NOMINATION OF HISTORIC BUILDING, STRUCTURE, SITE, OR OBJECT PHILADELPHIA REGISTER OF HISTORIC PLACES PHILADELPHIA HISTORICAL COMMISSION SUBMIT ALL ATTACHED MATERIALS ON PAPER AND IN ELECTRONIC FORM ON CD (MS WORD FORMAT)
1. ADDRESS OF HISTORIC RESOURCE (must comply with a Board of Revision of Taxes address) Street address:___ 125 W. Walnut Lane ______Postal code:___ 19144 _____ Councilmanic District:__ 8 ______
2. NAME OF HISTORIC RESOURCE Historic Name:_____ George T. Pearson Residence ______Common Name:______
3. TYPE OF HISTORIC RESOURCE Building Structure Site Object
4. PROPERTY INFORMATION Condition: excellent good fair poor ruins Occupancy: occupied vacant under construction unknown Current use:____ Offices ______
5. BOUNDARY DESCRIPTION Please attach a plot plan and written description of the boundary.
6. DESCRIPTION Please attach a description of the historic resource.
7. SIGNIFICANCE Please attach the Statement of Significance. Period of Significance (from year to year): from __ 1893 ___ to __ 1955 ___ Date(s) of construction and/or alteration:____ c. 1893 ______Architect, engineer, and/or designer:___ George T. Pearson ______Builder, contractor, and/or artisan:______Original owner:___ George T. & Mary Pearson ______Other significant persons:______CRITERIA FOR DESIGNATION: The historic resource satisfies the following criteria for designation (check all that apply): (a) Has significant character, interest or value as part of the development, heritage or cultural characteristics of the City, Commonwealth or Nation or is associated with the life of a person significant in the past; or, (b) Is associated with an event of importance to the history of the City, Commonwealth or Nation; or, (c) Reflects the environment in an era characterized by a distinctive architectural style; or, (d) Embodies distinguishing characteristics of an architectural style or engineering specimen; or, (e) Is the work of a designer, architect, landscape architect or designer, or engineer whose work has significantly influenced the historical, architectural, economic, social, or cultural development of the City, Commonwealth or Nation; or, (f) Contains elements of design, detail, materials or craftsmanship which represent a significant innovation; or, (g) Is part of or related to a square, park or other distinctive area which should be preserved according to an historic, cultural or architectural motif; or, (h) Owing to its unique location or singular physical characteristic, represents an established and familiar visual feature of the neighborhood, community or City; or, (i) Has yielded, or may be likely to yield, information important in pre-history or history; or (j) Exemplifies the cultural, political, economic, social or historical heritage of the community.
8. MAJOR BIBLIOGRAPHICAL REFERENCES Please attach a bibliography.
9. NOMINATOR
Name with Title_ Jorge M. Danta, H. P. Planner II ______Email___ [email protected] ______Organization__ Philadelphia Historical Commission ______Date__ 26 November 2012 ______Street Address__ City Hall, Room 576 ______Telephone___ 215-686-7660 ______City, State, and Postal Code___ Philadelphia, PA 19107 ______Nominator is is not the property owner.
PHC USE ONLY Date of Receipt:______Correct-Complete Incorrect-Incomplete Date:______Date of Notice Issuance:______Property Owner at Time of Notice Name:______Address:______City:______State:____ Postal Code:______Date(s) Reviewed by the Committee on Historic Designation:______Date(s) Reviewed by the Historical Commission:______Date of Final Action:______Designated Rejected 3/16/07 Section 5: Boundary Description
The boundary of the resource encompasses a rectangular lot located on the north side of West Walnut Lane. The boundary of the resource begins at a point located at a distance of 279’9” west from the northwest corner of McCallum Street and Walnut Lane. From this point the boundary line extends west along Walnut Lane, 60’, and extends in depth, northward, at a right angle to Walnut Lane, 91’10”, including a 3’9” wide alley. The boundary line then extends east, perpendicular to Walnut Lane, 60’. The boundary line then moves south, at a right angle to Walnut Lane, 91’10” back to the starting point.
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Section 6: Description of Building
This unusual house located at 125 W. Walnut Lane stands out amidst the parade of remarkable houses that line both sides of Walnut Lane. The house is unusual in its overall design as well as its placement on the lot. The house presents two primary volumes, a three-and-one-half story main block and a two-and-one-half story wing, and three secondary volumes, a two-story rear section attached to the main block and wing and two one-story rear additions at the back of the assemblage. The main block of the house sits close to the sidewalk along the north side of Walnut Lane; while the wing is located to the west of the main block and recessed from the street. The space created by the set back of the wing is enclosed by a brick garden wall laid in Flemish bond and topped with a limestone cap, which boasts corner limestone balls. The roof lines over the house are intricate. The main block has a gambrel with a Dutch gable, and the wing a gambrel with a turret.
The main block of the house has several exterior finishes. The first and second stories are rendered in textured stucco. The third story is finished in half timbering on its west elevation, and a Dutch gable on its south elevation. The gable is laid in Flemish bond brick work. The historic roof is green slate. Some sections of the roofing have been replaced with asphalt shingles. The south elevation has a single register of windows that extends all three stories. The first and second floors have ganged wood double-hung windows. Each window has leaded and stained glass. The third floor window is a triple casement window in the Gothic style with diamond pattern leaded-glass. Each window has a decorative Gothic hood over the lintel. The west elevation of the main block has a register of windows that extends three stories. The same pattern, a wood double-hung two-over-one window, is found in each floor. The upper sash is in the Gothic style with diamond leaded glass. The same window type is repeated in the third story along the west elevation as a single window, without a corresponding register below. The attic story along the west elevation has a single window in the middle of the gable end. The window is a wood six-light casement. The east elevation of the main block is faced in textured stucco and it is mostly a blank party wall, with some punched windows. This elevation is mostly obscured by thick vegetation on the neighboring parcel. A single brick chimney is located above the gambrel. It has a brick and terracotta cap.
The wing has an enclosed porch at ground floor. The enclosure wraps around the corner to the west and extends to the middle of the west elevation of the wing. The porch has a total of seven bays; four on the south elevation and three on the west elevation. The easternmost bay of the porch contains a single-hung wood window with leaded-glass transom. The bay to the west of that window has a wood door with decorative metal work that leads into the enclosed porch space. The two remaining bays on that elevation have wood windows. The same window pattern is repeated in both bays; it consists of a six-light transom with Gothic arches and six square lights below with panels. The three bays on the side have the same window pattern minus the lower panels. The west elevation of the wing is finished in common bond brick at ground floor and a single double-hung window. The porch has a pent eve with a metal roof along the south elevation only. The second floor has a three-sided bay along the south elevation with half timbering and slate. The rest of the wing is finished in half timbering. The roof over the wing is a gambrel with a turret. The roof is covered in slate. Some sections of the roofing have been replaced with asphalt shingles. The south elevation has a single window at the second floor; a ganged double-hung wood window with arched lower and upper sashes. The west elevation along the wing has two windows; each is a double-hung three-over-one wood window. The upper sash has Gothic arches and leaded glass. The third floor has a single window in the middle of the gable. The window is a ganged casement with leaded glass. At the third floor of
125 W. Walnut Lane / George T. Pearson residence. Page 4 the wing, where it meets the main block, there are two ganged casement windows facing W. Walnut Lane.
A two-story section of the house stands behind the main block and to the east of the wing, connecting to both. It has a flat or nearly flat roof. A two-level roof deck was added to this roof about 2009. The primary level of the deck is located on this roof; stairs lead up from this primary level to a second, higher-level deck located on the wing section of the house.
Two one-story rear additions stand behind the two-story section. The first has a shed roof pitched to the west. The second has a gable roof with its ridge parallel to W. Walnut Lane. The second, rearmost addition was erected about 2011.
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Images of the house and setting
Photographs taken by author in December 2012
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Photograph taken by author in December 2012
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Historic image of the house (Philadelphia Historical Commission files c. 1959)
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Section 7: Statement of Significance.
The George T. Pearson residence, located at 125 W. Walnut Street, possesses great significance as an outstanding design by the renowned Philadelphia architect George T. Pearson. It is an exceptional and unusual example of the Queen Anne style as practiced by George T. Pearson. It retains a high degree of integrity. The George T. Pearson residence meets Designation Criteria C, D, and E of Section 14-1004(1) of the Philadelphia Code.
C- Reflects the environment in an area characterized by a distinctive architectural style; or,
D- Embodies distinguishing characteristics of an architectural style or engineering specimen; or,
E- Is the work of designer, architect, landscape architect, or designer, or engineer whose work has significantly influenced the historical, architectural, economic, social, or cultural development of the City, Commonwealth or Nation.
Tulpehocken Station
The area directly adjacent to Tulpehocken Station has been described as one of the earliest suburban developments in the nation (Mintz 1). Germantown was first settled in the late 17th century by Quaker and Mennonite German immigrants. The settlement had a permanent population from its earliest days. By the late 18th century it became a popular destination for wealthy Philadelphians, where they spent the hot summer months. Cliveden, the Chew family estate, is a superb example of the late 18th-century country estates that were built for seasonal occupation. The Philadelphia, Germantown and Norristown Railroad (PG&N) was created in 1832 (Mintz 5), establishing the first railroad link between the city of Philadelphia and Germantown. The convenient access to the area, provided by the railroad, spurred the first wave of suburban development for upper middle-class families, allowing commuters to reside in Germantown year-round. The area that eventually became the Tulpehocken district was originally made up by two large farmsteads. Suburban development of the land began in 1849 with the opening of Tulpehocken Street and Walnut Lane (Mintz 5). This development took place prior to the 1854 Act of Consolidation, which annexed Germantown into the City of Philadelphia.1 The earliest development concentrated near Germantown Avenue where the transportation lines were located. The creation of the Chestnut Hill Line by the Pennsylvania Railroad in 1884 and its Tulpehocken Station stop on the railroad allowed development to move further west and away from Germantown Avenue. Thus the area showcases an outstanding collection of suburban domestic architecture that spans from the mid 19th century to the first decades of the 20th century.
The house at 125 W. Walnut Lane dates from the earliest development of the area, when properties were serviced by the lines along Germantown Avenue, not the suburban line of the Chestnut Hill line. The land on the north side of 100th block of Walnut Lane was parceled as early as 1850. The relatively small parcel on which the present house stands was purchased by Tobias Herbst in 1852. He subsequently erected a three-story house between 1852 and 1854. The original house was a single block, which conforms roughly to the foot print of the existing main block of the present house. The outer load bearing walls of the present house likely retain
1 1854 Act of Consolidation: An act passed by the City Assembly on 12 April 1854, which incorporated into the City of Philadelphia the districts of Spring Garden, Northern Liberties and all the townships located within the County of Philadelphia, including the Moyamensing Township. The main reasons for the consolidation were to streamline tax collection and strengthen a weak, fractured and ineffective police force.
125 W. Walnut Lane / George T. Pearson residence. Page 9 a high degree of 1850s fabric. Mr. Herbst was a carpenter by trade. The house was then sold to George Nichols in September 1865 (Transfer of Deeds 49N24-0022).2 Mr. Nichols was a broker. George T. Pearson purchased the house in 1893 for $10,000 (Halsey, 1965). Upon purchase, he remodeled and enlarged the property with the addition of the two-and-one-half story wing to the west. The cost of the construction was $6,643 (Halsey). The small alley behind the property was purchased by Mr. Pearson by 1907 (Transfer of Deeds 49N24-0022). The 1900 census record shows that George Pearson and his wife, Mary Pearson, as well as their son Roderick Pearson, occupied the property. George Pearson lived in this house until his death in 1920. His son, Roderick owned the house until 1955 when it was sold outside the family (Transfer of Deeds 49N24-0022). Pearson’s 1893 design, with all of its character-defining features, is still evident in the exterior appearance of the house today. The house and its setting remain today almost exactly as it appeared when it was modified in 1893.
George T. Pearson
George T. Pearson was born on 7 June 1847 in Trenton, New Jersey, where he spent his childhood. He attended the New Jersey Model School and Trenton Academy. Typical for architects of his generation, he apprenticed in a firm, rather than attending university. His first architectural apprenticeship was held at the office of Charles. G. Graham in Trenton, New Jersey. Pearson was living in Philadelphia by 1871, at which time he worked for Addison Hutton. He opened his own architectural office in 1880 (Tatman 595). Pearson never worked with a partner and remained the sole designer throughout his career.
He is chiefly known as a residential architect who designed Queen Anne style mansions for Philadelphia’s mercantile and industrial capitalist elite. The majority of his commissions can be found locally, particularly in the Germantown and Mt. Airy sections of Philadelphia. In addition to his local designs, he erected major buildings in Virginia, Ohio, and Florida (Tatman 595). Very prolific, Pearson reportedly designed three hundred houses during his first seven years of independent practice. Not limited to residences, he also designed a number of resort hotels, churches, and a few office buildings. John B. Stetson, the famous Philadelphia hat maker, commissioned Pearson to design a residence, factory buildings, and Stetson University in Deland, Florida. His work was frequently published in national periodicals.
A multi-talented builder, designer, musician, and artist, Pearson was also a member of the T- Square Club, a select group of Philadelphia architects, followers and practitioners of the Arts and Crafts philosophy, who were independent of the Philadelphia Chapter of the American Institute of Architects (AIA). He died 9 January 1920 (Tatman 595). After his death, Pearson faded into obscurity as the late nineteenth-century eclecticism he practiced fell out of fashion.
Queen Anne Style
The Queen Anne style originated in England in the last third of the 19th century and began to appear in the United States in the early 1880s (Lanier 159). The style evolved out of the theoretical writings and influences of Augustus Pugin, John Ruskin and William Morris.3 It
2 All dates of sale or transfer of the property were gathered from the Transfer of Deeds records. The property can be located under 49N24-0022 and 049N24-0001.
3 Augustus Pugin (1812-1852), John Ruskin (1819-1900), and William Morris (1834-1896) were the three most influential English theoreticians of the 19th century. Their combined works and writings influenced all aspects of English fine arts from architecture to literature to wall paper. They shared a strong dislike for the mechanization of the industrial revolution and idealized the arts of the craftsman, specially the medieval craftsman.
125 W. Walnut Lane / George T. Pearson residence. Page 10 rejected the rapid industrialization of the 19th century and the changes such evolution introduced in the building trades. The style aimed to capture the simplicity of pre-industrial life in the domestic realm. Ironically, the vast majority of domestic architecture in the Queen Anne style was financed by wealth made in capitalist ventures and industrialization. Owing to its origins in England, it specifically rejected Classical, Gothic and Renaissance precedents as too foreign, although it frequently borrowed certain elements from these styles (Trachtenberg 491). Instead, architects designing in this style looked for inspiration to domestic architecture from the period roughly encompassed from the Tudor dynasty to the reign of Queen Anne in the early 18th century. The style is characterized by contrasts of forms, materials, and textures. The use of asymmetrical massing, steeply pitched roofs, and surface texture are its key components (Lanier 159). It is a style mostly associated with domestic architecture, primarily suburban. The style, however, was also widely used for hotels, apartment buildings, and small commercial buildings.
George T. Pearson was a highly original designer. His designs often include radical asymmetries, and grouping of decorative elements from diverse historical styles, which is typical of the Queen Anne style. He established his own practice in 1880. The designs from this early period tend to be more in line with national trends in the Queen Anne Style, such as his design for the residence of Mrs. Selena Willing at 51 E. Penn Street (Fig.5), which dates from 1882; and the residence for Elizabeth Pearsall Smith at 45 E. Penn Street from 1881 (Fig.6). These two commissions show his fluency with text book examples of the Queen Anne style as adapted to suburban domestic architecture.
His association with the T-Square Club brought him in contact with the principal group of trend- setting Philadelphia architects of his generation. Pearson was influenced by English vernacular examples to a larger degree than most of the best known young architects of the T-Square group.4 English vernacular architecture, as reinterpreted by English architects, such as Richard Norman Shaw,5 comprises Pearson’s primary influences (Fig.7). He was also greatly influenced by American colonial architecture, and his designs in the Colonial Revival style are some of the most accomplished of the period. Pearson continued to rely on these sources of inspiration for many designs throughout his career. Other leading architects of his generation, such as Wilson Eyre most notably, were profoundly influenced by the English Arts & Crafts. They were, however, also significantly influenced by Romanesque, early Italian Renaissance, English Renaissance and English Baroque architecture. Those influences were not as palpable in Pearson’s designs throughout his career. He held a strong association with Queen Anne styles, English late medieval styles, English vernacular, and American Colonial examples. The influence of the Arts & Crafts movement is noticeable in his use of asymmetry, varied materials, and the overall handling of massing and composition. These elements are also fundamental components of the Queen Anne style. Pearson’s suburban domestic designs are arguably some of the most accomplished examples of Queen Anne style architecture in the Philadelphia region.
4 Other lesser known architects from this select group were influenced by the Arts & Crafts movement throughout their careers, Clement Remington (1861-1940), a founding member of the T-Square Club, was one of them. He worked for Pearson from 1889 to 1894.
5 Richard Norman Shaw (1831-1912) was one of the most influential English architects of the second half of the 19th century. He is associated with the creation and spread of the Queen Anne style in England.
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The design for his residence at 125 W. Walnut Lane is an example of a subcategory of the Queen Anne style that is overtly influenced by a particular architectural vocabulary; in this case, the use of elements associated with the Tudor period. The Tudor Revival style in America is an eclectic interpretation that draws from varied sources, and does not copy any specific historical examples found in Great Britain (McAlester 355). Typical of late 19th century eclecticism, the Queen Anne Style practiced by Pearson and his contemporaries freely borrowed from a range of buildings types, which spanned many regional characteristics. The Tudor Revival style, as commonly practiced in America, has some specific elements. It includes the presence of half- timber, and a dominant gable on the front façade, which typically breaks up the massing of a steeply pitched roof (McAlester 355). Although half-timber is often found in more typical Queen Anne style houses, it is frequently reserved for the gable end, or as an accent element such as a bay window. The use of this construction technique in authentic English medieval examples is found throughout the entirety of the building’s envelope or in localized areas of the building, such as upper stories, or gable ends (Fig.8). The location of the half-timber is a result of the particular construction of the building. The use of masonry load-bearing walls would not require the structural support of the timbers, while timber-framed walls necessitate their use. Pearson utilized half-timber in the design for his own house as a principal decorative element of the composition, whether its presence was structurally necessary or not. The timbering visually unites the original mid 19th-century house with the addition to the west into a cohesive, yet wonderfully picturesque ensemble. The addition of a Dutch gable to the composition enhances the beauty of the design. The use of a Dutch gable is not an attempt by Pearson to create an eclectic mélange of styles. As its name implies the Dutch gable is an essential element of the architecture of the Low Countries. Its use in late Medieval England, however, was not rare and the use of Dutch gables in Tudor style buildings is found in both vernacular and high style examples of the period (Figs. 9 and 10). The use of leaded windows with diamond-shaped panes adds to the late Medieval aesthetics of the design.
Pearson’s design for 125 W. Walnut is one of his most peculiar examples of a Queen Anne style house. He also designed several residences in the first years of the 1890s, contemporaneously to this house, that reflect a strong influence of English late medieval architectural vocabulary; primarily Tudor style elements. The Baugh residence at 5920 City Line Avenue from 1891 (Fig.11), and the William T. Tilden residence at 5015 McKean Avenue from 1893 (Fig.12) are two good examples of this “Tudor period”.6 The Tilden residence notably, reflects a high style Tudor vocabulary. The design incorporates key elements of this architectural style; the half- timber, diaper pattern brick work, and the Dutch gable are all present. The building differs from 125 W. Walnut in that it is mostly clad in brick and has a more sophisticated appearance than the simpler cottage aesthetic of his own house at 125 W. Walnut Lane. Notable distinctions between the Tilden residence and the subject house are the isolation of the half-timber to the third story, and the diminished visual presence of the Dutch gable. The cottage appearance of the design for his own house is a noticeable difference from his other contemporary Tudor- inspired designs. It arguably makes this house more significant, since it highlights this particular design from a portfolio made up of more characteristically high style and grander houses for wealthy clients.
The designs from the early 1890s, which are so clearly influenced by late medieval English architecture represent Pearson’s masterful handling of historical styles to create original works of architecture; often quite idiosyncratic as in the case of his own house. The design for the house at 125 W. Walnut Lane is an important example of Pearson’s evolution within the
6 Author’s own quotes.
125 W. Walnut Lane / George T. Pearson residence. Page 12 vocabulary of the Queen Anne style, and his strong association with historic English architecture and its revival manifestations at the time.
Conclusion
The George T. Pearson residence at 125 W. Walnut is a significant house by one of the most important Philadelphia architects of the late 19th century. The house reflects the suburban residential transformation of the Tulpehocken district throughout the second half of the 19th century. The design reflects Pearson’s mastery of the Queen Anne Style and his use of late Medieval English vernacular architecture in innovative ways. It survives without any major alterations. Its setting and all of its original design features are intact. The George T. Pearson residence meets Criteria C, D, and E of Section 14-1004(1) of the Philadelphia Code.
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Section 8: Bibliography
Bromley, Walter S. Atlas of the City of Philadelphia, Volume 7, 22nd Ward. Philadelphia, 1889.
Bromley, Walter S. Atlas of the City of Philadelphia. Philadelphia, 1895.
Bromley, Walter S. Atlas of the City of Philadelphia. Philadelphia, 1901.
Gallery, John A. Philadelphia Architecture. Philadelphia: Paul Dry Books, Inc, 2009.
Halsey, Margaret Germantown Courier, 29 July 1965
Handsome Homes of Germantown, Chestnut Hill, Mt. Airy & Pelham, Germantown Independent Gazette, 1899.
Harris, Cyril M., ed. Illustrated Dictionary of Historic Architecture. New York: Dover Publications, 1983.
Hopkins, George M., Atlas of the Late Borough of Germantown, 22nd Ward, City of Philadelphia. Philadelphia, 1871. http://www.brynmawr.edu/cities/archx/gtp/ http://www.wikipedia.org/ http://smallglassplanet.com http://www.freelibrary.org/ (U.S. census records)
Lanier, Gabriel M. Bernard L. Herman. Everyday Architecture of the Mid-Atlantic. Baltimore: The John Hopkins University Press, 1997.
McElroy’s Philadelphia Directory. Philadelphia: Isaac Ashmead, 1855
McElroy’s Philadelphia Directory. Philadelphia: A. McElroy, 1866
McAlester, Virginia. A Field Guide to American Houses. New York, Alfred A. Knopf, 1993.
Mintz, Elizabeth., Strawbridge, Louise. et al, “Tulpehocken Station Historic District National Register of Historic Places Nomination Form”, West Central Germantown Neighbors, 1984.
O’Gorman, James F., Jeffrey A. Cohen, et al. Drawing Toward Building: Philadelphia Architectural Graphics 1732-1986. Philadelphia: Pennsylvania Academy of the Fine Arts, 1986.
Philadox. Transfer Sheets, book # 49N24-0022 and #49N24-0001 (Philadox.phila.gov)
Puleston, Chris. Illustrated Dictionary of Symbols in Eastern & Western Art. Boulder: James Hall, 1996.
Smedley, Samuel L. Atlas of the City of Philadelphia. Philadelphia, 1862
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Tatman, Sandra L., and Roger W. Moss. Biographical Dictionary of Philadelphia Architects: 1700-1930. Boston: G.K. Hall & Co., 1985.
Trachtenberg, Marvin, and Isabelle Hyman. Architecture: from prehistory to Modernism. New York: Prentice Hall, 1986.
Yarwood, Doreen. Encyclopedia of Architecture. Oxford: Facts on File Publications, 1986.
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Section 9. Illustrations
Fig.1. This 1862 atlas shows the first stages of development along Walnut Lane. The house at 125 W. Walnut Lane is seen on the map just above the L on Walnut. It is differentiated from the other properties owing to its proximity to the sidewalk. (Smedley, 1862)
Fig.2. The 1871 atlas shows the property under the ownership of George Nichols (Hopkins, 1871)
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Fig. 3. The 1895 atlas shows the property soon after the purchase by George Pearson. The foot print of the house, however, does not show the addition of the wing to the west. (Bromley, Atlas, 1895)
Fig.4. The 1901 atlas shows the property with the addition of the wing to the west completed. (Bromley, Atlas, 1901)
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Fig. 5. Selena Willing residence at 51 E. Penn Street designed by George T. Pearson in 1881 shows the characteristic handling of the Queen Anne Style. (J. Cohen photographer)
Fig.6. Elizabeth Pearsall residence at 45 E. Penn Street designed by George T. Pearson in 1881. (J. Cohen photographer)
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Fig. 7. A Tudor revival apartment building in the manner of Richard Norman Shaw. London, England. (Wikipedia.org) 125 W. Walnut Lane / George T. Pearson residence. Page 19
Fig.8. 16th century Tudor Style building with half-timbering throughout. (Cornell University Library)
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Fig. 9. Blickling Hall, built in 1616, Norfolk, England (Wikipedia.org)
Fig. 10. Vernacular Elizabethan building, Norfolk, England (smallglassplanet.com)
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Fig. 11. Baugh residence at 5920 City Line Avenue, designed by George T. Pearson in 1891 (Philadelphia Register Nomination)
Fig. 12. William T. Tilden residence at 5015 McKean Avenue, designed by George T. Pearson in 1893. (Handsome Homes, 1899)
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