pattern books create an american architecture foster...

Pattern Books Create an American Architecture Janet W. Foster GardenStateLegacy.com Issue 9 September 2010

The vernacular building traditions in 18th

and early 19th century New Jersey, andindeed throughout the American

colonies, were passed along through mastersteaching apprentices, and through the sharedvision within communities of what buildingswould be made of, and what they would looklike. But vernacular architecture, though rootedin traditional craft practice, was not staticthrough time. Rather, vernacular architectureslowly adopted design motifs and details offashionable architecture. But how did builderand client know about changes in architecturaltaste absent glossy magazines and design-filledtelevision programs?

Since the 18th century, carpenters andbuilders learned about what was fashionable inarchitecture through books. Large, illustratedfolios were typically owned by men of meansand considerable education; English editions ofthe famous 16th century Italian architecturetreatise by Palladio served as a key element ofthe library of a self-styled American“gentleman.” Other European architectsproduced folios of their own designs throughthe 17th and 18th centuries, though alwaysgrounded in the classical orders, and oftenillustrating surviving classical buildings asmodels of particular details. In order to have thegentlemen’s homes as fashionable as possible,these folios would have been shown to thecarpenters who created them; they in turn mightre-use ideas illustrated there in other works theyproduced. The illustrations of high-stylearchitecture as shown in architectural booksgreatly influenced the design and details of

buildings great and small, and in the hands oftalented craftsman, gave rise to an originalitythat helped individuals to transcend theirbuilder’s training to become, functionally,architects.

Builders and carpenters also had their own“builder’s books”—barely illustrated but dense


ILLUSTRATION 1: Plate XLII from the second book ofAndrea Palladio’s Four Books of Architecture, published inEnglish, in London, in 1738. Il Quattro Libri dell’Artchitettura was first published by the Renaissancearchitect in 1570. The facades illustrated in architecturalfolios like Palladio’s were influential in the design of formal“Palladian Georgian” houses for the wealthy of the 18th

century colonies.

ILLUSTRATION 2: Plate from James Gibbs, A Book of Architecture, published in London 1728. Gibbs was an Englisharchitect who transformed Palladio’s multi-part classically-informed villas into country houses for an English climate.Gibbs’ book, a large folio of designs for grand buildings, was known to have been in the American colonies and wouldhave influenced the design of grand houses and civic buildings of the 18th century.

with information on how to calculate the timberneeded for a building of a particular size, howto charge for moldings and other decorativetrim; and how to calculate the geometry of anarched window opening. Builder’s books were“for the trade” and had little or no informationon the appearance of buildings. That would bedeveloped out of vernacular tradition, aknowledge of existing buildings and theapplication of details and design elements foundin the architectural folios.

As with so many other things in the arts, the

years following American independence werecharacterized by the pursuit of a new,“American” form—in art, music, literature, andof course, architecture. Much of the“Americanization” of the arts was a response tothe different climate and social and economicconditions in the new United States,representing an evolution of European ideasrather than a radical reinvention. So it was incommunicating building information. A NewEngland carpenter, Asher Benjamin(1771–1845), put down in book form his

ILLUSTRATION 3: The five-part composition of the impressive house built for Cavalier Jouet in Elizabeth, New Jerseyin 1757–60, shows a clear debt to the Palladian compositions rendered in architectural folios. The house is simplifiedand adapted for construction in colonial America—Palladio’s intent would have been for stone or brick stucco-coveredto look like cut stone; the Jouet house was brick with stone quoins. But the symmetrical façade, the large center blockand symmetrically flanking service wings, and the articulation of a center entry with pediments and other classicalmotifs from non-domestic architectural sources, shows that the Jouet house was one of many built in colonial Americato be informed by the Renaissance master’s published designs. Drawing from HABS.


practical experience along with his admirationfor the classical orders, and created the first“pattern book” in 1797. It was a combination ofthe architectural folio and the builder’s book; ithad plenty of text and mathematical formulas tohelp the carpenter learn “how to” but it also hadmore illustrations than any previous bookintended for tradesmen. The clear line drawingsillustrated how the classical orders could be puttogether at different scales and in differentplaces on a building to create fashionablefireplace surrounds, and cornices. The CountryBuilder’s Assistant, as it was titled, gives a clearidea of who Benjamin imagined his audience tobe—builders who did not have the benefit oflearning about new architectural styles andtechniques in the growing east coast cities like

Boston, New York, Philadelphia and Baltimore,where high-style architecture was being created.The Country Builder’s Assistant illustrated wholetownhouses, country houses and churches, withplans and elevations, something that the earlierarchitectural folios had done. The designinfluence was Adamesque, or Federal, with anoverall elegant simplicity.

The architectural pattern book—usually amodestly-sized book which would be useful tobuilder and client alike—took hold in theUnited States and had remarkable influence onthe built environment all through the 19th

century. Asher Benjamin published two morepattern books in his lifetime, his most famous,The American Builder’s Assistant, being reissuedsix times from 1806 to 1827. The last editions ofthis book introduced its audience to the GreekRevival style, then coming into prominence

ILLUSTRATION 4: Illustration from Asher Benjamin’s TheAmerican Builder’s Companion (1827 edition). Thebuilder’s book origins of Benjamin’s work is evident is thisillustration from his second, and most popular patternbook. It shows how the proportion of a Doric column isrelated to its height and width, and offers mathematicalformulas for keeping those proportions whether the Doriccolumn was used for a front entry or a fireplace surround.

ILLUSTRATION 5: Plate 51 from Asher Benjamin, TheAmerican Builder’s Companion (1806 edition). Benjamin’spattern book combined large, clear illustrations like this ofa few building types—this townhouse, a church, a countryhouse—bringing together information found throughout thebook into a suggested design for an entire structure.


nationally in urban centers like Philadelphia andNew York. The Greek Revival style was typicallymarked by broader entablatures and bolder,more robustly-proportioned columns than thepreceding Federal period had used. GreekRevival buildings are most immediatelyidentifiable by the prominent placement ofcolumns in a front-facing pedimented portico.

For both his built work and his publications,Asher Benjamin was called an architect by theend of his career, although there is no evidenceof formal training in that field. His innovation in

combining the architectural folio with thebuilder’s book to create the pattern book formallowed many carpenter-builders acrossAmerica to venture into “design” by using theillustrations and the text within the pattern bookto creatively meld vernacular structural systemswith fashionable architectural details. LikeBenjamin, others came to call themselves“architects” as a mark of their professionalismand mastery of their craft by the end of theircareer.

Benjamin’s works were followed on the

ILLUSTRATION 6: The Edward Sharp House, Camden, NJ. The Edward Sharp house in Camden, New Jersey,clearly derives it round-arched doorway opening, decorative paneling between the door and fanlight above, and itsplanar façade with beltcourse from Benjamin’s publication.


national scene by the books of Minard Lafever(1798–1854), born in Morristown, NJ, andapprenticed as a carpenter in Syracuse NY,where he grew up. As a young man, Lafevermoved to Brooklyn, one of the fastest-growingcities in the entire country in the 1830s. Lafeverlearned not only the short-cuts carpenters weredeveloping in the field to handle theoverwhelming demand in Brooklyn for newtownhouses, new churches, and newcommercial blocks, but he also saw and studiedthe designs being executed in nearby Manhattanby men who really were trained architects, suchas Ithiel Town and A.J. Davis. Their newstructures in the Greek Revival style, and alsothe Gothic Revival style, were the most modernbuildings around, despite their overt referenceto ancient historical precedents in their designdetails. Lafever, perhaps thinking of hiscomrades back in Syracuse, and elsewhere inthe growing United States, set down illustrationsof these new buildings and his own text on howto build in the Greek Revival style in a patternbook entitled The Young Builder’s GeneralInstructor (1829). A few years later, Lafeverpublished again. The Modern Builder’s Guide(1833) has more illustrations, and a moreassertive and confident tone about the uses ofthe Greek Revival style as way of creating“modern” buildings. Lafever, too, did severalpattern books in his lifetime, and they were veryinfluential in spreading the Greek Revival styleacross the country.

In the 1830s and’40’s, “modern” Americanarchitecture could be, unselfconsciously,derived from models hundreds or eventhousands of years old and originating in placesfar from the United States. What was “modern”was the recycling of key elements of historicalstyles for their visual and emotional impact onpeople primed by Romanticism to want to be“moved” by the arts. Concepts like “picturesque”emerged as a way of complimenting buildingsthat appeared visually interesting, andexpressive of the emotional ideals associatedwith Romanticism. Contrasting itself to therationality and timelessness of Classicism,Romantisicm argued that feelings and emotionswere powerful parts of the human condition,

View of the Phoenix House, Mendham, NJ.

Aaron Hudson (1801–1888) was a prolific

carpenter-builder who resided in Mendham and

Chester New Jersey for most of his life. By the

time of the 1850 census, he was described as an

“architect” and his work is clearly indebted the

pattern books of his era. Like Asher Benjamin

and many others in the first half of the

nineteenth century, he earned the title architect

through learning about building construction. A

natural interest in design, a keen eye, and the

help of books to show him architectural ideas

formed the rest of his self-taught architecture

degree. Hudson is credited with the portico of

the Phoenix House in Mendham, shown here.

Built about 1800 as a private school in the

Federal style, the brick building was updated to

a hotel about 1840 through the addition of a

two-story portico in the Greek Revival style

such as Hudson may have seen in a pattern

book by Asher Benjamin or Minard Lafever. The

bold entablature and heavy square pillars

present a strong stylistic statement to the street,

making the building itself a billboard for the

fashionable and clients the hotel no doubt

wanted to attract.


and needed to be cultivated.Earlier builder’s books spent much time on

outlining classical proportions as something tobe followed in order to create a “good” building;Romanticism espoused the idea thatproportion’s utility was in helping a viewerunderstand a building in order to experience itsmeaning. Different building elements wereintended to recall emotions and ideas—hence,the pointed arch of the Gothic Revival came tostand for Christian piety and spiritualdevelopment; the pedimented portico of the

Greek Revival was meant to convey strengthand the ability to last for a long time (hence thestyle’s particular affiliation with banks!); theItalianate style in its many iterations wasintended to convey the comfort of life inMediterranean villa; with classicism temperedand rendered informal by domesticity.

The Romantic Revival styles in architecture,as a group, encompass the post-1830 uses of theGreek Revival, and of the Gothic Revival, theItalianate Revival, the Swiss Chalet, and theRomanesque Revival, all of which werefashionable in American architecture in the mid-19th century. The Romantic Revival ideals of“picturesqueness” was embodied in all thesestyles through an interest in asymmetrical façadearrangements, colors that blended withsurroundings, and connections to naturethrough porches and larger windows). Thepopularization of the picturesque ideal with theAmerican home-building public is due in nosmall measure to the pattern books of AndrewJackson Downing.

Downing (1815–1852) was trained as ahorticulturalist, and landscape design was hisfirst love, but he expanded his scope to includethe landscape, the buildings set in thelandscape, and the furnishings within theILLUSTRATION 7: Lafever’s “Design for a Country Villa” in

The Modern Builder’s Guide shows a pedimented porticoon square pillars (round columns of two-story height beingbeyond the skill of many country carpenters in America inthe first half of the 19th century, and beyond the cost-tolerance of many clients) as a “modern” interpretation ofthe Greek temple as an American house. Although AaronHudson modified this design to be incorporated with atraditional full two-story, five-bay house, the placement anddesign of the four-pillared portico is very likely fromLafever’s published work.

ILLUSTRATION 8: Aaron Hudson House, ca. 1840,Mendham, New Jersey. The architect-builder AaronHudson built this home for himself and his family,incorporating the latest Greek Revival design elements intoa small village. Along with Hudson’s Phoenix House hotel,which stands just down the block, the two buildings gavethe village of Mendham considerable design cachet, andbrought Hudson considerable fame (and clients).


buildings. In short, Downing was the firstAmerican “home design” guru, who marketedhis taste for the Romantic Revival through hispattern books. The first was most strictly aboutlandscape; but his next, Cottage Residences(1842) marked out new territory for the patternbook by focusing its attention on the potentialhome-builder. No longer a publication for theeducated elite, but for the masses, and no longeraimed at carpenters, the pattern book Downingcreated was pure design information primarilyfor the public.

The house in Downing’s first importantpattern book illustrated many features of theRomantic Revival style—the house has a“picturesque” roofline with a center cross-gable;extended roof eaves accented by large brackets;porches to connect the interior of the housewith Nature and offer sheltered places fromwhich to enjoy the natural world; and it is to bemade of local stone in order to blend with its setting.

The books contain much text, but unlikeearlier pattern books by carpenter-builders, thetext has very little to do with the mechanics ofbuilding. Instead, the books emphasize themerits of home-ownership in a suburbanlocation (away from the filth and unwholesomeair of the industrial city); the personal rewards ofgardening even a small plot of land; thepracticalities of furnishing a house fashionablyILLUSTRATION 9: Design V, “A Cottage Villa in the

Bracketed Mode,” Cottage Residences, 1842.

ILLUSTRATION 10: Willow Hall, inMorristown, is a nearly line-for-linecreation from Downing’s pattern book.Willow Hall was constructed in 1848 forGeorge Vail, a manager of theprosperous Speedwell Iron Works, aNew Jersey legislator, and two-termmember of the US House ofRepresentatives. The house is made of“puddingstone,” a local conglomeraterock of purple hue.


but tastefully, and the moral improvement tofamily life when carried out in an appropriatesetting. As he himself was not an architect,Downing enlisted help from acquaintances whohappened to include some of the notablearchitects then practicing in New York.Downing’s book used small illustrations ofdesigns by AJ Davis, Calvert Vaux, and others;but only a few of the architect’s works areattributed in the pattern books. Thus, thepointed gable cottage has come to us known asa “Downing design” although he was not thedesigner. But as a shrewd editor and promoter,he brilliantly made Romantic Revival designaccessible to and desirable by a large swath ofmiddle-class America in the 1840s and ’50s.

Downing himself died an untimely death ina steamboat accident on the Hudson River. Atthe time of his death he was preparing plans forturning the mall in Washington DC into aRomantic landscape of winding paths, shrubsand flower beds intended to provide a

“picturesque” setting for the newly–completedWashington Monument and the SmithsonianInstitution. His books continued to be publishedposthumously until 1872, by which time thedesigns had become somewhat “old fashioned”but versions of his 1840 cottages continued tobe built, particularly in frontier communities inthe expanding American west, a generation aftertheir prototype was first published.

Downing’s books brought him (and later, his

ILLUSTRATION 11: Alexander Jackson Davis, architect ofNew York, prepared this design for a picturesque cottage inthe 1830s. It is clearly the prototype of the cottagesAndrew Jackson. Downing popularized through his patternbooks in later decades.


ILLUSTRATION 12: "Design II, "A Cottage in the Englishor Rural Gothic Style" from Downing's Country Housesshows how the designs of practicing architects, like AJDavis, were used to illustrate pattern books, making high-style architecture known and available to a wide audience.

widow) fortune, so it is hardly surprising that ahost of imitators quickly appeared in the 1850s.Samuel Sloan of Philadelphia, Gervase Wheelerof London and then Hartford, Connecticut,Calvert Vaux of New York, and others all put outpattern books promoting the Romantic Revivalstyles in a format similar to Downing’s. Theothers lacked his moralizing view of the subject,and usually neglected landscape andfurnishings. Of this crop of Romantic Revivalpattern book authors, most remained architect-builders, and they tended to include informationon how to build as well as what to build.

Samuel Sloan’s pattern book, The ModelArchitect, of 1851, is important as one of theearliest national publications to illustrate andexplain balloon framing, the new system forputting up structures invented in Chicagoaround 1837. Derived as “balloon” framingbecause it created a wooden frame from

uniformly dimensioned lumber and nails thatappeared “as light as a balloon” in contrast tothe older, heavy timber framing system that hadlong been the expected method of construction.

The designs in pattern books by Downingand his contemporaries were informational—that is, like the earlier architectural folios theywere held up as design examples, to beemulated to greater or lesser degrees. The factthat there are several astonishingly accuratereproductions of published designs is atestament both to the books’ persuasive powerswith the public, and to the skill of the carpenter-builders of the mid-19th century who broughtthem to life. Although the pattern booksincluded a facade elevation, (and sometimes aside view) and a floor plan (sometimesdimensioned), it took considerable skill on thepart of the carpenter-builders to take thoselithographed images of a building from a pattern


ILLUSTRATION 13: A Romantic Revival style cottage in New Jersey owes it design to the influence of the RomanticRevival Movement as promoted by AJ. Downing in his pattern books, and to the skill of local carpenter-builders intranslating the pattern book designs to real houses.

book, and transformed it into a life-size, fullyoccupiable building. They improvised thedetails of construction, drawing from theirpractical experience. For the design details, theycould turn to a hither-to unavailable source forbuilding materials—the factory.

Romanticism became popular in the arts atthe very moment industrialization kicked intohigh gear in the United States. Coal burned toproduce steam; steam under pressure turned thepistons and the rods; and suddenly there weremachines to do inexpensively many tasks thathad been time-consuming, craft-driven, andexpensive. The wooden detailing ofbargeboard, finials, porch brackets and turnedcolumns, and window hoods (all of which wecollectively lump together and describe today as“gingerbread”) was created in wood-workingfactories, using the images found in the patternbooks by Downing and his imitators. The“picturesque” could, in fact, only be pursued inarchitecture when the decidedly un-picturesqueVictorian factories were operating under cloudsof coal smoke.

Post Civil War, pattern books played a keyrole in shaping the appearance of housingdevelopments. While Downing and others hadpromoted a suburban life as the antidote to theindustrializing city, suburbanization as a massphenomenon was not possible untilimprovements in railroads and trolleys alloweda significant number of people to the move to

out of the city proper. Real Estate promotersfollowed the railroads, dividing up land intosmall, house-size lots and extolling the fresh airand ease of commuting to the big cities wherecommerce and business employed the growingranks of the middle class. New Jersey—sittingbetween Philadelphia and New York, and withsuccessful industrial cities of her own inPaterson, Newark, Trenton, and Camden,became the most fertile ground for suburbandevelopment anywhere in the country.

The first planned suburb in the United Stateswas Llewellyn Park, New Jersey. Promoted withthe help of architect Alexander Jackson Davis,this suburban retreat for the wealthy featuredwinding roads, instead of the typical grid planstreetscape, to enhance the “picturesque” effectsof the wooded, hilly landscape. Several housesbuilt within Llewellyn Park and designed byDavis were illustrated by Downing in his patternbooks.

Llewellyn Park was a high-end suburbandevelopment from the beginning, and it remainsthe most expensive section of the Township ofWest Orange, where it still offers a dramaticallydifferent physical setting of natural beauty andapparent seclusion in the midst of metropolitanNew York. But other suburban developmentsalso followed the rail and trolley lines acrossNew Jersey, creating densely d street plans withlots of 25’ x 100’ or 50’ x 125’—an urbanizedgrid but one which allowed land to be cheaply


ILLUSTRATION 14: Design XXVII, Plate V,from Samuel Sloan, The Model Architect,showing how balloon framing could help amodern house take shape. The framingsystem allowed for more flexibility of design,making it possible for the Romantic Revivalstyle house to have larger windows, projectingbays, and the irregular profile so beloved inthe period as the emblem of“picturesqueness.”

sold with the promise of building a single-familyhouse. Downing and his contemporaries hadprimed the American middle class with the ideaof the importance, even moral imperative, ofbuilding and owning a single-family home; afterthe Civil War it was more possible for more

people than ever before.It should be no surprise then that there

emerged in the state a number of people whowere real estate speculators, builders, andpattern book authors all at once, among themGeorge Woodward, Daniel Topping and ElishaHussey. Men of some architectural or buildertraining, they saw a chance to make theirfortune by buying up land along the railroadlines pushing out to the country, andtransforming it into suburbs. In their patternbooks, they promoted designs in the popular,Picturesque taste, created by their own hand orthose of close associates. This type of patternbook illustrated buildings typically already built,the “show houses” of an emergingneighborhood, in the hope of gaining interestfrom potential residents to build more like themnearby. The promises of the pattern books thatthe neighborhoods would be soon built outwith similar designs often as not did not come

ILLUSTRATION 16: Campell House, Shrewsbury, NewJersey. Built 1860. (Left) Details of bargeboard at eavesand front entry. (Right) A Romantic Revival style housewith direct ties to a plate in Sloan’s pattern book. Thedesign was faithfully copied, even to the board and battensiding, in 1860.


ILLUSTRATION 15: Design XII, Plate LIII, from Samuel Sloan, The Model Architect, published in Philadelphia in 1851.

true; sometimes decades elapsed before theserailroad subdivisions were built out and theirarchitectural vision was rarely completelyconsistent. But the architectural vision was oneof forward-looking design and the patternbooks contributed to the mounting visual“education” for the public on what constitutedan appropriate modern home.

As pattern books aimed for a broader andmore “mass” audience, they became smaller andcheaper in format; going from hardcover booksto paperbacks. But advances in printingtechnology though made it possible to havemore illustrations than ever. The printing andreproduction of line drawings improved somuch that “illustrated” magazines or periodicalsrose in number while decreasing in price andthus making them available to a broadaudience. Interest in design and architecturalfashion brought articles about these topics to themagazines of the latter 19th century, so thatpublications as varied as Godey’s Lady’s Book(women’s fashion and fiction), The AmericanAgriculturalist (farm, livestock, and plantinformation), and Scientific American(innovation and inventions in technology) allproduced regular articles on building.

Sometimes they re-published plates and textfrom existing patternbooks—Downing’s lastappearance in print in the 19th century was inThe American Agiculturalist in the 1870s—andother times, they commissioned architects tocreate designs expressly for their publication.The periodicals were not, it seems, intended tobe used as templates for design, but rather toinform their audience of what was fashionable


ILLUSTRATION 18: Plate 3 of Elisha Hussey’s 1876pattern book, Home Building, illustrated a typical mid-19th

century house built in Hackensack, New Jersey as part ofa speculative real estate venture. The pattern bookdocuments examples of modern “cottages” along a railroadroute that stretched from XX to YY.

The house itself is a classic form developed post Civil Warfor the narrow lots of middle-class suburbia. The front-facing gable and front porch were the focal points ofwooden decorative elements (factory made), which couldtransform the house from “Gothic” to “Italianate” to “Stickstyle,” such as this one.

ILLUSTRATION 17 A rectangular house that fit on therectangular lots of the growing cities and towns of Americawould become the most popular vernacular house of thelatter 19th century. Individual houses were dressed up withdetails from pattern books and catalogs. Such houses canbe found in every town in New Jersey, illustrating theperiod of tremendous house-building and urbanization thattook place at that time.

and appropriate in architecture.The success of the pattern book in making

Americans aware of current trends inarchitecture and design may be measured by thefact that the long-standing regional vernacularbuilding systems were largely abandoned by thetime of the 1876 Centennial celebration ofAmerican Independence, replaced by auniquely “American” vernacular architecture thatwas broadcast through pattern books. Newhouses in New Jersey in 1876 had far more incommon, stylistically and structurally, with newhouses in Iowa or even California than any ofthem had with any buildings in Europe orelsewhere in the world.

Through the power of the printed (andillustrated) word, Asher Benjamin’s dream ofcreating a means of promoting true Americanarchitecture came true more quickly than hemay have dared dream. In the next installment,late 19th and early 20th changes led to the demiseof the pattern book and the rise of the catalogueas the means for fulfilling the American dreamof home ownership.

This article owes much to the morecomprehensive investigation into pattern bookarchitecture presented in Building By The Book:Pattern Book Architecture in New Jersey, byJanet W. Foster and Robert P. Guter, RutgersUniversity Press, 1992. Since the time the bookwas published, more houses built from patternbooks have come to light in New Jersey, andsome of them are presented on the next page.


ILLUSTRATION 19: Isaac Hobbs, a Philadelphia-basedarchitect, produced designs published in Godey’s Ladies’Book in the 1870s. He was particularly fond of the Franco-Italianate, or “French Roof style” and offered many designsin that style. His would not have been the only authorto promote the style, but the wide circulation of themagazine undoubtedly influenced taste to accept thisunusual roof form.

And here's a stumper... here is a beautifully restored house in Frenchtown, NJ,along the Delaware River. It sure LOOKS like it should bea pattern book house, but the author has yet to find a goodsource for it.

Is it a pattern book house?

Does any of GSL’s readers have any information?

Send an email to [email protected]

ILLUSTRATION 23: A typical two-story expression on an “L” plan house, thisone in village of Delaware, NJ.


ILLUSTRATION 21: The Downingpatternbook design from CountryHouses, in 1843, that started theinterest in irregular facades and the “L”plan in American houses.

ILLUSTRATION 22: Another Downingpattern book plate with a variation of the“L” plan house.

ILLUSTRATION 20: A house in Franklin, New Jersey, one of the miningcommunities in the northwest part of the state, shows the influence of patternbooks in its “L” plan design and decorated eaves. A key part of the picturesqueaesthetic was asymmetry of building elevations. Downing and other mid-centurypattern book authors introduced and helped popularize the “L” plan, with aprojecting front gable—up until this time, houses had straight, flat facades.

The picture window and the additions extending to the left of the photo are notpart of the original design.

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