 9, isometrical view and ground plan of the chimney ; Figs. lO.an'd II. 
 side elevation of the balcony, and face of the bracket; Fig. 12 , section of the hall window cap moulding: 
 Fig. 13, face and profile section of window cap and truss; Fig. 14, profile section of cornice and bracket 
 for the cupola. 
 
 TABLE, 
 
 SHOWING THE VARIOUS SIZES OF SLATE, AND THE NUMBER OF EACH REQUIRED TO LAY A SQUARE, AND THE NETT COST 
 OF THE SAME, INCLUDING NAILS, PLANKING, &<p. 
 
 300 American slates, 8 by 14 inches, at $20 00 per thousand, laid 0 inches to the -weather; IQ* milled planks 
 at 20 cts. ; 6 f lbs. 4d. nails, at 5 cts. ; and If days’ labor, at $1 50, 
 
 258 American slates, 8 by 16 inches, at $23 00 per thousand, laid 7 inches to the weather ; 10^- milled planks 
 at 20 cts.; G lbs. 4d. nails, at 5 cts.; and If days’ labor, at $1 50, 
 
 2 o 8 Welsh slates, 8 by 16 inches, at $26 00 per thousand, laid 7 inches to the weather; 10 ^ milled planks 
 at 20 cts.; Gibs. Id. nails, at 5 cts.; and If days’ labor, at $1 50, 
 
 206 American slates, 10 by 16 inches, at $28 00 per thousand, laid 7 inches to the weather; lOi milled planks. 
 
 at 20 cts.; 5f lbs. 4d. nails, at 5 cts. ; and If days’ labor, at $ 1 50, . ... 
 
 206 Welsh slates, 10 by 16 inches, at $32 50 per thousand, laid 7 inches to the weather ; 10.V milled planks 
 at 20 cts.; - 5f lbs. 5d. nails, at 5 cts.; and If days’labor, at $ I 50, - . . 
 
 !92 American slates, 10 by 18 inches, at $33 00 per thousand, laid 74 inches to the weather; 104 milled planks 
 at 20 cts.; 5^ lbs. 5d. nails, at 5 cts. ; and 14 days’ labor, at $l“ 50, ... ’ 
 
 192 Welsh slates, 10 by 18 inches, at $37 50 per thousand, laid inches to the weather; 104 milled planks 
 at 20 cts; 5^ lbs. 5d. nails, at 5 cts.: and l^- days’ labor, at $1 50, - . . 
 
 170 American slates, 10 by 20 inches, at $38 00 per thousand, laid 84 inches to the weather; 104 milled planks 
 at 20 cts.; 54 lbs. 5d. nails, at 5 cts.; and 1$ days’ labor, at $1 50, - . ’ 
 
 127 American slates, 12 by 22 inches, at $52 00 per thousand, laid 9^ inches to the weather ; 104 milled planks 
 at 20 cts.; 5 lbs. 5d. nails, at 5 cts. ; and 14 days’ labor, at $1 50, - . . 
 
 75 American slates, at 16 by 28 inches, at $100 00 per thousand, laid 12 inches to the weather; 10$ milled planks 
 at 20 cts.; 4f lbs. 6d. nails, at 5 cts. ; and 14 days’ labor, at $1 50, 
 
 70 American slates, 16 by 30 inches at, $120 00 per thousand, laid 13 inches to the weather; 104 milled planks 
 at 20 cts; 44 lbs. 6d. nails, at 5 cts.: and 14 days’ labor, at, $1 50, ’ 
 
 $10 67 
 
 10 58 
 
 11 35 
 
 10 39 
 
 11 33 
 
 10 96 
 
 11 83 
 
 11 09 
 11 20 
 
 12 09 
 12 98 
 
TABLE, 
 
 ti ll I J 
 
 6 by 8 
 
 7 by 9 
 
 8 by 10 
 
 9 by 11 
 9 by 12 
 
 9 by 13 
 
 9 by 14 
 10 bv 12 
 
 10 by 13 
 10 by 14 
 
 10 bv 15 
 
 10 by 16 
 
 11 by 12 
 11 by 13 
 11 by 14 
 11 bv 15 
 11 bv 16 
 11 bv 17 
 
 11 by 18 
 
 12 by 14 
 12 bv 15 
 12 by 16 
 12 by 17 
 12 by 18 
 12 by 19 
 12 by 20 
 12 by 22 
 
 12 bv 21 
 
 13 by 15 
 13 bv !6 
 13 bv 1" 
 13 bv 18 
 13 hj 19 
 13 by 20 
 13 bv 22 
 13 1 >\ 23 
 1 3 bv 24 
 13 by 26 
 
 13 by 28 
 
 14 by 17 
 14 by 18 
 14 by 19 
 14 by 20 
 14 by 21 
 14 by 22 
 14 by 23 
 14 by 24 
 14 by 25 
 ] 4 by 26 
 14 by 27 
 
 7 
 
 8 
 
 10 
 
 12 
 
 13 
 
 14 
 16 
 13 
 
 15 
 
 16 
 18 
 19 
 18 
 19 
 
 19 
 
 20 
 21 
 22 
 23 
 20 
 22 
 
 23 
 
 24 
 
 25 
 28 
 
 24 
 
 25 
 27 
 29 
 32 
 35 
 
 37 
 
 38 
 
 39 
 41 
 
 43 
 29 
 32 
 35 
 
 37 
 
 38 
 
 40 
 
 44 
 46 
 48 
 50 
 54 
 
 9 
 
 10 
 
 12 
 
 15 
 
 16 
 17 
 19 
 17 
 19 
 21 
 23 
 25 
 25 
 25 
 
 25 
 
 26 
 
 27 
 
 28 
 
 30 
 26 
 28 
 29 
 
 31 
 
 34 
 38 
 38 
 44 
 50 
 
 32 
 
 33 
 
 35 
 37 
 40 
 42 
 48 
 50 
 50 
 60 
 70 
 40 
 42 
 46 
 46 
 48 
 50 
 52 
 52 
 60 
 60 
 70 
 
 14 
 
 15 
 
 16 
 18 
 15 
 
 17 
 
 18 
 20 
 21 
 
 23 
 
 24 
 
 25 
 
 26 
 26 
 28 
 28 
 
 25 
 
 26 
 
 27 
 
 28 
 
 30 
 
 31 
 34 
 36 
 38 
 
 30 
 
 31 
 33 
 
 36 
 40 
 40 
 44 
 46 
 48 
 50 
 60 
 
 37 
 
 38 
 40 
 42 
 44 
 46 
 
 50 
 
 51 
 55 
 55 
 60 
 
 19 
 
 20 
 21 
 23 
 21 
 22 
 22 
 23 
 25 
 28 
 
 31 
 
 32 
 
 33 
 
 34 
 40 
 40 
 34 
 
 36 
 
 37 
 40 
 40 
 
 43 
 
 44 
 48 
 55 
 40 
 42 
 
 44 
 
 45 
 52 
 
 54 
 62 
 64 
 66 
 70 
 80 
 48 
 48 
 52 
 
 55 
 58 
 58 
 66 
 70 
 75 
 75 
 85 
 
 8 
 
 11 
 
 13 
 
 15 
 
 16 
 
 17 
 
 18 
 17 
 
 17 
 
 18 
 20 
 22 
 26 
 25 
 
 25 
 28 
 28 
 
 29 
 
 30 
 
 26 
 26 
 27 
 27 
 
 29 
 
 30 
 
 32 
 
 34 
 38 
 
 30 
 
 31 
 
 33 
 
 35 
 38 
 40 
 42 
 42 
 44 
 46 
 
 48 
 35 
 38 
 40 
 42 
 44 
 46 
 
 49 
 
 50 
 53 
 55 
 58 
 
 10 
 
 13 
 
 15 
 
 22 
 
 22 
 
 22 
 
 23 
 
 19 
 
 20 
 21 
 22 
 
 24 
 28 
 28 
 28 
 30 
 
 30 
 
 31 
 
 33 
 28 
 29 
 29 
 
 32 
 
 34 
 36 
 38 
 41 
 44 
 34 
 36 
 38 
 40 
 44 
 46 
 48 
 50 
 52. 
 
 54 
 
 56 
 40 
 43 
 46 
 48 
 50 
 52 
 
 55 
 
 57 
 61 
 63 
 65 
 
 
 CROWN GLASS. 
 
 
 ENGLISH. 
 
 AMERICAN. 
 
 
 j 
 
 1 
 
 $ eta. $ 
 
 1 , 
 
 1 
 
 
 
 25 
 
 23 
 
 18 
 
 25 
 
 26 
 
 24 
 
 19 
 
 28 
 
 27 
 
 25 
 
 21 
 
 31 
 
 29 
 
 27 
 
 19 
 
 28 
 
 26 
 
 24 
 
 20 
 
 32 
 
 26 
 
 24 
 
 22 
 
 35 
 
 27 
 
 25 
 
 24 
 
 37 
 
 28 
 
 26 
 
 25 
 
 40 
 
 30 
 
 28 
 
 20 
 
 30 
 
 37 
 
 33 
 
 22 
 
 34 
 
 37 
 
 33 
 
 24 
 
 37 
 
 37 
 
 33 
 
 25 
 
 40 
 
 40 
 
 38 
 
 27 
 
 44 
 
 45 
 
 44 
 
 29 
 
 48 
 
 50 
 
 48 
 
 31 
 
 51 
 
 55 
 
 52 
 
 25 
 
 41 
 
 50 
 
 41 
 
 27 
 
 44 
 
 55 
 
 44 
 
 29 
 
 48 
 
 60 
 
 48 
 
 31 
 
 51 
 
 65 
 
 52 
 
 31 
 
 55 
 
 70 
 
 56 
 
 34 
 
 60 
 
 75 
 
 60 
 
 36 
 
 62 
 
 80 
 
 64 
 
 41 
 
 06 
 
 90 
 
 73 
 
 48 
 
 72 
 
 1 00 
 
 84 
 
 41 
 
 55 
 
 60 
 
 48 
 
 45 
 
 60 
 
 65 
 
 52 
 
 50 
 
 65 
 
 70 
 
 56 
 
 58 
 
 70 
 
 75 
 
 60 
 
 60 
 
 73 
 
 80 
 
 64 
 
 65 
 
 76 
 
 85 
 
 70 
 
 70 
 
 86 
 
 1 00 
 
 •80 
 
 * 80 
 
 98 
 
 1 10 
 
 00 
 
 85 
 
 1 13 
 
 1 20 
 
 1 00 
 
 90 
 
 1 30 
 
 1 37 
 
 1 12 
 
 1 00 
 
 1 40 
 
 1 50 
 
 1 27 
 
 58 
 
 70 
 
 75 
 
 60 
 
 60 
 
 73 
 
 ■80 
 
 64 
 
 62 
 
 76 
 
 •85 
 
 70 
 
 66 
 
 80 
 
 •90 
 
 73 
 
 70 
 
 86 
 
 98 
 
 80 
 
 74 
 
 92 
 
 1 12 
 
 90 
 
 82 
 
 1 10 
 
 1 20 
 
 1 00 
 
 88 
 
 1 20 
 
 1 30 
 
 1 10 
 
 95 
 
 1 30 
 
 1 40 
 
 1 20 
 
 1 02 
 
 1 35 
 
 1 50 
 
 1 25 
 
 1 10 
 
 •1 40 
 
 •1 60 
 
 1 30 
 
 
 55 
 60 
 65 
 55 
 60 
 65 
 70 
 75 
 85 
 95 
 70 
 75 
 85 
 95 
 1 00 
 1 10 
 1 15 
 1 27 
 1 40 
 85 
 1 00 
 1 10 
 1 15 
 1 25 
 1 35 
 1 40 
 
 1 58 
 ] 68 
 1 80 
 
 2 00 
 1 25 
 1 30 
 1 38 
 1 45 
 1 60 
 1 70 
 1 80 
 1 85 
 
 1 90 
 
 2 10 
 2 37 
 
 1 05 
 1 15 
 1 25 
 1 30 
 1 10 
 1 18 
 1 25 
 1 35 
 1 45 
 1 65 
 
 1 65 
 1 80 
 
 2 00 
 1 30 
 1 40 
 1 55 
 1 70 
 1 75 
 
 1 90 
 
 2 10 
 2 25 
 2 40 
 2 55 
 2 70 
 1 70 
 1 85 
 
 1 95 
 
 2 10 
 2 20 
 2 35 
 2 05 
 2 06 
 2 75 
 
 2 95 
 
 3 20 
 
 40 
 55 
 63 
 66 
 80 
 85 
 90 
 70 
 85 
 90 
 95 
 1 00 
 1 10 
 1 20 
 1 25 
 1 40 
 90 
 95 
 1 00 
 1 10 
 1 20 
 1 30 
 1 40 
 
 1 50 
 1 60 
 1 80 
 
 2 00 
 1 10 
 1 20 
 1 25 
 1 35 
 1 45 
 1 60 
 1 75 
 1 85 
 
 1 95 
 
 2 10 
 2 120 
 
TABLE.—CONTINUED. 
 
 75 
 
 CYLINDER GLASS. 
 
 CROWN GLASS. 
 
 PLATE GLASS. 
 
 AMERICAN. 
 
 ENG. SHEET. 
 
 a 
 
 
 ■fo 
 
 1 
 
 -g. 
 
 1 
 
 4 
 
 3 
 
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 3 
 
 
 = 
 
 1 m 
 
 1 
 
 11 
 
 -| = 
 
 in 
 
 
 in 
 
 Q 
 
 cn 
 
 Q 
 
 in 
 
 Q 
 
 in 
 
 Q 
 
 CC 
 
 cn 
 
 oo 
 
 £ 
 
 m 
 
 HO 
 
 
 $ 
 
 cts. 
 
 $ cts. 
 
 $ cts. 
 
 $ cts. 
 
 $ cts. 
 
 $ cts. 
 
 cts. 
 
 $ cts. 
 
 $ cts. 
 
 ? cts. 
 
 $ cts. 
 
 $ 
 
 cts. 
 
 $ ct. 
 
 15 by 18 
 
 
 35 
 
 42 
 
 42 
 
 46 
 
 40 
 
 46 
 
 62 
 
 76 
 
 85 
 
 65 
 
 1 50 
 
 2 
 
 20 
 
 1 50 
 
 15 by 19 
 
 
 37 
 
 44 
 
 44 
 
 48 
 
 42 
 
 48 
 
 65 
 
 80 
 
 90 
 
 70 
 
 1 55 
 
 2 
 
 40 
 
 1 55 
 
 15 bv 20 
 
 
 38 
 
 44 
 
 44 
 
 48 
 
 44 
 
 48 
 
 70 
 
 86 
 
 95 
 
 75 
 
 1 60 
 
 2 
 
 40 
 
 1 60 
 
 15 by 21 
 
 
 40 
 
 46 
 
 48 
 
 50 
 
 46 
 
 50 
 
 74 
 
 92 
 
 1 05 
 
 80 
 
 1 68 
 
 2 
 
 85 
 
 1 68 
 
 15 by 22 
 
 
 41 
 
 48 
 
 50 
 
 50 
 
 46 
 
 50 
 
 82 
 
 1 03 
 
 1 10 
 
 85 
 
 1 80 
 
 2 
 
 85 
 
 1 80 
 
 15 by 23 
 
 
 42 
 
 50 
 
 55 
 
 52 
 
 48 
 
 52 
 
 92 
 
 1 20 
 
 1 25 
 
 90 
 
 2 00 
 
 3 
 
 15 
 
 2 00 
 
 15 by 24 
 
 
 42 
 
 64 
 
 64 
 
 66 
 
 44 
 
 66 
 
 
 1 25 
 
 1 50 
 
 1 15 
 
 2 00 
 
 3 
 
 15 
 
 2 00 
 
 15 by 25 
 
 
 44 
 
 66 
 
 66 
 
 68 
 
 46 
 
 68 
 
 
 1 30 
 
 1 70 
 
 1 25 
 
 2 25 
 
 3 
 
 55 
 
 2 25 
 
 15 by 26 
 
 
 46 
 
 68 
 
 68 
 
 70 
 
 48 
 
 70 
 
 
 1 50 
 
 1 95 
 
 1 55 
 
 2 50 
 
 3 
 
 75 
 
 2 50 
 
 15 by 27 
 
 
 48 
 
 70 
 
 70 
 
 72 
 
 50 
 
 72 
 
 
 1 60 
 
 2 20 
 
 1 70 
 
 2 75 
 
 4 
 
 20 
 
 2 75 
 
 15 by 28 
 
 
 50 
 
 72 
 
 72 
 
 74 
 
 52 
 
 74 
 
 
 1 70 
 
 2 25 
 
 1 80 
 
 2 75 
 
 4 
 
 20 
 
 2 75 
 
 15 by 29 
 
 
 52 
 
 74 
 
 74 
 
 76 
 
 54 
 
 76 
 
 
 1 90 
 
 2 50 
 
 1 90 
 
 3 30 
 
 4 
 
 70 
 
 3 30 
 
 15 by 30 
 
 
 54 
 
 76 
 
 76 
 
 78 
 
 56 
 
 78 
 
 
 1 95 
 
 2 70 
 
 2 00 
 
 3 30 
 
 4 
 
 70 
 
 3 30 
 
 1 0 by 18 
 
 
 37 
 
 59 
 
 59 
 
 61 
 
 39 
 
 61 
 
 
 80 
 
 90 
 
 70 
 
 1 50 
 
 2 
 
 30 
 
 1 50 
 
 1 6 by 20 
 
 
 39 
 
 61 
 
 61 
 
 63 
 
 41 
 
 63 
 
 
 92 
 
 1 05 
 
 80 
 
 1 65 
 
 2 
 
 60 
 
 1 65 
 
 16 by 22 
 
 
 41 
 
 63 
 
 63 
 
 66 
 
 43 
 
 66 
 
 
 1 10 
 
 1 20 
 
 90 
 
 1 89 
 
 3 
 
 00 
 
 1 89 
 
 Hi by 24 
 
 
 43 
 
 65 
 
 65 
 
 68 
 
 45 
 
 68 
 
 
 1 30 
 
 I 70 
 
 1 20 
 
 2 30 
 
 3 
 
 50 
 
 2 30 
 
 10 by 26 
 
 
 45 
 
 65 
 
 65 
 
 80 
 
 50 
 
 80 
 
 
 1 50 
 
 1 95 
 
 1 55 
 
 2 25 
 
 3 
 
 75 
 
 2 25 
 
 16 by 28 
 
 
 47 
 
 09 
 
 69 
 
 1 00 
 
 60 
 
 1 00 
 
 
 1 70 
 
 2 45 
 
 1 80 
 
 2 75 
 
 4 
 
 50 
 
 2 75 
 
 10 by 30 
 
 
 00 
 
 1 00 
 
 70 
 
 1 30 
 
 80 
 
 1 30 
 
 
 1 95 
 
 2 70 
 
 2 00 
 
 3 30 
 
 5 
 
 00 
 
 3 30 
 
 16 by 32 
 
 
 70 
 
 1 10 
 
 80 
 
 1 35 
 
 85 
 
 1 35 
 
 
 
 
 
 4 45 
 
 5 
 
 50 
 
 4 45 
 
 17 by 21 
 
 
 42 
 
 64 
 
 64 
 
 75 
 
 46 
 
 75 
 
 
 1 13 
 
 1 30 
 
 1 00 
 
 2 25 
 
 3 
 
 50 
 
 2 25 
 
 17 by 24 
 
 
 44 
 
 66 
 
 66 
 
 77 
 
 48 
 
 77 
 
 
 1 40 
 
 1 80 
 
 1 40 
 
 2 37 
 
 4 
 
 00 
 
 2 37 
 
 17 by 26 
 
 
 50 
 
 76 
 
 90 
 
 89 
 
 55 
 
 89 
 
 
 l 70 
 
 2 20 
 
 1 70 
 
 2 75 
 
 4 
 
 73 
 
 2 27 
 
 17 by 28 
 
 
 60 
 
 98 
 
 1 10 
 
 1 02 
 
 69 
 
 1 02 
 
 
 1 95 
 
 2 70 
 
 1 90 
 
 3 00 
 
 5 
 
 00 
 
 3 00 
 
 17 by 30 
 
 
 70 
 
 1 00 
 
 1 30 
 
 1 30 
 
 80 
 
 1 30 
 
 
 2 20 
 
 2 90 
 
 2 60 
 
 3 30 
 
 5 
 
 60 
 
 3 30 
 
 17 by 32 
 
 
 82 
 
 1 10 
 
 1 40 
 
 1 40 
 
 90 
 
 1 40 
 
 
 
 
 
 4 45 
 
 6 
 
 00 
 
 4 45 
 
 17 by 36 
 
 
 90 
 
 1 60 
 
 1 60 
 
 1 90 
 
 1 05 
 
 1 90 
 
 
 
 
 
 6 50 
 
 7 
 
 00 
 
 6 50 
 
 18 by 22 
 
 
 46 
 
 70 
 
 82 
 
 78 
 
 50 
 
 78 
 
 
 1 30 
 
 1 60 
 
 1 15 
 
 2 25 
 
 3 
 
 60 
 
 2 25 
 
 18 bv 24 
 
 
 48 
 
 74 
 
 84 
 
 85 
 
 55 
 
 85 
 
 
 1 50 
 
 1 95 
 
 1 45 
 
 2 37 
 
 3 
 
 90 
 
 2 37 
 
 18 by 26 
 
 
 55 
 
 85 
 
 1 00 
 
 95 
 
 60 
 
 95 
 
 
 1 70 
 
 2 20 
 
 1 70 
 
 2 75 
 
 4 
 
 60 
 
 2 75 
 
 18 by 28 
 
 
 59 
 
 95 
 
 1 08 
 
 1 00 
 
 65 
 
 1 00 
 
 
 1 95 
 
 2 70 
 
 1 95 
 
 3 00 
 
 4 
 
 85 
 
 3 00 
 
 18 by 30 
 
 
 63 
 
 1 00 
 
 1 16 
 
 1 20 
 
 68 
 
 1 20 
 
 
 2 25 
 
 3 00 
 
 2 40 
 
 3 30 
 
 6 
 
 40 
 
 3 30 
 
 18 by 32 
 
 
 75 
 
 1 20 
 
 1 25 
 
 1 40 
 
 80 
 
 1 40 
 
 
 
 
 
 4 45 
 
 6 
 
 00 
 
 4 45 
 
 18 by 34 
 
 
 82 
 
 1 40 
 
 1 40 
 
 1 50 
 
 90 
 
 1 50 
 
 
 
 
 
 5 50 
 
 6 
 
 50 
 
 5 50 
 
 18 by 36 
 
 1 
 
 00 
 
 1 77 
 
 1 90 
 
 2 20 
 
 1 20 
 
 2 20 
 
 
 
 
 
 6 50 
 
 7 
 
 00 
 
 6 50 
 
 19 by 25 
 
 
 48 
 
 86 
 
 86 
 
 90 
 
 52 
 
 90 
 
 
 
 
 
 3 31 
 
 5 
 
 15 
 
 3 31 
 
 1!) by 27 
 
 
 60 
 
 92 
 
 1 20 
 
 1 04 
 
 64 
 
 1 04 
 
 
 
 
 
 3 50 
 
 5 
 
 70 
 
 3 50 
 
 19 by 29 
 
 
 70 
 
 1 00 
 
 1 40 
 
 1 16 
 
 74 
 
 1 16 
 
 
 
 
 
 3 50 
 
 6 
 
 20 
 
 3 50 
 
 19 by 30 
 
 
 88 
 
 1 40 
 
 1 76 
 
 1 45 
 
 92 
 
 1 45 
 
 
 
 
 
 4 20 
 
 6 
 
 20 
 
 4 20 
 
 19 by 33 
 
 1 
 
 00 
 
 1 50 
 
 2 00 
 
 1 65 
 
 95 
 
 1 65 
 
 
 
 
 
 5 ■ 50 
 
 7 
 
 35 
 
 5 50 
 
 19 by 35 
 
 1 
 
 00 
 
 1 75 
 
 2 40 
 
 2 20 
 
 1 20 
 
 2 20 
 
 
 
 
 
 6 50 
 
 7 
 
 90 
 
 6 50 
 
 29 by 32 
 
 
 95 
 
 1 70 
 
 2 00 
 
 1 75 
 
 1 04 
 
 1 75 
 
 
 
 
 
 4 75 
 
 6 
 
 80 
 
 4 75 
 
 29 by 36 
 
 1 
 
 00 
 
 1 85 
 
 2 40 
 
 2 29 
 
 1 29 
 
 2 29 
 
 
 
 
 
 6 55 
 
 7 
 
 90 
 
 6 55 
 
 2-4 by 40 
 
 1 
 
 75 
 
 3 00 
 
 3 00 
 
 3 25 
 
 1 81 
 
 3 25 
 
 
 
 
 
 8 00 
 
 10 
 
 30 
 
 8 00 
 
 22 by 36 
 
 1 
 
 25 
 
 2 00 
 
 2 40 
 
 2 35 
 
 1 36 
 
 2 35 
 
 
 
 
 
 6 50 
 
 9 
 
 00 
 
 6 50 
 
 22 by 40 
 
 1 
 
 75 
 
 3 00 
 
 3 00 
 
 3 25 
 
 1 90 
 
 3 25 
 
 
 
 
 
 8 00 
 
 10 
 
 30 
 
 8 00 
 
 22 by 44 
 
 2 
 
 00 
 
 3 50 
 
 4 00 
 
 4 00 
 
 2 50 
 
 4 00 
 
 
 
 
 
 11 50 
 
 14 
 
 00 
 
 11 50 
 
 22 by 48 
 
 3 
 
 00 
 
 5 25 
 
 5 25 
 
 5 50 
 
 3 25 
 
 5 50 
 
 
 
 
 
 
 
 
 
 23 by 40 - 
 
 2 
 
 00 
 
 3 50 
 
 3 50 
 
 3 75 
 
 2 25 
 
 3 75 
 
 
 
 
 
 
 
 
 
 23 by 46 
 
 3 
 
 00 
 
 5 25 
 
 5 25 
 
 5 50 
 
 3 25 
 
 5 50 
 
 
 
 
 
 
 
 
 
 The foregoing list of prices are for sashes, to hang by weights and cords : for folding sashes with rebated or 
 ruled joints, add 8 cts. per light for all under 11 by 15; 12 cts. per light over 11 by 15^ and under 12 by 18 ; 16 cts. per 
 light over 12 by 18, and under 14 by 22 ; and 20 cts. per light, for all over. Sashes of the following thickness from 
 o"by 8 to 10 by 14, l^ inches thick; to 12 by 18, 1^ inches thick ; to 15 by 30, | inch thick, and 2 inches thick for all over. 
 
 %* The Estimate for Green-house and Vinery, referred to on page 68, will be found on ; ge 7 ( . 
 
TABLE, 
 
 SHOWING THE QUALITY, SIZE AND NUMBER OF SHINGLES REQUIRED TO LAY A SQUARE. 
 
 Hemlock 
 
 shingles, 500 
 
 ser 
 
 bunch, 
 
 4 inches wide, 
 
 18 inches 
 
 long, laid 6 
 
 in. to the weather, require 
 
 1 1-5 bunch. 
 
 Pine 
 
 “ 500 
 
 
 “ 
 
 4 
 
 18 
 
 “ 
 
 “ 6 
 
 “ 
 
 “ “ 
 
 1 1-5 “ 
 
 Cypress 
 
 “ 100 
 
 
 “ 
 
 6 
 
 20 
 
 
 “ 6 
 
 “ 
 
 
 3| “ 
 
 Cedar 
 
 “ 100 
 
 M 
 
 “ 
 
 6 “ “ 
 
 20 
 
 
 “ 6 
 
 “ 
 
 
 3| “ 
 
 Cypress 
 
 
 « 
 
 M. 
 
 7 “ “ 
 
 24 
 
 
 “ 8 
 
 “ 
 
 
 258 “ 
 
 Cedar 
 
 
 (C 
 
 
 7 “ “ 
 
 24 
 
 
 “ 8 
 
 “ 
 
 
 258 “ 
 
 Cypress 
 
 “ 
 
 
 “ 
 
 8 “ “ 
 
 30 
 
 
 “ 10 
 
 “ 
 
 “ “ 
 
 180 “ 
 
 Cedar 
 
 
 
 
 8 “ “ 
 
 30 
 
 
 “ 10 
 
 
 
 180 “ 
 
 NUMBER OF BOARDS AND FEET OF 
 
 LATH, AND THE 
 
 NUMBER 
 
 OF NAILS AND SIZES TO A SQUARE OF SHINGLING. 
 
 Hemlock 
 
 shingles, 4 inches wide, 18 
 
 inches long, laid 6 inches to the weather, require 
 
 10 * boards and 
 
 1200 5d. nails. 
 
 Pine 
 
 “ 4 ‘ 
 
 
 “ 18 
 
 “ “ 
 
 6 
 
 
 “ 
 
 “ 
 
 10 * 
 
 1200 5d. “ 
 
 Cypress 
 
 “ 6 ‘ 
 
 
 “ 20 
 
 “ “ 
 
 0 * 
 
 “ 
 
 “ 
 
 
 190 ft. lath, 
 
 740 6 d. “ 
 
 Cedar 
 
 “ 6 ‘ 
 
 
 “ 20 
 
 if ft 
 
 6 * 
 
 “ 
 
 “ 
 
 
 190 “ 
 
 740 6 d. “ 
 
 Cypress 
 
 “ 7 ‘ 
 
 
 “ 24 
 
 ft ff 
 
 8 “ 
 
 “ 
 
 “ 
 
 “ 
 
 160 
 
 516 6 d. “ 
 
 Cedar 
 
 “ 7 ‘ 
 
 
 “ 24 
 
 ft it 
 
 8 
 
 “ 
 
 “ 
 
 u 
 
 160 
 
 516 6 d. “ 
 
 Cypress 
 
 “ 8 “ 
 
 
 “ 30 
 
 tt it 
 
 10 
 
 “ 
 
 “ 
 
 tt 
 
 130 
 
 360 8 d. “ 
 
 Cedar 
 
 “ 8 ‘ 
 
 
 “ 30 
 
 
 10 
 
 “ 
 
 “ 
 
 
 130 
 
 360 8 d. “ 
 
 
 
 
 NETT COST OF A SQUARE OF 
 
 SHINGLE ROOFING. 
 
 
 
 600 hemlock shingles, at $1 75 per bunch; 10* hlk. boards, at 
 
 iai 
 
 cts.; 7?- lbs. nails, at 5 
 
 cts.; 1 day’s labor, $1 50, $5 30 
 
 600 pine 
 
 “ “ 2 
 
 50 
 
 “ 
 
 10 * hlk. “ 
 
 “ 
 
 1 2 5 
 
 cts..; 7f lbs. 
 
 “ “ 5 
 
 cts. ; 1 “ 
 
 1 50, 6 20 
 
 370 cypress 
 
 “ “ 1 
 
 20 
 
 “ 
 
 190 ft. lath. 
 
 “ 
 
 
 cts.; 6 lbs. 
 
 “ “ 5 
 
 cts.; £ “ 
 
 1 50, 7 28 
 
 370 cedar 
 
 “ 1 
 
 70 
 
 “ 
 
 190 “ 
 
 “ 
 
 
 cts.; 6 lbs. 
 
 “ 5 
 
 cts.; £ “ 
 
 1 50, 9 13 
 
 258 cypress 
 
 “ “ 15 
 
 00 
 
 M. 
 
 160 “ “ 
 
 “ 
 
 1 
 
 cts.; 4* lbs. 
 
 “ “ 5 
 
 cts.; f “ 
 
 1 50, 6 23 
 
 258 cedar 
 
 “ “ 24 
 
 00 
 
 “ 
 
 160 “ “ 
 
 “ 
 
 i 
 
 cts.; 4* lbs. 
 
 “ “ 5 
 
 cts.; f “ 
 
 1 50, 8 57 
 
 180 cypress 
 
 “ “ 22 
 
 00 
 
 “ 
 
 130 “ “ 
 
 “ 
 
 I 
 
 cts. ; 5 lbs. 
 
 “ “ 5 
 
 cts.; * “ 
 
 1 50, 5 93 
 
 180 cedar 
 
 “ “ 30 
 
 00 
 
 “ 
 
 130 “ “ 
 
 “ 
 
 I 
 
 cts.; 5 lbs. 
 
 “ “ 5 
 
 cts.; * “ 
 
 1 50, 7 32 
 
 ESTIMATE 
 
 Of the Materials and Labor required in the Erection of Design XLVI1I. 
 
 291 cubic yds. excavation, 
 
 $ 10 
 
 $ 29 
 
 10 
 
 11 steps and platform complete, 
 
 - 
 
 
 $1 
 
 30 
 
 $14 
 
 30 
 
 1587 cubic ft. stone work, 
 
 10 
 
 158 
 
 70 
 
 4 window frs. and sashes, 20 Its 
 
 12 b) 
 
 20 , 
 
 12 
 
 00 
 
 48 
 
 00 
 
 17236 salmon brick for filling, laid, 
 
 8 00 
 
 137 
 
 88 
 
 3 « 
 
 20 “ 
 
 l-’by 
 
 20 , 
 
 9 
 
 00 
 
 27 
 
 00 
 
 14000 hard brick for chimneys, “ 
 
 10 00 
 
 140 
 
 00 
 
 4 “ 
 
 20 “ 
 
 10 by 
 
 20 , 
 
 8 
 
 00 
 
 32 
 
 00 
 
 2118 “ dwarf walls, “ 
 
 8 00 
 
 16 
 
 94 
 
 1 “ “ “ 
 
 16 “ 
 
 12 by 
 
 20 , 
 
 
 
 8 
 
 50 
 
 2 grates set, $8 50 ; 6 stove pipe rings, 
 
 30 
 
 18 
 
 80 
 
 4 “ 
 
 16 “ 
 
 12 b) 
 
 16, 
 
 6 
 
 00 
 
 24 
 
 00 
 
 727 yards plastering, 
 
 25 
 
 181 
 
 75 
 
 5 “ 
 
 16 “ 
 
 10 by 
 
 16, 
 
 5 
 
 00 
 
 25 
 
 00 
 
 230 ft. plaster cornice, 
 
 25 
 
 57 
 
 50 
 
 3 “ “ 
 
 6 “ 
 
 10 by 
 
 16, 
 
 4 
 
 50 
 
 13 
 
 50 
 
 5 window sills, 
 
 40 
 
 2 
 
 00 
 
 2 “ “ “ 
 
 6 “ 
 
 8 by 
 
 10 , 
 
 4 
 
 00 
 
 8 
 
 00 
 
 9536 ft. timber, framed, 
 
 2 00 
 
 190 
 
 72 
 
 5 “ “ 
 
 8 “ 
 
 8 by 
 
 10 , 
 
 1 
 
 50 
 
 22 
 
 50 
 
 3613 ft. siding, 
 
 6 
 
 216 
 
 76 
 
 2 dor. windows “ 
 
 6 “ 
 
 HI bv 
 
 16, 
 
 15 
 
 00 
 
 30 
 
 00 
 
 300 “ narrow floor, 
 
 8h 
 
 25 
 
 50 
 
 6 veranda columns, 
 
 
 
 
 3 
 
 00 
 
 18 
 
 00 
 
 2100 “ pine “ - 
 
 4 
 
 84 
 
 00 
 
 6 half 
 
 - 
 
 - 
 
 
 2 
 
 00 
 
 12 
 
 00 
 
 1000 “ common “ - 
 
 3 
 
 30 
 
 00 
 
 132 It. rail to veranda, 
 
 - 
 
 - 
 
 
 
 25 
 
 33 
 
 00 
 
 290 joist, - 
 
 18 
 
 52 
 
 20 
 
 116 3 inch balusters, 
 
 - 
 
 - 
 
 
 
 25 
 
 29 
 
 00 
 
 21 ft. blue stone hearth, 
 
 16 
 
 3 
 
 36 
 
 Front door and head light, com 
 
 plete, - 
 
 
 
 
 20 
 
 00 
 
 8 “ “ “ - 
 
 31 
 
 2 
 
 48j 6 doors, complete^ 
 
 - 
 
 - 
 
 
 10 
 
 00 
 
 60 
 
 00 
 
 2150 ft. shingling, ... 
 
 8 
 
 172 
 
 00 15 “ 
 
 - 
 
 
 
 8 
 
 00 
 
 120 
 
 00 
 
 273 ft. base, - 
 
 6 
 
 16 
 
 38 Shelving 3 pantries, 
 
 - 
 
 - 
 
 
 2 
 
 50 
 
 7 
 
 50 
 
 360 “ “ ... 
 
 41 
 
 16 
 
 20 
 
 4 wood mantles, and hearth borders, 
 
 
 4 
 
 50 
 
 18 
 
 00 
 
 54 steps and risers complete, - 
 
 1 25 
 
 67 
 
 50 
 
 75 feet 3 inch tin leader, 
 
 - 
 
 - 
 
 
 
 10 
 
 7 
 
 50 
 
 235 ft. main cornice, 
 
 30 
 
 70 
 
 50 Painting, 
 
 - 
 
 - 
 
 
 
 
 130 
 
 00 
 
 55 “ veranda “ - 
 
 25 
 
 13 
 
 75 
 
 
 
 
 
 
 
 
 
 33 brackets, 90 c.; 39 brackets, 
 
 25 
 
 39 
 
 45 
 
 
 
 
 
 
 
 $2451 
 
 29 
 
 Design XLVIII, will cost $2451 29; Design XLIX. will cost $5420 00; and Design L. will cost $4935. 
 
 76 
 
SHADOWS. 
 
 The chief element of beauty in Architecture is shadow ; deprive any structure of its light and shade, and it 
 becomes tame, cheerless, and unattractive ; yet so palpable a truth appears to have been hardly recognized, even by 
 those whose works show it most palpably. It is said that Sir John Vanbrugh was the first architect who brought to 
 his art the feeling of a painter, by which is meant, probably, that ho was lho ;i. ;! to perceive that masses of light 
 and shade were necessary to the production of a picturesque effect in building. It was a strange thing to say of 
 a modern architect when the world is full of structures that prove the existence of the same feeling in every one 
 whose works have survived him. The Pyramids were certainly not constructed to produce a picturesque ef r cc' : a 
 simple majesty of outline being the only thing aimed at by the architect, whose object was to impress the behold- r v-nii 
 a sense of endurance, and not to amuse or gratify the sense by picturesque forms. The uileoi of the Pyramids on the 
 beholder is represented by the author of Eothen, es oppressive : the vast simplicity of the structure weighs heavily 
 upon the feelings, and produces a crushing sensation which that lively writer compared to a recollection of a ten file 
 nightmare, which he once suffered from. A feeling like this, it is very plain, should not be produced by any building in¬ 
 tended for domestic or social uses. A fortress or a prison might fitly be built with ponderous walls destitute of she- 
 dows, as an appearance of strength and durableness axe the requisites of such structures. Churches, which should 
 be productive of devotional feelings, that are nearly allied to the state of gratification produced by objects of beauty, 
 should never be of that shadowless and oppressive style that has often been employed by architects from » want, of 
 knowledge of the true sources of beauty in architecture. But, if such a style is unsuited to a church, how much more 
 unsuitable is it for a hotel: yet wo have seen hotels so built with shndowless facades ns 'hough the : r • ’bee* had striven 
 to give them the appearance of prisons. In a small house a plain front gives an appearance of meanness and nakedness, 
 which should never characterize a building intended for social enjoyment. There can be no shadows where there are no 
 projections nor unevennesses of surface, and where these can produce no shadows they are. a surplussage and a waste, 
 when not required to perform some useful office. The north side of the great cathedral ol Cologne is entirely deati-tM? 
 you. ii. 10 ^ 
 
 
78 
 
 SHADOWS. 
 
 „ r ornaments, while tile south side is richly increstwl wiut them. The reason for this has been, for a long lime, .1 mys¬ 
 tery to architectural essayists, who have endeavored to account for it by various speculation 1, and many ingenious, 
 theories have, been suggested in relation to it. The real truth was too simple and palpable to be discerned by these 
 wiseacres, who wished to find in it something religious and symbolical. They did not know that a great architect 
 like Nature hersell’, never throws away materials, nor creates any thing m vain. The reason why the architect ol Co¬ 
 logne Cathedral placed no ornaments on the north side ol' that immense structure was, because being always in shadow 
 Jhcy would be of no use. In their attempts to imitate the Greek style of architecture, our builders, by leaving out of their 
 designs the. sculptures which relieved the naked tympanums of the pediments, have produced the naked outline of the 
 Greek temples without the dressings, which gave them all Ihcir beauty. Nothing can be conceived more cold and naked 
 in effect than the white marble Custom Houses of Philadelphia and New York, with their naked tympanums, and bald 
 metopes. 
 
 Of late years the value of Shadows appears to he better understood than formerly, and a richer and more 
 cheerful style of architecture has been adopted in our city and country houses; and churches have been relieved of 
 thei- naked, and barn-like character, by the addition of a variety of mouldings, and grotesque scroll work, which, if not 
 always in keeping, give promise of an improving taste, and of a something better to come. The attempt at orna¬ 
 mentation has been, in many cases, carried to an excess which produces an effect amounting almost to burlesque ; 
 but the true uses of ornament are better understood, and the more recently constructed houses of New York, and the 
 
 neighborhood display, in many instances, examples of purity and refined taste, which cannot but have the due effect on 
 the public. 
 
 City Houses, being seen in long rows, and rarely disconnected from other buildings, do not exhibit their defects 
 so palpably as villas, which stand apart by themselves, and unless particularly concealed by shrubbery, expose their 
 nakedness and defects to all observers. It is of much greater importance, therefore, that a country house shall he free 
 from defects of construction and decoration, than a city dwelling, which may escape observation from being seen in 
 good company. 
 
 Design L1I., No. in Plate 00, a Villa in the Anglo-Swiss style, will give a good illustration ol what is meant, 
 by the value of shadows ; the play of light and shade, by breaking up the broad mass ot surface, by leaving the 
 timber exposed after the manner of the old timber houses which abound in England and France, give to the whole 
 house an aspect of cheerfulness and warmth which it would not otherwise possess. The means by which this effect is 
 produced are simple and uncostly. The Cottage Villa, in the early English style. Design, No. LIU, in the same Plate, 
 looks grave, and almost sombre, when compared with the one above it. They are. in fact, precisely the same plan, but. 
 only varied in the outer dressings. The steep-roofed Villa is better adapted to the North, while the battened roof, and the 
 wide-projecting enves of the other, mark it as designed for a milder latiude. The two designs on plate 53, also show the 
 marked difference in the character of a house, by merely increasing or lessening the shadows, or by breaking them up 
 into alternations of light and shade. The dormer windows in Design No. XLIX., are of novel construction. By giving 
 them a few- inches projection beyond the eaves, they not only give greater room to the attic, but serve as a protection 
 for the windows beneath, and break up the straight lines of the roof. 
 
 There is nothing more unpicturesque and offensive to the eye in architetural designs, whether in the interior or exte¬ 
 rior of houses. than 11 smooth colorless surface. Time abhors such sights as much as Nature, abhors a vacuum, and never 
 fails to reprove such instances of ill taste, by inflicting on tfrem stains and cracks, and breaking up their monotony by 
 covering them with mosses or spider’s web. As the. diamond gains new lustre and brilliancy by having Its surface cut 
 into points, so do the walls of a house gain in beauty by being properly broken up into compartments ol light and shade, 
 or by a variety of colors ; yet in many of our public edifices, and the greater part of private houses, the great aim ap¬ 
 pears to have been to produce a dull monotony of surface in the interior hv colorless walls, and on the outside bv not. 
 suffering a projection, when it could he avoided, that would east ti shadow. The majority of the houses in Philadelphia 
 are singularly defective in this respect ; the builders of that right-angled city appear to have been as much in fear ol 
 shadows as Richard the Third was on the night preceding the Battle of Bosworth Field. 
 
 The wood engraving which is placed at the head of these remarks, is a representation of a commodious A ilia, 
 recently designed for .1 01 us P. Swats Esa.. of Westchester, in tills State, and built on a very lovely site, about twenty 
 m i!vfrom IT a v! pm, at. Broaxville, on the. Bronx river. 
 
ESTIMATE. 
 
 70 
 
 The above engraving represents a villa designed for Messrs. G. & H. Dexter, Esqs., of New York. It 
 is built on 80th street, and is well adapted to the present suburban character of the neighborhood, while it. is not un¬ 
 suited to take its place in the long rows of city houses, which must inevitably crowd themselves around it. Taste im¬ 
 proves as the city expands, and every new street and avenue that is built upon, offers a new field for improvement in 
 Architecture, and the constant addition to the habitations of our citizens, affords opportunities for the display of Aichi- 
 tectural talent, and the genius of the new race of builders. In spite of the cupidity of speculators, and the parsimony 
 of landlords, who only look to the percentage in their investments in real estate ; the intelligence of the age, and the 
 universal diffusion of education call forth exhibitions of liberality, and even magnificence, in the construction of private 
 houses that would have astounded our ancessors. Even the houses built expressly for the accommodation of the poor, 
 in the new avenues of the city, exhibit a degree of external elegance that would be looked for in vain in some of 
 the best houses of Broadway, which were built thirty or forty years since. 
 
 76 yds. excavation, 
 
 2010 cubic ft. stone work, - 
 2155 hard brick, laid, 
 
 2150 salmon brick for filling, 
 
 54 12 by 14 tiles, 
 
 2 “ “ corner, 
 
 20 pan tiles, 
 
 3 slabs, 10 by 20 by 14 
 
 4 blocks, 16 inches, 
 
 4 “ 12 “ 
 
 160 ft. flagging, 
 
 Iron door and grating. 
 
 Two iron dampers. 
 
 960 ft. timber for vinery, 
 
 640 “ “ “ green-house, 
 
 676 “ “ “ pott.ing-room, 
 
 133 “ gutter and cornice, 
 
 176 “ shelving, green-house, 
 
 30 “ joist, 
 
 591 “ shingling, 
 
 ESTIMATE 
 
 Of Grecn-Ilousc and Vinery. 
 
 8 10 
 8 
 
 8 00 
 6 00 
 23 
 40 
 28 
 1 00 
 25 
 18 
 14 
 
 1 25 
 4 
 4 
 62 
 18 
 6 
 18 
 8 * 
 
 87 60 
 160 80 
 17 24 
 12 90 
 
 12 42 
 80 
 
 5 60 
 3 00 
 1 00 
 72 
 
 22 40 
 11 00 
 
 2 50 
 38 40 
 25 60 
 
 13 52 
 
 23 94 
 10 56 
 
 5 40 
 50 23 
 
 734 ft. siding, 
 
 90 “ iron hot water pipe, - 
 Cast, iron water back, 
 Reservoir, 
 
 30 ft. tin leader, 
 
 Pump, 86; 12 ft. lead pipe, 
 
 787 ft. roof sashes for vinery, 
 533 “ “ “ green-house, 
 
 144 light sash glazed, 9 by 12, i 
 430 “ “ “ 8 by 11, 
 
 10 frames for vinery, 
 
 9 
 
 7 “ “ green-house, - 
 
 4 
 
 3 inside columns, “ 
 
 2 columns to entrance porch, 
 Painting, - 
 
 s 
 
 7 
 
 851 
 
 36 
 
 . 
 
 50 
 
 45 
 
 00 
 
 . 
 
 
 10 
 
 00 
 
 . 
 
 
 22 
 
 00 
 
 . 
 
 12 
 
 3 
 
 60 
 
 
 25 
 
 9 
 
 00 
 
 - 
 
 20 
 
 157 
 
 40 
 
 
 20 
 
 106 
 
 60 
 
 i vinery. 
 
 15 
 
 21 
 
 GO 
 
 “ 
 
 14 
 
 60 
 
 20 
 
 8 
 
 00 
 
 80 
 
 00 
 
 4 
 
 00 
 
 36 
 
 00 
 
 6 
 
 00 
 
 42 
 
 00 
 
 8 
 
 00 
 
 32 
 
 00 
 
 1 
 
 75 
 
 5 
 
 25 
 
 3 
 
 50 
 
 7 
 
 00 
 
 - 
 
 
 65 
 
 00 
 
 
 
 81179 
 
 66 
 
DESCRIPTION OF THE PLATES, 
 
 JXVTR TS^i.—firman ] plans of ihe divisions and dimensions of the first and second stories of a stone A ilia in the Italian 
 style. Design LI. 
 
 Hi.ATK 56.—Geometrical elevations of the lawn and entrance fionts of Design LT. 
 
 i’UiE 57.—Longitudinal section of A, B, on the first and second stories, and basement plan of Design Lf. 
 
 i’LATK Details of Design LI.; Fig. 1 and 2, sections of gable cornice, brackets, and quoin stones, and cross sec- 
 lion of gutter, mouldings, copper linings, rafters, sheathing, and slating ; I'ig. 3, sections of iron column 
 for the veranda and cornice ; A, side and face of brackets ; B, stone plinth and base of columns ; C, face 
 and profile of the iron truss ; Fig. 4, section of the base, shaft and cap of chimney ; Fig. 5, sections of 
 itie hall column, entablature and cornice ; D, plinth and base ; E, isometrical section of cornice ; big. 6. 
 section of the principal stairs; representing the newel, light-stand, string, steps, brackets, balusters, and 
 rail ; Fig. 7, ele.ation of a door for the first story; F, ground plan of architrave and jamb ; G, plan of 
 architrave for the second story ; Fig. 8, base lor the first story ; and Fig. 9, base for the second story. 
 
 4*late 59._Details. Section, and ground plans of the first and second stories and cellar of Design Lll.—(and with the ad¬ 
 dition of a veranda in the sides, the ground plans for Design LllI.) Figs. 1, 2, 3, and 4, sections of the 
 
 main cornice, and also showing the joist, framing beams, plates, brick filling, cap mouldings, brackets, 
 gutter, rafter, sheathing and shingljng ; Fig. 5, section of hall pillar and brackets; Fig. 6, section of stair 
 rail, balusters, s eps. string and risers ; Fig. 7, section of hall window balcony ; Fig. 8, section of the end 
 
 window balcony ; Fig. 9, section of the cornice, floor, drapery, bracket, and pillar cop of the side veranda; 
 
 Fig. 10, section of cupola finial ; Fig. 11, section of stair newel and cap. 
 
 plate 60. -Perspective views of two cottage-villas ; one in the Anglo-Svviss style, Design LII. and the other, De¬ 
 sign LIII., in the earliest English style. 
 
 The erection of Design LII. will require more skill in the workmanship than most of the other styles o: 
 building—all the outside, framing timber to be 4 by 8, well seasoned, and framed together with close 
 joints, and all planed outside of the brick work—all the upright timbers groved \ in. deep, and the width 
 of the bricks, and bevelled outside | by 2 inches—the framing beams cross-braced and panelled on the 
 face of the brick work—the bricks of a very smooth, hard quality, laid in hydraulic cement and 
 screened sharp sand ; the wood work painted two coats of lead and oil, shaded a dark brown and sanded ; 
 the brick work painted in the same manner, two shades lighter; the roof covered with 30 inch cedar 
 shingles, on tongued and grooved plank ; the. outside walls fumed on the inside for lathing and plastering ; 
 floor timbers, floors, doors, windows, base, &c., to be made in the usual manner inside patent rolling blinds 
 to all the windows—double thickness English sheet glass in all the sashes ; thickness of sashes, inches 
 lor the house, and lf for the green-house. 
 
 The ph’.in details of Design LII1. will require less skill and workmanship than the preceding one; the frame 
 may be of hemlock, spruce or pine, framed and braced in the usual manner ; the sides covered with narrow 
 tongued and grooved boards, planed, and the joints beaded and put on with white lead, the corners 
 enclosed by tl.c f section of a 2 in. bead, the wind.. v-frame jambs rebated and beaded to receive the 
 board's ; main roof covered with 30 inch cypress shingles on oak laths ; the drapery of 2 inch plank, and 
 the pendents 4 inches square. 
 
 Ye-andn and g-een-house roofs covered with clear white pine boards, planed and beaded on the underside, 
 and < . erlaid with lead plate tin, painted both sides, before laying, and the joints soldered ; all the sashes 
 in the first, and second stories U inches thick, set diagonally with double thickness French glass. 
 
 80 
 
PI AAJ Of PR/A/C/PAL STORY. 
 

DESIGN 
 
 PLATE S«* 
 V 0 L.2 
 
 STO N E VILLA . 
 
 hi I In hn/'nn and CruHf/oxitinn- Siy/r . 
 ft! VCR FRONT. 
 
 ENTRANCE 
 
 ELE VAT I 0 N 
 
DESIGN. LI 
 
 PLATE 57. 
 
 TTfm TTTTTT 
 
 
 
 ~»' V ? 
 
 tO#6/Tl/D/#d/ SiCr/0# O# //A/P 
 
 Closet 
 
 /u/r/tnt 
 
 Zart/ef. tf f 
 
 is.-.'.-'.s. /....... 
 
 CfdVf-t 
 
 Coal Slide 
 
 //a// 
 
 Cellar /or 
 
 ft^bocl awi Coal 
 
 
 
 Zaundn- 
 
 '/v’V/.'' •> 
 
 P/d A/ 0P 3d SZ M £ A/T. 
 

DESIGN. LI I . 
 
 VOL.2. 
 
 PLATE.60. 
 
 COTTAGE VILLA. 
 
 inihe. Anglo Swlze Sly It 
 
 DESIGN. LIU. 
 
 COTTAGE VILLA 
 

 SPECIFICATION 
 
 Of (he Materials and Labor required in the Erection of Design LI. 
 
 EXCAVATIONS _ $y~a /dmaddfoP t/d ce/ZzP and aizita / ft. depi, and tZd eai/Z yzaded to P inched Zed** 
 
 t/d watez-ta/Z. 
 
 COMMON STONE WORK.. ©dZZt/ outiide waZZ) of iZ Ziaement to Ze ZutZt u/t wdZeyoodyuazzy atone, /aid 
 
 in /ydzau/c /me ccnc/ aand, 24 in cZed t/ic/ an y/ y. c in. /yl o?i a foundation 2 ft. / in. wide arid 
 
 / in. /y/. . tZe aizie wad/ /P in. i/ic/, anc/aun/ /P in. fe/oio tfe piaviny. //ZiZZj of coa/)Zde / / 
 
 in. iZic/—funditiona of Zizye ftat dtone.), Zid in nioztaz, undz ife c/imney), fiaztctiom and fuznace . 
 
 a conczete of atone c/pia and nioztaz P in. deep undez i/e yezanda fZiyyiny. 
 
 SUPERSTRUCTURE WALLS. i& in. i/tc/t, /aidftp wit/yuazzy tu/ZZ atmea, in 'ZZ/amirton /me andaand 
 
 mectac, t/fomt) ctoae and ay naze, andpioinfed wit/ cement and/me anoztaz. 
 
 CUT STONE WORK.. ff/e outoic/e cozneza /aid //yi wit/ yuoin atone), / 2 in. t/c/, 2 £ i/t. /o/zy, and one - 
 
 fft/of i/em / 0 in. /iy/, one p /-2, one p, one P £-2, and one P inc/ea — t/e Zn/a atzd face Zammez- 
 
 dxaaed. /fater fa fie P in. ZyZ a ndP in. tZic/i, t/e wa)Z cut 3-4 in. dpi /y 4 in, nude . ■>///f/z i/e 
 
 outdid/’ dooza 20 inc/ea wide, and to / apiazt of i/e wafez-ti/Z, t/e wad/ cut / P inc/e) wide . a// t/e 
 
 toiuc/o/o-ai//) to in. i/ic/ and P in. wide ;■ window /nfe/o P iuc/.a i/ic/t, / / inc/e) /iy/, in fizat atozy, 
 
 andp inc/e) in aecondatozy / dooz /intef) / 0 inc/e) t/ic/ and / 2 inc/ea //y/ . a//f/e ai/f) and Zi/iteZ) 
 
 to ZdncutZy cut on a//t/e face), and i/e /eda /ammez-dzeaaed. 
 
 BLUE STONE. (ffi//) to i/e Zuaenient windowo and dooza . a tepid / 0 inc/ea wide, d inc/ea t/c/, a>?d 3 
 
 feet / inr/.t Zny ,■ / 0 inc/copiiny to a//t/e aizie) ; /eazt/a to /itc/n P feet Zny, 3 feet / inc/e) wide, 
 
 and to Zunc/zy / feet to ftp and 3 feet wic/e, i/e io/ia Zummcz. dreaded . t/e entrance cr.izand i/e /oftom 
 
 and topi of road a fid. /red and covered wet/ common f/ayyiny . <veranda t‘ /aye two con raid of dzcaacc/f/ay 
 
 afonea, /rid on t/e foundation wit/ c/ae, ayuazeyointa . t/e outride ec/ye 3 i n' Za t/ic/i, on a cuzZaun/i 2 
 
 feet Z/w i/e a it face . . pi/nt/a P incZa ay na ze, to /receive t/e iron co Zinina, i/e tp/a Z ve/d. 
 
 BRICKWORK. ©r/ZZt/e diviuona int/e /a-iement to Ze made of /arc/ Zic/, waZZ) P me/,) ...t/e turn 
 
 ctoaefa fom i/e Zitc/en to /e aze/edwit/ /zic/ ; t/e fuznace f ffizZ/iez a J to Ze aef in /zic/ wo?/ / t/e maids 
 of a/i t/e windoioa and door /cad) to Zave § in. /zic/ aze/e-), / 2 in. t/c/; t/zee c/imneya wit/ ery/t fire, 
 fidaco, eae/c/imney to /aarefourf/aea, pi/iafezcdandtppiedouty' f ce £ / in - ci/ove t/e zoo/. 
 
 PLASTERING.. ©t/Z/i/e zoom a and /a/Z) in i/e fiat andaeconc/ afozieJ tat Zed andpZotezedtwo coat) of 
 
 /town mot far, and /aidfinij/ec/ wit/ f/Z. ©/■ time and niaz/Z itiot / i/e yiaitition-) andyatr/a in t/d attic , 
 
 and c/aefa in fizat andaccona aiotied ZutZed andpiZiatezedondebat of Zzown nioztaz and/azd finia/ed. . 
 
 aZ/tZe outride waZZ), and t/dceiZiny of tZ/Zaaement to Zd/cit/ed, and, wit/ tZdZuc/ waZZ, piZiatezedone* 
 /cavy coat of Zzown moztaz, dZppitd, andwZitewaaZedtwo coat). jfFZaafePcaznice) in/uZZ fZdpizmcpiu/zoom) 
 
82 
 
 SPECIFICATION. 
 
 and AaAAi in^fizd/ and decond d/ofy . in /Ae yfii)/ d/ozy /Ae dazne a) on A/PAi/e 3S, ©Aiy. 3, S'- . and m /Ac 
 
 decond d/ozy /0 incAfizoyec/ion, 3 incAed Ay A. 
 
 IRON WORK. . 3/3 ad/ izon coAzmnd and /eudded ^oz /Ae ztczanda, made /Ae dame a-t on A/Aia/e 3S, ©Ay. 3, 
 
 ‘AS, ( ~S, . czon ancAow deemed /o /A Aeamd, am/ AuiA/ in /A zoaA/j / a dAee/ non e/oz ana yfzame /o one 
 
 aj? /.Ae c/ode/d in /Ae Ai/Aen . a ft Ann 23 incA yza/e de/ in /A Aiuru/iy / oinamen/a/yza/e) in /Ae dzauuny. 
 
 loom, pazAe, ant/ dentny-ioozn. //30 zanye de/ in Ai/cAen. 
 
 TIMBER, . /Pyf doanr/ deadened dautedfane ,■ /Ae yfiz-3 ane/ decond /ZctJ o^ Aeamd 3 Ay / / : /Arte/ /iez 3 
 
 Ay p _ ez-AA de/ /A incAed Ae/uteen cen/cu, /zemznezd 3 incAed /AicA,- /i/a/e) fi Ay / 2 / za^/eto 3 Ay 3 / 
 
 2 ^ce/ Ae/iocen cen/eiJ , toAAzZ Aeamd 2 Ay A, dovc/aZAeA in/a /Ae za^/czd, /A coAAzz Aeamd ane/ za.yi/tzs /o 
 
 Ae /lAznecA dmoo/A/oz /tain/iny . Aadctncn/ dAx/tczd o^ zed cedaz, A incAed /.Aic/t .’ de/ 2 ^ee/ Ae/uteen cen/cid - 
 
 yfrtd/ anc/ decone/ d/ozy Aeamd onez /Ae /izinctfeaA Ztom) in yfizd/ d/ozy anc/ Aodemen/ /a Ac czodd At/dyed ze/yf- 
 fod anc/yutiAnd /j /Ae ztezane/a zoo^, oyf cAeaz demonedzoA/iepine, 3 Ay A ^oz /Ac za^/eid, anc/3 Ay A y/oz 
 /Ae yurt Aim, <z/A /e Ae yAancd anc/ Aeac/ed, anc/ fiu//oye/Aei in /Ae nea/e-U mannez ... /iaz/t/iond dc/zoOA 
 
 3 Ay 3 yo/j/d, / 2 incAed Ae/uteen cen/eZd, anc/ AttdyeeO in /Ae m/dcd/e . c/ooz d/ac/i 3 Ay 3 . 2 Ay 3 zoa/e 
 
 d/uy,d, Aar A/ in /Ae zetaAA), no/ovei 3 ^ee/ a/iaz/, /a zeceioe /Ae yuzziny . aAA /Ae zva/Zd oyf d/one /o Aey/uzzed 
 
 y/oz Ac/Ainy, zoUA /-4- Ay 2 in. d/izuce oz Aem Atc/t d/a/id, / 3 incAed Ae/toeen cen/ez.J, d/zony/y deemed wt/A 
 /2c/. nz.iA ../Ae cctAiny.j /et Ae /ryA/ yfazzcc/ zoi/A d/ztyid / in. Ay 2 in., / 2 in. Ae/uteen cen/ezd, /Ae yfizd/ 
 ane/ deconc/y/Aozd /a Ae deay/ned zoi/A common AoaZc/j, Aid on / in. Aci/ye-i, dccuzec/ /a /Ae Aeamd. 
 
 ROOFS. ... <A7A>-. yizinct/iaAzoo/ /o Ae dAea/Aee/ zoi/A /onyuedandyzoovedfiAn/t,y/anee/anei Aadedon /Ac 
 nndez die/e, t/tony/y naiitc/, anc/ovezAzic/ zeti/A /d/yuaA/y / O Ay / d in. ©rAenezzcan dAi/e, yfzom /Ae ACAJunyoz 
 yuazzirj, 'AA., /Ae ‘itaAAyd AtnccAzcti/A / / in. dAcct Aac/, zztctyAiny 3 / .2 AAj. /a /Ae dyuccze yoo/, /A yez//ezd 
 
 o//$ oy. coyyiez . /A> Azac/e/j, ya//ez anc/yaAA mou/c/inyd /o Ae ad cAzautn ozi '^AAt/e3$, (AAyd. / y 2 .... 
 
 ztezancAa zooy.t cove tec/ zcti/A nazzctct eAaz zoAe/c yine yAzn-A, yiAzncc/ anc/ Acac/cA on /Ae ane/ezdte/e, ane/ ovei Atic/ 
 uti/A /3 Ay 20 in. Aed/ Aezc/cA/in,yiez/ on zoi/Ay/Aa/ doA/zec/y':>in/j, /Ae yu//ez oyf // oy. coy/iet /Ae 
 yadciad, y /ancete ane/ AAcAiny coazde /Ae dame ad e/zaton on AAAA/e 3S', @Aty. 3. 
 
 FLOORS. ..©e/AA /o Ae Ate/ zoi/A zct Ai/e yiine nuAAe/y Azn/t, yiu/ e/etutn in /Ae Aed/ mannez, ane/ decuzee/ 
 Ay / 2e/. ziaiA . in /Ae y/izd/ ane/deconc/ d/vzioj /a Ae cAaz oy d AaAe-i, wozzn Ao Aj, AAacA dept oz Ano/d. 
 
 WINDOWS . ©An /AeceAAz 3 zoincAutd, / 3 AtyA/d eclcA /, S Ay / 2 dodAez, / .3 /AicA Aany in znuAAton 
 
 yze/mej zoi/A zoeiyA/d ane/ cozeA . 3 zoinc/oiod in yzinciyiet/d/ozy, S AtyA/d eacA, / 3 Ay 2 3, anc/3 zoinc/tzod 
 
 3 AttyA/j eacA, / 3 Ay 22. dad Aed / 3.3 /AicAt, Aany /o znuAAion y/zamM Ay 3 incA l J// J . Ainyed, ane/dccozecA 
 Ay (AAtcncA yztyi /oA/d . - /Ae dad A d/tied 3 incAed uttc/e, ane/ /Ae Aeactd eacA two AyA/f, /o Ae d/a/to natty ,■ 
 
 . i„ /Ae dctonc/d/ozy /tad zcinc/outd, eacA S AyA/d, /3 Ay / 3; one toincAozo, 3 AyA/d, / A Ay 20, /Ae dad Aed 
 
 /o yAj/3 zoi/A a zuAc/ yoin/, Aezny Ay 3 / .2 in. '2A. Amy a, and dccuzcd Ay (AAzencA yzey AoA/d ./ 
 
 zttineAutd, 3 AyA/d eacA, /3 Ay 20 . and 3 zoindtzod, 3 AyA/d, / 3 Ay 20, Aany Ay 3 in. ASP. 
 
 Ainyed-, e/ncA ..tecazed Ay A/AzencA At/cAei /o muAAon framed - da)Aed / 3-3 /AicA, d/iAed /Aicc incAed zoic/e. 
 
SPECIFICATION'. 
 
 S3 
 
 ♦ * 
 
 ZZ?e / f/> lAnA/n nat y ....tn a/c ezAAec 4 cacct/tP /eat/eAou//e wAne/owd, A /y/Ad eacZ, / 2 A/y /-4 da-i/cd, / Z-2 
 
 a/,A. ane/ /any Ay 4 Ay 0 AuAAj, ant/ decazee/ Ay -4 Anc./ Ao/Aj . ©Zzenc/ y//M e/tda/A a/cZ dad/ed , do a/// 
 
 z/ecA/tt. j.j ot a/ /'ret A ane/ decone/ dAoiAcd. 
 
 SillTTERS 4 yA/ea. / /-4 Anc/yieineAee/, made/ ane/ /any /y. 2 / .-4 AuAAj, ane/ / /-2 tnc/ weAe/ee/ 
 yf/yu /o n/Z AZted 'Uteut/oWd tny/t'zjA anc/ jtconc/ jAozAcj , ane/ decazee/ Ay /0 Anc/ d/ttAAep/azd, z/eZyfci/e/i Zo /eZ t 
 
 * a/ o/t z/e A/U/tdom ZaeAoyA z/eZ dad// . /fa-Jem nA wAne/wd Ao /ived ouAote/eZ ytancA d/uAAeid, /any /y we AeZec/ 
 
 dZ/ay^J ane//i/eAe-j, erne/ deceezet/ /y. Ao/Ad. %ncAAan zo/Any /Atne/i, mouA/et/ /aA// dtded, mae/e ane/ /any Zo 
 
 a// z/eZ wcnt/owd a/ow z/c ZidemenA. Ay /envy we/e/e/ dZzayt /tnyed ane/yi/Ze.j, ane/ decazee/ Ary AedA yiaZenZ 
 ya-dZenenyd. 
 
 DOORS.. //T/e/y/eon A ane/ /we /a// e/ootd Zo /ane Zeae/ ante/ dee/ Ay/Zi, deA' <wAa/(/A zenc/'yt//,ZeZaZadd ... J 
 
 dtde ane/ AacA c/ooid, wAa// ecu//y/Aj ./ 0 yteeide/ye e/oou, S y?A. . 4 Ay & y*~A. A An. /y/, e/ne/4 e/ootd, 0 y'/. 
 
 Ay & y/Z. A .. y?zouA e/ooz, 2 /-2 //a/ . /a//ane/AacA e/oid, 2 Anc/&J z/ecA .. yiaddc/ye cZ-otd, / 0.-4 z/tcA, 
 
 4 yt'/ne/j duAdte/e ane/ / Zietnc/t end/e/e, moeeZc/eA <wAa/ cucee/P /ete/i ane/ ZoZAomd . tn dceond d/oty, / y/at-t 
 
 d/t/ny e/eoVJ, Ay^A. Ay A? y^A., 2 tn. z/cA ./ / e/ooZ-J, 0 y?A. Ay / yfy. A, / /-2 tn. a//cA, ane/ A e/ooid, 2 
 
 0 J $ t//. wide Zy7y.e in. /y/. / / .2 /Ac/l, a//-4 yiancAdj eac/ mottAc/ee/ we tZct ecet Aa z ene/j. ad A /> z/e 
 e/e/’/d t/e A Ac /oetic Zo /c / / —4 a/wA. -4 yiane/i, mou/e/cZ on one dte/, /u-ny Ay 0 Ay 0 /eeAAd, ane/decuete/ Ay 
 0 tnc/' moiAae. AocAj /e/ee/ m/ncia/ Ano/d. AAA/e encyia/ dZoiy e/ooes /any Ay -4 Ay-4 /aZAd ane/deeutaeA Ay 4 
 
 A 2 An. metZ/Aced/bcAd, ©z/medcan yiotce/tAn Ano/d, " /Aete dAaz yiaAAem. _ ©/donA e/ooP Aa Aeet/t'ed ttyt&y/z /not 
 
 Zece/A/cAd wAa/ nty/z Ae/yd _ ./AAAootd An decent/d/ovy /any Ay 0 A .2 Ay 0 A .2 /aAZd, ane/decutee//y 4 Ane / 
 
 t/weAeced Ac Ad and w/eAe yiotce/un y/uenAAu’ee . (A/Ate/my e/ootd deA wt ■dd An. d/caved, to/Ae/-way-j, mew/ae AocAd* 
 
 ane/ e/ou/A: yfteenA/eeee . (ZZ/ony y/Ae-j/ /o/d Zo a// z/e ouAu'e/e cAotd . a/Zz/eA aic//Aeavcd, cadAnyi, z/ade,, 
 
 dZ-y/e oyA //e e/ootd, a/ic/z/e /a//co/enmd, Zo /e z/e dame eel e/eeiion on (ZZAa/e 0&, ©Zeyd. 0, y, p, e/.ne/ Z 0 
 . yianeZz/a.cAd, c/Ao/o-J ane/ doyfyf/Zj Zo a/Zz/eA'wAne/owd An y^/edZ ane/decone/dAoteed. 
 
 STAIRS. ©/tom z/eA/ademenA Ao z/e a-AAec, 2^A. A An. wetA, muA/ wAne/ebd, mouA/ec/dAeyid, 2 An. tonne/ eadZ. 
 
 / /-4 /a/ecdAetd, ana'4 Anc/ newe/d . z/eyaAnceyiaAdZzAed, y/o?n y/e'edZ Zo decone/dAay, An /ane zeyA era. /Ayfz 
 
 /ane/ iaZ/i, 0 Ay 2 A _2 Anc/cj, moaAe/ee/.. _ 2 /-2 ZaeneeA /a/u-jAczd, ane/Zwo / 2 tncA Autnee/ane/ rath ed 
 
 neiocAA ...a/, eyyiez d'.cAAon Ao teceAue ein a-lAta/ oz do/iz Aa/nyi yoP /y/iAeny z/e /etAA. (A/te '///AtAc e>$. 
 
 &y. e- 
 
 CLosETS AND PRESSES ... ©/// Zd /e yfeAAec/op. weZ/ neaA /cae/eAd/e/oed, //acA ane/ Aeeedi coaA anc/ /a A AooAd, 
 e/zawetd, y/e-j co???yiAZe 
 
 MANTLES. /Py in, ^A/ An a//z/eZtoom-J oy/z/eZyfizdZ dAo-zy, Zo codA Z 20 / neaA > ooa manAZed An z/t 
 
 dtconcA dAozy, wAa/ /Aeee dAoneZ/aeZ/j aneA-maz/Aedyfactnyd -/cadA/ /etcAid /a a/Az/eZy/ezeyicaceJ. 
 
 PAINTING. _ (///eZ/Anc/d Zo/eZyiaAnAccA0 coaAj oy.((//zenc/yzeen / z/edma/y eny zaA/t, cpc., Zo Ac 'vaina/eet 
 
 A coaAd, zee///:/ ana' /to/d Zee/ . z/e ZAn zoo/ ane/ /eae/ei, ane/ a//z/e ewooe/ toot A not oZ/ezwAdeZ dytecAy/Aee/, 
 
 'eaxeytA AnZzAoP y/Aozd, Aa /andeectca ytaz&A■w/eAe ZaeA aneA /indeee/ oe/, ytetA ond And z/e rnooZ eryytzo oee/ man nett / z/s 
 AzonZtoAemm anc/Zea-jdcd Zo /aetieda coetZoy/ tee/ Zac/ytatnZ a/te/z/eee cow oy? w A/ Zeet^ ane/otZ 
 
TABLE. 
 
 COST or materials and labor, for 100 CUBIC feet of 
 STONE WORK. 
 
 * $ loads of stone, 12j cubic ft. each, 
 
 1} casks of Thomaston lime, 
 
 4 loads of sand, - 
 
 1A days’ mason’s labor, 
 
 H “ laborer, 
 
 $ 75 
 
 1 00 
 
 31 
 
 1 50 
 
 1 00 
 
 $6 00 
 1 50 
 
 1 24 
 
 2 25 
 1 50 
 
 2000 bricks, ... 
 
 1$ cask of Thomaston lime, 
 
 3 loads of sand, 
 
 1^ days’ mason’s labor, - 
 1 laborer 
 
 84 00 
 
 1 00 
 
 31 
 
 1 50 
 
 88 00 
 
 1 50 
 93 
 
 1 88 
 
 1 00 
 
 $12 49, or 12^cts. per cubic foot. 
 
 $12 49 
 
 $14 11, or $6 41 per thousand. 
 
 $14 11 
 
 TABLE, 
 
 SHOWING THE NUMBER OF NAILS TO A POUND, AND ALSO THEIR RESPECTIVE LENGTHS. 
 
 3 penny fine nails to a pound, length, each 1 inch, 
 
 1 inch. 
 
 64 
 
 10 
 
 li “ 
 
 80 
 
 10 
 
 
 63 
 
 12 
 
 i|“ 
 
 52 
 
 12 
 
 2 “ 
 
 40 
 
 20 
 
 2 “ 
 
 30 
 
 30 
 
 
 13 
 
 40 
 
 21“ 
 
 11 
 
 5 
 
 TAB 
 
 LE 
 
 
 10 penny coarse nails to a pound, length, 
 fine 
 
 inch spikes. 
 
 each 3 in- h. 
 3 ‘ 
 
 H ■ 
 
 <1 “ 
 
 SHOWING THE NUMBER OF BOARDS AND NAILS REQUIRED TO A SQUARE OF SIDING. THE STUDDING 16 INCHES 
 
 BETWEEN CENTERS. 
 
 A SUUARE IS 100 SUPERFICIAL FEET. 
 
 12^ boards 9 inches wide, f of an inch thick, and 8 inches to the weather, require 125 lOd. nails. 
 
 7 
 
 « 
 
 “ 
 
 140 lOd. 
 
 
 6£ 
 
 « 
 
 “ 
 
 150 lOd. 
 
 
 0 
 
 « 
 
 “ 
 
 165 10(1. 
 
 “ 
 
 
 “ 
 
 
 ISO 8d. 
 
 “ 
 
 5 
 
 
 
 200 8d. 
 
 
 4 \ 
 
 
 
 223 8d. 
 
 
 4 
 
 « 
 
 
 250 6(1. 
 
 “ 
 
 3 * 
 
 “ 
 
 “ 
 
 285 Gd. 
 
 “ 
 
 THE BEAMS, 16 INCHES BETWEEN CENTERS 
 
 16 $ planks, 6 inches wide, require 330 lOd. nail: 
 ' -* " 360 lOd. “ 
 
 400 lOd. “ 
 
 , one edge, 223 10d. “ 
 250 lOd. “ 
 285 lOd. “ 
 330 lOd. “ 
 84 
 
ESTIMATE 
 
 Of the Materials anil Labor required for Design LI. 
 
 720 cubic yds. excavation. 
 
 
 8 12 
 
 $ 8G 
 
 40 
 
 3965 “ ft. basement wall, 
 
 
 13 
 
 515 
 
 45 
 
 7690 “ “ superstructure wall, 
 
 42 quoin stones, 10 inches high, 
 
 42 “ “ 9i “ “ 
 
 
 15 
 
 1153 
 
 50 
 
 35 “ “ 9 “ “ 
 
 35 “ “ 8h “ 
 
 35 “ 8 “ “ J 
 
 
 45 
 
 85 
 
 0 
 
 26 window sills, 114 ft. 
 
 - 
 
 45 
 
 51 
 
 30 
 
 27 *‘ lintels, 129 “ “ 
 
 - 
 
 40 
 
 51 
 
 GO 
 
 3 door “ 27 “ 
 
 - 
 
 30 
 
 7 
 
 95 
 
 245 ft. water table, 
 
 - 
 
 70 
 
 171 
 
 50 
 
 3 chimney caps, 
 
 - 
 
 8 00 
 
 24 
 
 00 
 
 13 stone plinths, 
 
 - 
 
 1 00 
 
 13 
 
 00 
 
 118 ft. coping, 
 
 1030 ft. dressed flagging, 
 
 - 
 
 14 
 
 16 
 
 52 
 
 - 
 
 15 
 
 154 
 
 50 
 
 !60 “ “ for airies, &.C., 
 
 - 
 
 12 
 
 19 
 
 20 
 
 264 “ piazza curbing, 
 
 - 
 
 8 
 
 21 
 
 12 
 
 4228 bricks for pa'ving, 
 
 - 
 
 8 00 
 
 33 
 
 82 
 
 11475 “ “ chimnies. 
 
 - 
 
 7 50 
 
 86 
 
 06 
 
 12712 “ “ walls, &c:, 
 
 - 
 
 8 00 
 
 101 
 
 69 
 
 2063 ft. mortar deafening, 
 
 - 
 
 2 
 
 41 
 
 26 
 
 1806 yds. of plastering, 
 
 - 
 
 25 
 
 451 
 
 50 
 
 30 feet plaster entablature, 
 
 - 
 
 81 
 
 24 
 
 30 
 
 374 “ plaster cor. 27 cts. ; 379 ft. 
 
 23 
 
 188 
 
 15 
 
 3 mantles, $40 00; 4 grates, 
 
 3 set marble facings, and hearths, 
 
 - 
 
 15 00 
 
 135 
 
 00 
 
 
 6 00 
 
 18 
 
 00 
 
 Furnace, 8180 ; kitchen range, 
 
 
 50 00 
 
 230 
 
 00 
 
 13 cast iron columns, 12 ft. each- 
 
 -156 ft. 1 00 
 
 156 
 
 00 
 
 4 cast iron trusses, 
 
 - 
 
 4 00 
 
 16 
 
 00 
 
 100 lbs. iron for anchors, - 
 
 - 
 
 G 
 
 6 
 
 00 
 
 14266 ft. timber, framed, - 
 
 - 
 
 20 00 
 
 285 
 
 32 
 
 237 joist, 
 
 - 
 
 18 
 
 42 
 
 60 
 
 150 wall strips, 
 
 - 
 
 10 
 
 15 
 
 00 
 
 3243 ft. furring, 
 
 - 
 
 2 
 
 64 
 
 86 
 
 2663 ft. board deafening, 
 
 - 
 
 2 
 
 41 
 
 26 
 
 307 lbs. sheet lead. 
 
 - 
 
 5 
 
 15 
 
 35 
 
 4356 ft. of roof plank and slating, 
 
 10 39 
 
 452 
 
 58 
 
 117 “ copper gutter, 
 
 - 
 
 1 50 
 
 175 
 
 5C 
 
 145 “ “ 
 
 
 1 10 
 
 159 
 
 50 
 
 12 squares of tin and planking, 
 
 - 
 
 9 00 
 
 108 
 
 00 
 
 126 It 4 inch tin leader, 
 
 - 
 
 15 
 
 18 
 
 90 
 
 Planing principal piazza and rafters, 
 
 
 3* 
 
 20 
 
 00 
 
 1995 ft. common floor, 
 
 
 69 
 
 82 
 
 5274 “ clear “ - 
 
 
 5 
 
 263 
 
 70 
 
 145 “ piazza cornice, 
 
 
 60 
 
 87 
 
 00 
 
 242 “ main “ - 
 
 
 70 
 
 169 
 
 40 
 
 112 brackets, main cornice, 
 
 
 40 
 
 44 
 
 80 
 
 36 “ piazza, “ 
 
 
 20 
 
 7 
 
 20 
 
 374 ft. base, 7$ cts.; 526 ft. base, 
 
 
 6 
 
 59 
 
 61 
 
 6 windows in cellar, complete, 
 
 6 
 
 50 
 
 39 
 
 00 
 
 5 “ 1st story “ 
 
 6 
 
 24 
 
 50 
 
 122 
 
 50 
 
 20 
 
 00 
 
 120 
 
 00 
 
 5 “ 3d story 
 
 18 
 
 00 
 
 90 
 
 00 
 
 8 
 
 17 
 
 00 
 
 136 
 
 00 
 
 2 
 
 16 
 
 00 
 
 32 
 
 00 
 
 5 “ 
 
 8 
 
 00 
 
 40 
 
 00 
 
 Principal staircase, 20 steps and risers, 
 
 2 
 
 50 
 
 50 
 
 00 
 
 78 ft. rail and balusters, 
 
 2 
 
 00 
 
 156 
 
 00 
 
 2 newels, - 
 
 16 
 
 00 
 
 32 
 
 00 
 
 Pack staircase, 50 steps and risers, 
 
 1 
 
 50 
 
 75 
 
 00 
 
 2 composite columns, 
 
 25 
 
 m 
 
 50 
 
 00 
 
 4 antae. 
 
 8 
 
 00 
 
 32 
 
 00 
 
 4 Venetian hall doors and trimmings, 
 
 60 
 
 00 
 
 240 
 
 00 
 
 3 entrance doors, 1st story, 
 
 12 
 
 00 
 
 36 
 
 on 
 
 8 principal “ “ 
 
 15 
 
 00 
 
 120 
 
 00 
 
 8 passage “ 
 
 12 
 
 00 
 
 96 
 
 00 
 
 1 pair sliding doors, 2d story, 
 
 
 
 40 
 
 00 
 
 5 principal “ “ 
 
 10 
 
 00 
 
 50 
 
 00 
 
 12 passage, “ “ 
 
 9 
 
 00 
 
 108 
 
 (10 
 
 3 wood mantles, “ 
 
 6 
 
 00 
 
 18 
 
 
 5 pantries shelved complete, 
 
 10 
 
 00 
 
 50 
 
 00 
 
 248 ft. blinds, 
 
 1 
 
 00 
 
 248 
 
 00 
 
 Bath tub, force pump, &c., complete, 
 
 
 
 150 
 
 00 
 
 350 lbs. white lead, 
 
 7 
 
 50 
 
 2G 
 
 25 
 
 10 galls, raw linseed oil. 
 
 1 
 
 00 
 
 10 
 
 00 
 
 7 “ boiled “ 
 
 1 
 
 12 
 
 7 
 
 84 
 
 5 “ spirits turp., 
 
 
 60 
 
 3 
 
 00 
 
 20 lbs. putty, 
 
 
 4 
 
 
 
 12 “ litharge, 
 
 
 6 
 
 
 
 2 “ glue, 
 
 
 25 
 
 
 50 
 
 30 days’ painter’s labor, 
 
 1 
 
 75 
 
 52 
 
 50 
 
 
 
 
 88201 
 
 44 
 
 Design LI. will cost ®S201 44; Design LII. will cost S4030 00; and Design LII1. will cost *3300 00. 
 
 VOL. H. 
 
TABLE 
 
 SHOWING THE CALIBRE, WEIGHT, AVERAGE LENGTH AND COST PER LB. AND FOOT OF PATENT LEAD PIPE FOR 
 
 HYDRANTS, PUMPS, 6 cc. 
 
 Calibre. 
 
 ft inch light, 
 
 Weight per foot 
 lb*. oi. 
 
 133 
 
 Average length 
 leet. 
 
 80 
 
 Calibre. 
 
 14 inch strong, 
 
 Weight per foot, 
 lbs. oz. 
 
 6 5t 
 
 Average lengtk* 
 feet. 
 
 20 
 
 * « 
 
 medium, 
 
 1 1 
 
 70 
 
 it ;; 
 
 extra light, 
 
 3 103 
 
 30 
 
 i inch light, 
 
 1 
 
 75 
 
 
 light. 
 
 4 73 
 
 25 
 
 a <« 
 
 medium, 
 
 1 5J 
 
 60 
 
 “ “ 
 
 medium, 
 
 5 53 
 
 26 
 
 H it 
 
 strong, 
 
 1 lot 
 
 70 
 
 “ “ 
 
 strong, 
 
 6 1C| 
 
 18 
 
 « U 
 
 extra strong, 
 
 2 2 
 
 55 
 
 2 “ 
 
 light, 
 
 5 03 
 
 24 
 
 \ “ 
 
 light, 
 
 1 lot 
 
 65 
 
 •' “ 
 
 medium, 
 
 6 133 
 
 16 
 
 « it 
 
 medium, 
 
 2 2t 
 
 60 
 
 “ “ 
 
 strong, 
 
 7 ICt 
 
 14 
 
 “ “ 
 
 strong, 
 
 2 7J 
 
 50 
 
 2 4 “ 
 
 3-16 in. thick, 
 
 7 133 
 
 28 
 
 “ “ 
 
 extra strong, 
 
 2 12 
 
 45 
 
 “ “ 
 
 1 44 (4 
 
 I 
 
 11 0 
 
 25 
 
 f ;; 
 
 extra light, 
 
 i 103 
 
 69 
 
 
 5-16 “ “ 
 
 13 ICt 
 
 20 
 
 
 light, 
 
 2 13 
 
 47 
 
 “ “ 
 
 | “ « 
 
 16 JOJ 
 
 16 
 
 “ •* 
 
 medium, 
 
 2 ICt 
 
 43 
 
 “ “ 
 
 3-16 “ “ 
 
 9 53 
 
 25 
 
 H U 
 
 strong, 
 
 3 4 
 
 35 
 
 “ “ 
 
 i “ “ 
 
 12 103 
 
 20 
 
 “ 
 
 extra strong, 
 
 3 8 
 
 33 
 
 “ “ 
 
 5-16 “ “ 
 
 16 0 
 
 18 
 
 1 
 
 extra light, 
 
 2 4§ 
 
 60 
 
 “ “ 
 
 i “ “ 
 
 19 103 
 
 13 
 
 
 light, 
 
 2 12 
 
 45 
 
 34 “ 
 
 1 <4 44 
 
 T 
 
 15 0 
 
 18 
 
 .. <( 
 
 medium, 
 
 3 (it 
 
 35 
 
 “ 
 
 5-16 “ “ 
 
 18 bt 
 
 14 
 
 
 strong. 
 
 4 It 
 
 30 
 
 “ “ 
 
 t “ “ 
 
 21 ICt 
 
 12 
 
 * 
 
 extra light, 
 
 2 lit 
 
 45 
 
 “ “ 
 
 7-16 “ “ 
 
 26 10 
 
 10 
 
 
 light, 
 
 3 4 
 
 38 
 
 4 “ 
 
 ¥ 44 44 
 
 16 53 
 
 15 
 
 “ “ 
 
 medium. 
 
 3 103 
 
 32 
 
 “ “ 
 
 5-16 “ “ 
 
 21 0 
 
 12 
 
 u “ 
 
 strong, 
 
 4 2 
 
 25 
 
 “ “ 
 
 3 “ “ 
 
 25 53 
 
 10 
 
 u “ 
 
 extra strong, 
 
 4 Iff 
 
 21 
 
 tt « 
 
 7-16 “ “ 
 
 30 0 
 
 8 
 
 it - 
 
 extra light, 
 
 3 8 
 
 45 
 
 4 “ 
 
 waste pipe, 
 
 5 43 
 
 
 
 light, 
 
 4 5 
 
 30 
 
 4 J “ 
 
 44 44 
 
 5 12 
 
 
 u “ 
 
 medium, 
 
 5 0 
 
 25 
 
 5 “ 
 
 44 <4 
 
 10 0 
 
 
 TABLE, 
 
 SHOWING TIIE THICKNESS OF SHEET LEAD, ACCORDING TO THE WIRE GUAGE, AND WEIGHT PER SQUARE FOOT. 
 
 No. 1 wire gauge, 3i thicknesses to an in 
 
 , 20 lbs. to a sq. ft. No. 
 
 11 wire gauge 
 
 9 thicknesses to an in., 7 lbs. to a sq. 
 
 44 2 “ 
 
 4. 4 
 
 
 18 “ 
 
 “ 
 
 12 “ “ 
 
 10 
 
 44 
 
 
 0 " 
 
 4. 3 44 
 
 “ 4 1-16 “ 
 
 
 Ifil “ 
 
 “ 
 
 13 “ 
 
 12 
 
 (4 
 
 
 5j “ 
 
 u 4 44 
 
 4, 4 1. 
 
 
 loi- “ 
 
 
 14 “ 
 
 13 
 
 44 
 
 
 5 “ “ 
 
 4, 5 .4 
 
 .4 5 
 
 
 14 “ 
 
 
 15 “ “ 
 
 14 
 
 44 
 
 
 4 } “ 
 
 ,4 g 4, 
 
 “ 53 
 
 
 , 2 3 „ 
 
 “ 
 
 16“ 
 
 16 
 
 
 
 4 “ “ 
 
 “ 7 “ 
 
 ,4 5 3 
 
 
 114“ 
 
 “ 
 
 17 “ 
 
 18 
 
 44 
 
 
 3g “ “ 
 
 .. Q 44 
 
 44 G 44 
 
 tt 
 
 10^ “ 
 
 
 18 “ 
 
 20 
 
 «< 
 
 
 3- 44 44 
 
 .4 jj ,4 
 
 44 rj 44 
 
 tt 
 
 9 “ 
 
 “ 
 
 19 “ 
 
 23 
 
 It 
 
 “ 
 
 23 “ 
 
 “10 “ 
 
 44 Q 
 
 “ 
 
 8 “ 
 
 
 
 
 
 
 
 The cost of lead pipe, and sheet lead, is 5$ cts. per lb. 
 
NOTICE. 
 
 The present number of the Architect completes the Second Volume and brings the work to a close. 
 It was begun with diffidence in the author’s ability to (urnish an architectural guide in the erection of rural 
 and suburban residences; but as no one better qualified than himself offered to supply a want which was 
 widely felt, he undertook the task; and the evidences of public approval in the sale of the publication, and 
 the commendations of the press, have afforded undisputable evidences of success in the undertaking greatiy 
 beyond his most sanguine expectations. 
 
 All the designs in the work are original, and were expressly adapted to the social wants of the 
 people of this country, and to the exigencies of our climate. The estimates have all been carefully 
 prepared from practical experience, and have been in no instance under stated. If any errors exist, they 
 will be found on the safe side; so that those who attempt to superintend the building of their own houses, 
 will not find themselves led into unexpected expenditures from following our directions. 
 
 I he success which has attended the attempt of the author to furnish a purely American work on 
 Villa and Cottage Architecture, has emboldened him to commence one on a similar scale, devoted to street 
 architecture or city residences. 
 
 '1 lie last ten years have witnessed great improvements in the construction of city houses, both as 
 regards their interior arrangements and external decorations; but much yet remains to be done to render 
 the moderate sized houses, intended for that numerous class of neither-rich-nor-poor who constitute the 
 life and body of the nation, suited to the refined wants of a free and intelligent people. 
 
 Tnerc can be no doubt that much of the sickness which afflicts families whose habits might be 
 supposed such as would insure them health, are caused by the imperfect manner of heating and ventilating 
 houses; from damp walls and stagnant cesspools. There can be as little doubt that the cost of living 
 might be greatly reduced, while the domestic comforts of families would be greatly increased by bringing to 
 the construction of city houses a thorough knowledge of the principles of heating and ventilating rooms 
 which the scientific discoveries of the age have brought to light. 
 
 In the City Architect all the new improvements in the construction of private dwellings which 
 •have been made in this country and in Europe will be introduced, a great variety of designs and plans on 
 street architecture will be given, and full tables of details of the cost of materials and labor will accompany 
 each plan, as in the plans of Tiie Architect. 
 
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