The Grange” by John Hubbard Sturgis, 1862-1866

Redesign of “The Grange” by John Hubbard Sturgis, 1862-1866

MARGARET HENDERSON FLOYD

ot only are the histories of many parlor are comparable in elaboration and in great Colonial and Federal houses importance to these other contemporane- N in New England genealogically in- ous structures, which are among the finest tertwined, but their architectural motifs remaining domestic designs of the period. echo one another. In particular, a compara- The great house of early eighteenth- tively short period of intense building ac- century America, in the cases of the tivity in the late 1730s produced for the Royalls and Thomas Hancock, was an Boston area an unprecedented number of emulation of smaller contemporary En- domestic designsof a fully developed High glish country residences by the wealthy Georgian style which are interestingly in- provincial. For Ogden Codman, Sr. (fig. terrelated. The second building campaign 93), the reacquisition of the Codman House between 1732and 1739at the Royall house in 1862 appears to have been a symbolic in Medford, for example, brought that ear- gesture. The new appellation “The lier seventeenth-century establishment to Grange” only serves to underscore Og- the form we know today.’ The Vassal1fam- den’s vision of his role as one of the landed ily, with whom Dr. Charles Russell fled to gentry. Peer houses west of Boston would Antigua at the time of the Revolution, was then have included “The Vale” of Theo- related to the Royalls, who had also made dore Lyman, whose family had been estab- their fortune in the West Indies.2 lished in that American Palladian house in The house of Thomas Hancock on Bea- Wahham (designed by Samuel McIntire of con Hill (1737-1740) was unusual for the Salem) since 1793.5In the same town, Gov- Boston area in that it was constructed of ernor and Mrs. Christopher Gore had also stone. It was of great prominence by virtue built an elaborate domicile, “Gore Place,” both of its location overlooking Boston in 1804,spurred on no doubt by the interest Common and its later historical associa- Mrs. Gore had taken in John Codman’s tions with the signer of the Declaration of campaign of 1797 and 1798 in Lincoln. All Independence. The Hancock House was these were landscaped country seats, legendary for the sophistication of its ex- based on English models6 (See Emmet, terior ornamental detail, executed in this issue.) carved stone imported from the Connecti- cut River Valley, and the elaboration of its interior carving.’ At the same time, the Margaret HendersonFloyd, an assistantprofes- sor in the Department of Fine Arts, lIdIs Uni- wooden Boylston House in Brookline, versity, has indexed and researchedthe Sturgis Massachusetts, a seventeenth-century Papersunder grantsfrom WellesleyCollege and structure, was enlarged to create an the Radcliffe Institute, Harvard. She completed L-shaped country house with equally fine her doctoratein Art and Architectural History in the American and New England Studies Pro- ornamental paneling.4 The Russell housein gram, Boston University, and is now writing a Lincoln was erected in 1739-1741.Its plan monograph on the work of John Hubbard and the surviving paneling in the southeast sturgis. 48 Old- Time New England

Already in the 1850sthere was arising a before the death of his mother) would ap- renewed interest in eighteenth-century pear to have enhanced the genealogical architecture, evidenced in Boston in the symbolism of “The Grange.” When their design of the Arlington Street Church father, Charles Russell Codman, died in (1858), modeled on eighteenth-century En- 1851, none of the orphaned children had glish and American prototypes.’ A specific attained majority. lo The loneliness of debt to Peter Harrison’s King’s Chapel, Richard, only ten at the time and ward of Boston (1749), was voiced by Arthur Gil- his half-brother, Charles Russell Codmau, man, architect of the Arlington Street is a theme in his reminiscences.r’ At age Church, who also led a movement in the fifteen, he was grateful when Charles and late 1850sfor education of the public on the his new wife made a home for him following virtues of eighteenth-century design. Gil- their marriage. Possessingneither mother man, a charismatic writer and lecturer, was nor father, Ogden Codman, Sr. (fig. 86) ap- a major intellectual force in mid- pears to have viewed “The Grange” as nineteenth-century Boston architecture.8 symbolic of family continuity and perma- His concern for the preservation of the nence, as did Ogden, Jr. (fig. 102).** This Hancock House produced several articles proclivity is also evident in Frances Anne on that subject, raising contemporary es- Codman (fig. 81), who, in 1856, at the wed- teem for eighteenth-century design.9 ding of their half-brother Charles Russell to The unusual family situation of the three Lucy Lyman Paine Sturgis in England, met surviving Codman children (Frances Anne Lucy’s brother John Hubbard Sturgis (fig. or Fanny, born in 1837; Ogden, born in 27), the architect, whom she married in 1839; and Richard, born in 1841, four years 1858, thereby making the Codman and Sturgis children of the next generation double cousins.13 By the 1850s an international frame of reference characterized both the Codman and the Sturgis families. Charles Russell Codman, father of Fanny, Ogden, and Richard, had been orphaned at nineteen and spent the first half of his life in Europe, collecting the paintings, furnishings, and art objects which ornamented his Bulfinch-designed home at 29 Chestnut Street (fig. 70), which was established at the time of his marriage in 1836 to Sarah Ogden of New York. Richard, according to his own account, was greatly influenced by contact with that home and credited his father’s art collection with creating the interests which later led him to a career as an interior decorator of some importance from the 1870s onward.r4 Although Richard was the only Codman sibling of the three who revealed artistic sensitivities, Fanny’s marriage to John FIG. 27. JOHN HUBBARD STURGIS (ca. Hubbard Sturgis in New York in 1858 1880). H.S. Mendelssohn, London, photogra- brought an architectural affiliation into the pher. (Boston Athenaeum, Sturgis Papers.) Redesign of ” The Grange” 49

FIG. 28. “THE GRANGE,” LINCOLN, MASSACHUSETTS (ca. 1866). (SPNEA Archives.)

FIG. 29. THE BOYLSTON HOUSE, BROOKLINE, MASSACHUSETTS (1737), ca. 1860, showing the family of Henry Lee in the foreground. (Photograph courtesy of Dr. and Mrs. E.P. Richardson.) 50 Old- Time New England

family. It would appear that John’s inter- architectural firm in Boston, Bryant and ests and his European background may Gilman. The fii was swamped with well have been a force behind Richard’s commissions, specifically for the comple- ultimate move into the related field of inter- tion of the Arlington Street Church, the ior decoration, following the devastating Boston City Hall, and a series of elaborate loss of the family fortunes in 1872 at the mansions along Arlington Street and time of the Boston Fire.is Commonwealth Avenue in the developing Ogden Codman returned from a trip to Back Bay, which itself had been designed India in 1862, four years after the wedding by GilmanzO of his sister Fanny, to acquire the Codman With the return of John and Fanny, the family homestead in Lincoln. He moved families turned out en masse to create quickly toward putting down roots there domestic commissionswhich would estab- with his own marriage in 1861 to Sarah lish John professionally as quickly as pos- Bradlee of Boston. Already internationally sible. During this time he worked not only based, Ogden’s life, as Fanny’s, was also to with Bryant and Gilman but also on his incorporate extended periods of travel. own, providing designsfor a fine series of Not only were the years following the Civil seasidecottages for members of the family War spent in Europe, but after his own and others. Beginning with “Sunnywa- lossesin the Boston Fire, he took his family ters” in Manchester-by-the-Sea, Massa- to live at Dinard, an American resort col- chusetts, for his older brother Russell in ony in France, from 1875to 1884. where his 1862, he also designed a home in Cotuit, son Ogden, Jr. grew up essentially an ex- Massachusetts, for the Charles Russell patriate.r6 Ogden, Jr., in his turn, was later Codmans, and a seaside house, “Land’s one of a group of expatriate Boston intel- End,” on Ledge Road, Newport, Rhode lectuals of the 18!3Os,many of whom were Island, for Sam Ward, his father’s business related to the Sturgis family and the Cod- associate.*’ This last house was later to be mans.” Yet even at the end of his life, in acquired by Edith Wharton, a cousin isolation in France in the twentieth cen- through the New York Newbolds, and tury, Ogden, Jr. continued to be absorbed completely reworked by her and Ogden in his studies of local Massachusettstown Codman, Jr., as the demonstration piece histories. His interest and lengthy corre- for their book, The Decoration of spondence concerning early Boston build- Houses.22 ings, which in the 1880s he had begun to The redesign of “The Grange” for admire and depict with measureddrawings Ogden Codman, Sr., however, was the and photographs,continued to provide him largest and most important of John’s early roots while in exile.‘* (See Metcalf, this commissions (fig. 28). It was clear that issue.) Ogden was soliciting additional clients for The lives of Fanny and her husbandJohn his brother-in-law during this period, for in Hubbard Sturgis also developed on a trans- letters from the early 186Os,Thomas New- atlantic basis over the thirty years of their bold petulantly expressed desire for plans marriage until John’s untimely death in for a house and his admiration of John’s England in 1888. Their first three years architectural abilities, although doubting were spent in Surrey, where John at- that he could have one himself.23 “The tempted to establish himself in architec- Grange” was, in addition to its significance tural practice, and terminated with the as a country seat for Ogden, envisioned as tragic death of their first child, Julia, in the showpiece for John Hubbard Sturgis, January of 1861.In the fall of that year, they an architect trained in England whose made a decision to return to Boston. John background could not have been more suit- then went into partnership with the largest able.24 Aesthetic responsibility for “The Redesign of ” The Grange” 51

FIG. 30. “MOUNT FELIX,” WALTON-ON-THAMES, SURREY, ENGLAND (1836) BY SIR CHARLES BARRY. (Boston Athenaeum, Sturgis Papers.)

Grange” was a collaboration between interest in the three-dimensional and Ogden and John, yet its significance in light baroque ornament of the eighteenth cen- of John’s later architectural career clarifies tury. Much of its wide appeal lay in the its pivotal influence in the development of proportional similarity to the highly plastic his own skills and self-image as an ar- Italianate style which had been popular- chitect, and served as the model for later ized in England during the previous quarter redesignsof the Boylston House in Brook- century by Sir Charles Barry.*’ One such line (fig. 29) which he and Fanny rented work of Italian derivation was “Mount from 1870to 1888,and for many other origi- Felix,” the great villa at Walton-on- nal designs in the nineteenth century. Thames in Surrey, south of London, which he remodeled for Lord Tankerville in 1836 II and which from 1849onward served as the The delicate Federal-period cornice of country home of John’s father, Russell “The Grange” and the “Ionick” capitals Sturgis (fig. 30).26 Visited by all members carved by the talented John and Simeon of the family in their European travels, Skillin for its portico must have looked “Mount Felix” is generally considered to fairly sparseto the eyes of Ogden Codman have been one of Barry’s finest works and and John Hubbard Sturgis as they set to was the model for Osborne House on the work in 1862. The mid-century decades in Isle of Wight, built for Queen Victoria and America had evidenced a reawakening of Prince Albert in 1849 by Lewis Cubitt.27 52 Old- Time New England

This house in turn inspired American prog- and rigidly symmetrical, precisely and dis- eny. Henry Austin’s Morse-Libby House tinctly separatedfrom the landscape (fron- in Portland, Maine (1858-1862), only re- tispiece). Concerned with enhancing its po- cently completed at the time that work tential for the picturesque, Sturgis avoided began at “The Grange,” is consideredto be disturbing the integrity of the main block one of the classic examples of this mode.** while expanding the rigidly rectangular How much more acceptable, then, were plan to both east and west on the ground the vigorously sculptural forms of the late floor. A rectangular bay (echoing that of 1730sfrom the Russell era than the delicate the 1797 “Hall” of John Codman to the and restrained detail of the Federal period northwest) and a porch running the depth executed for John Codman. Approaching of the eastern flank were counterbalanced the problem of the exterior, Sturgis, like with an extension of the southwest parlor most English architects, envisioned him- along the western flank (fig. 24). This self as remodeler and adapter, a point of diagonal placement of two extensions be- view uncommon for an American ar- yond the vertical enclosing walls of the chitect. He changed deliberately and suc- structure created a more flowing and larger cessfully both the elevation and plan of space within. The rectangular modules Codman House, the ornamental detail of produced by the porch in the east and the the facade, and the relationship of the southwestern bay, both one story in height building to its site in an effort to attain and of similar scale, maintained the intrin- aesthetic qualities attractive to the mid- sic symmetry of the main elevation, while nineteenth century. also serving as transition between the The elevation he addressedwas impos- three-story walls and the site. This rela- ing in its height and impressive on a rising tionship was then further enhanced site with sweeping drive, but was simple through placement of a terrace balustrade

FIG. 31. “THE GRANGE,” AFTER 1880. (SPNEA, Codman Family Photograph Collection.) Redesign of “ The Grange” 53

parallel to the south facade, the low and their importance, while allowing a domi- massive proportions of which accentuated nant position for the larger central opening the verticality of the house, one of its more with its curved baroque pediment above attractive features to nineteenth-century the portico.32 eyes accustomedto the excessive height of The relationship between building and the contemporary Italianate style.29 site, already strengthened through the The plan of “The Grange,” already un- manipulation of the eastern and western usually open for a late eighteenth-century extensions, is further enhanced by means plan owing to the double staircase intro- of floor-length windows introduced in duced in 1797-1798, was thus augmented these projections. The terrace balustrade diagonally to the southwest and northeast unites structure and site, and echoes the with Sturgis’s bays. The rear eU, containing similarly-proportioned low parapet on the the kitchen, was apparently left undis- great hipped roof. From the interior, the turbed during the first building campaignof occupants of “The Grange” could look 1862-1866(fig. 28) while its gambrel-roofed outward upon the sweeping lawns and extension (fig. 31) was erected later.30 vistas of the gardens in a fully nineteenth- The facade was embellished with three- century fashion” without disruption of the dimensional ornament, revealing that pen- rigorous fenestration of the Federal build- chant for the sculptural which runs as weU ing’s design, while the space of the public through Sturgis’s designs of the interior, rooms of the house was enlarged to reflect and successfully transformed the Federal that edifying configuration considered de- character of the Codman House of 1797- sirable for late nineteenth-century living.3’ 1798to its present form. The great height of the structure was accentedby Sturgisat the corners with heavy, chamfered quoins. These, which are so often used in the work of Barry and which were prominent at “Mount Felix,” run the full height from sill to eaves, recalling the precedents of the 1730to 1775period of the Russellsas weU3i The intricately carved capitals of the portico were “improved” upon in the columns supporting the eastern porch. The distribu- tion of the windows of the two lower floors derives from the fenestration ofthe original Russell mansion of the 173Os,while the smaller openings above from 1797-1798 create an illusion of that scaled proportion of the fenestration which might have been expected in the Federal period. The identical window openings of these lower two floors lent themselves weU to the recrea- tion of their Georgian origins, which Stur- gis attempted to enhance with the addition FIG. 32. ENTRANCE HALL OF “THE of three-dimensional pedimented lintels on GRANGE” AS REMODELED BY STURGIS. the first floor. The raised lintels of the lat- (SPNEA Archives, photographby Richard eral windows on the second floor increase Cheek.) 54 Old- Time New England

III John Hubbard Sturgis approached the challenge of the interior from essentially the same point of view, looking to the three-dimensional paneling of the 1739-1741 southeast parlor as his thematic point of departure for a stylistic reorganization of the space(fig. 16). Just as baroque elements were introduced on the facade, so through- out the first floor he created an amalgam of early eighteenth- and later nineteenth- century taste. His sense of identity as a manipulator of space, a creator of addi- tions, and an adapter of older buildings was formulated during the execution of this earliest and most flamboyant of his American commissions from the 1860~.~~ The staircasehall (fig. 32) which bisected the house from front to back remained spatially unchanged as its core, while the rooms to the southwestand northeast were enlargedfor an expanded diagonal axis (fig. 24). A precedent for such extensions al- FIG. 33. UPPER STAIRCASE AS REBUILT ready existed in the three-sided bay of the BY STURGIS, CODMAN HOUSE. (SPNEA “Hall” to the northwest, aroom which was Archives, photograph by Richard Cheek.)

repainted rather than changed in the 1860~.~~In the stair hall, repairs were necessary and an arch was removed. The landing was reinforced with a metal beam for strength.37The hall’s earlier similarity to the hallway of the Royal1 House (which also incorporates a lateral arch) thus was sacrificed. The boxed treads of the upper staircase, however, have that sculptural quality reminiscent of the bolection moldings which comprise the paneling of the north wall in the southeastparlor (fig. 16), and which provide visual unity with the most obvious remains of the eighteenth- century Russell mansion.38 The hallway was already unusual for a Federal house. The 1797-1798double staircase (fig. 33), while rare, was not an un- known form; it is, however, spatially far closer to the staircases of the later

FIG. 34. INTERIOR OF ENTRANCE nineteenth century, of which Sturgis was to DOORWAY AT “ THE GRANGE.” (SPNEA become the master in the following de- Archives.) cades.39 Although the space was not Redesign of” The Grange” 55

changed, the arch was removed and heavy which may well have been the first example cornice moldings which also appear to be of this treatment in the Boston area, al- of his design were added. The railing, though in England by 1862tile floors were bahrsters, and newel posts of the staircase already highly popuk~.~~ The encaustic tile (fig. 34) are of problematical authorship.40 process in which clays of two or more col- The newel post and bahrsters of the front ors are incorporated in a single tile before stair at “The Grange,” with their distinc- firing (such as those used in the guilloche tive turnings, resemble closely those of the border which surrounds the hall) was a Hancock House (fig. 35). In 1863, when technique which had been lost since that Beacon Hill house was demolished, medieval times.46 Minton and Company in Sturgis produced the first set of measured England, with others, had developed a new drawings to have been made of an Ameri- process around 1840 with the incentive of can house and acquired the staircaseat an producing tile floors for the Houses of Ear- auction held at the time.41 While the spiral liament, but this new decoration was not newel, a generic component of great common in America by the early 1860s. houses of the second quarter of the Sturgis’s early interest in architectural eighteenth century, has in “The Grange” ceramics, like his interest in eighteenth- version become taller and more elongated century architecture, foreshadowed his in its configuration, the alternating tum- later career as an architectural designer. ings of balustersof three different types on His reputation was established after he each step are clearly ~imilar.~~The Han- won the competition for the design of the cock House staircasemotif appearedagain Museum of Fine Arts, Boston (1870), the and again in the later work of Sturgis, ornamental detail for which was executed most notably at his Arthur Astor Carey in imported English terra cotta.47 Indeed, House in Cambridge of 1882,where a literal Sturgis’s concept of a transatlantic ar- copy from the Hancock drawing is chitectural practice in which he imported reproduced.43 building components such as wrought iron, The risers of the stairs at “The Grange” may have been lowered, for this is another Sturgis characteristic which makes ascent seem effortless yet monumental. The boxed ends of the treads are more sculptural than those of the Hancock House, a fact which again suggests a nineteenth-century spirit of creative im- provement upon a given model. The Han- cock House theme becomeslater one of the most important for nineteenth-century design.” The sidelights of the door were lowered by replacement of earlier wooden panels with two additional panes of glassat either side. Reflecting here the floor-length windows of his extensions, the architect again succeededin breaking down the distinction between interior and exterior space at the PIG. 35. THE HANCOCK HOUSE STAIR- CASE. “SHARKSMOUTH.” G.S. CURTIS entrance. The enlarged windows served HOUSE, MANCHESTER-BY-THE-SEA, also to illuminate the colored tile floor of MASSACHUSETTS. (Boston Athenaeum, the hall, composed of mosaic pavement, Sturgis Papers, photographby J.N. Pearlman.) Old- Time New England

glass, and tile from England to Boston was reconstituted as a library.4g The encaustic already evident here at “The Grange” in guilloche border which appears in the hall 1862.48 floor is repeated in the billiard room in The southwest front parlor was the fireplace surround, while the three- remodeled into a billiard room (fig. 46). dimensional, paired pilasters are in their Having extended the west wall, Sturgis own way as impressive as the more highly achieved horizontal expansion sufficient to ornamental ones from the eighteenth cen- provide a new nineteenth-century scale for tury in the southeast parlor. No attempt to this room, necessarily confined in its copy or duplicate a model has been made height to the ceiling level of 1739-1741.The here, but a fully nineteenth-century design architect’s introduction of a monumental is created which works well. The mantel, fully two-thirds of the wall height, monumentality of the mantel and the lateral and low paneling surrounding the room extension of the space give the billiard provided a solution. Its restrained classical room a distinctly grand scale, and despite configuration, clearly designedfor this par- the limitations of ceiling height, the low ticular context (fig. 36), is visually united paneling serves as an effective interface with the style and proportions of both the between height and width. The mantel is stair hall and the southeasternparlor, then heavy, yet sparsely ornamented, with

FIG. 36. BILLIARD ROOM MANTEL, CODMAN HOUSE (1863-1864).(Boston Athenaeum, SturgisPapers, photograph by J.N. Pearlman.) Redesign of “The Grange” 57

components which are clearly machine wrote The Decoration of Houses in 1895 made. Finely scaled, classical moldings with Edith Wharton, style and taste had form capitals for the pilasters and are pro- changed. The heavy, dark designs of the portioned to maximize the effect of the Civil War decadeshad been supersededby glowing color and gram of the wood. The light, pale colors and the gilt and satin single entablatures of these paired lateral which Ogden and others began to use so pilasters simplify the composition, while extensively in the 1890s. Yet Ogden, de- their common basesmatch the dado on the spite his disparagementof the earlier taste, walls of the room. The unornamented flat was able to distinguish good from bad de- surfaces of the mantel typify those con- sign within that idiom. In a letter to his trasts which are signatures of Sturgis friend Herbert Browne, sent from France designsso Etrll impact of the ceramic tile in the twentieth century,54 he favored the is achieved, while avoiding that over- work of a skilled Boston firm of the 1860s ornamented, congested visual effect such as Snell and Gregerson as compared characteristic of much late-nineteenth- with that of Andrews, Jacques and Ran- century design. toul, with whom he was briefly affiliated in The natural finish of the billiard room the 1880~.~~ contrasts with the white paint of the stair- The classicizing affinities of Ogden’s case hall and southeast parlor. The dark generation and the expected pendulum green striped wallpaper, of a tonal value swing in taste, rather than specific dislike similar to the wood, simplified the compo- for Sturgis’s work, would appear to have sitional effect of the whole. Even Ogden sparked the younger man’s criticisms. The Codman, Jr. loved the room despite his archaeological approach to the Colonial penchant for white paint.51 Although his and Federal periods, so characteristic of Uncle John clearly had been a strong influ- the 1890s and of Ogden’s generation, dif- ence in his life and Ogden had learned fered from the more creative and original much from him, he rarely wished to admit approach of the 1860sand 1870swhen free- it.S2 Uncertain of his profession in youth, dom in historical allusion was considered Ogden was given the opportunity to live an architectural challenge.s6 A sense of with the Sturgisesfor several years before proportion, an ability to handle scale, his own family returned from Dinard. Not and an innate power of design enabled only were John Hubbard Sturgis and John Hubbard Sturgis to outdistance his Ogden Codman, Jr. the two Boston ar- less discriminating contemporaries, who, chitects most identified with the art of working without the rules and regulations measured drawings by the mid-1880s. but imposed by canons of classicism, often fell through the acquisition of this skill, Ogden into aesthetic contitsion.s7 In the biiiard later made one of his greatestcontributions room at “The Grange” he designeda care- to New England architectural history. He fully arranged reflection of the years be- provided us not only with reconstructional tween 1741and 1862, rather than the cus- analyses of “The Grange” (figs. 20-23) but tomary late-nineteenth-century excess. also made sketches of the most important The details of the dining room (fig. 37) Colonial and Federal housesin the Boston reveal aesthetic premises similar to those area, many of which are no longer stand- which appear in the billiard room. A square ing.S3 (See Metcalf, this issue.) Ogden’s bay with portieres extends the room which interest in the decorated interior from an would otherwise be confined to rectangular architectural point of view was already a form, providing both a vista to the land- characteristic of Sturgis as early as the scape and a grander spatial proportion.s8 186Os,and of his uncle Richard Codman Less held to eighteenth-century themes, beginning in the 1870s. But when Ogden Sturgis’s color continues dark and rich, but 58 Old- Time New England

FIG. 37. SOUTH WALL OF THE DINING ROOM, “THE GRANGE” (1863-1864).(SPNEA Archives, photograph by Richard Cheek.) without classical allusions in the furniture dining room mantel is concerned. Sturgis’s and woodwork. The dark strapwork which house in Newport for his friend Frederick presently adorns the ceiling and which also Rhinelander (1862) was being executed appearsin other contemporaneouswork of contemporaneously with his work at “The Sturgis was installed.59Woodwork in gen- Grange” and incorporates similar fea- eral had darkened fully by the late 185Os,as tures.6i Both the Sturgises and the Ogden in E. C. Cabot’s Gibson House at 137 Bea- Codmans summered in Newport and dur- con Street, but full paneling and strapwork ing this 1862-1866period Sturgis was much ceilings did not become prevalent until in contact with his lifelong friend, Richard after the Civil War. In Sturgis’s work, based Morris Hunt, both in Rhode Island and on designscommon in England, strapwork New York, and their designs share similar ceilings and the tile floor appear excep- forms.62In 1862, for example, in the Gris- tionally early.60 wold House in Newport (now the Newport Architectural furniture such as the built- Art Association), Hunt utilized full panel- in sideboardand paneling from floor to ceiling in the library. Particularly in woodwork ing was only beginning to appear in the such as that in the staircase hall at the early 186Os,so once again “The Grange” is Griswold House, however, an uneven qual- unusual insofar as the elaboration of its ity of execution exists. The more simple Redesign of “ The Grange” 59

components of the paneling were assem- lodge, he described details of the wood- bled from standard moldings and appar- work to his bride, then resident at “Mount ently installed with local labor. Incorpo- Felix.” During this period he also pro- rated into the final structure were key duced a number of designs for furniture, elements ordered especially from New sketches of woodwork, and fireplace de- York or from abroad, and often hand signs.68 Later in 1870, at the Lawrence carved. Room in the Museum of Fine Arts, Boston, This same uneven quality is evident in he assembledbits and pieces of old English the great ‘mantel in the dining room at paneling which had been purchased in “The Grange,” where the strapwork and London to create a fully paneled room, estipite-shapedpilasters are machine made complete with a fireplace of his own of different types of wood, while hand- design.69 carved lion’s head grotesquesare of differ- At “The Grange,” the low paneling ent workmanship, strongly resembling the around the dining room closely resembles griffin which forms the newel post at the that of the billiard room. Bills confirm that Griswold House.63 Yet the Elizabethan a design was furnished to Marcotte for the lozenge shapesand other details in Lincoln sideboard which has on it channeling not are both powerful and well integrated com- dissimilar to the fireplace in the billiard pared to those in the library of the room. The components of the built-in mir- Lockwood-Matthews Mansion in Nor- ror above the mantel in the dining room are walk, Connecticut. This design, also exe- of an Elizabethan vocabulary which is re- cuted by the same maker, Leon Marcotte, peated in varied form in the room, incor- in 1867, was presumably for the New York porating also the incised Neo-Grec detail- architect, Detlef Lienau, who, like Hunt, ing which adorns the “Swan” chairs.‘O had trained at the ECole des Beaux Arts in That to the left (fig. 37) reveals a distilled, Paris in the 1840s.The Connecticut mantel flattened Greek anthemion, so characteris- is more flamboyant and less discriminating tic of the many designsand publications of than that at “The Grange” both in iconog- Dresser.” The walls ofthis room were orig- raphy and in execution.64 Sturgis and inally a darker color and would have pro- Ogden Codman made several trips together duced a more integrated decorative effect to New York in the early 186Os,and the in combination with the glow of the butter- dining room scheme, the “Swan” pattern nut woodwork. The strapwork of the ceil- chairs, and the design of the low sideboard ing, also derived from Elizabethan prece- were apparently all provided by Sturgis dents, unifies the composition of the (fig. 514).~5The design of the “Swan” room.72 Yet it is light enough to give scale chairs, while not unique, was rare in this without placing a visual lid on the space country, being derived directly from de- which, if designednew in 1862, would have signs of the Englishman, Dr. Christopher had a much higher ceiling. Dresser, who had been affiliated with the The dining room was the most complete South Kensington Museum and Schools in of all the interior contributions by Sturgis London when Sturgis was there in the late to “The Grange.“73 Except insofar as con- 1850s.Chairs of this same pattern are in the tinuity of color and style in a Georgian or Lawrence Homestead in Groton, Massa- Federal house is expected, the differentia- chusetts, which was redesigned and ex- tion of style introduced by Sturgis in the tended by Sturgis in 1874.66 various rooms in Lincoln is successful. Sturgis’s role as a designer of woodwork Here is an antecedent of the later was not new in 1862. Working in 1858 on nineteenth-century approach to interior Nantclwyd Hall in Wales with his teacher, decoration, where, by the 188Os,great pub- the British architect JamesK. Colling,67 to lic rooms in the homes of the wealthy were remodel that seventeenth-century hunting executed in a wide range of differing colors 60 Old- Time New England

paneling and staircasesalso are direct precedents for many nineteenth- and twentieth-century buildings. After his work at “The Grange,” Sturgis continued to incorporate Colonial elements in his own new work.76Most notable are his Hooper and Carey houses in Cam- bridge, Massachusetts, of 1872 and 1882 respectively, where specific details of the Hancock House appear. A gambrel roof and other Colonial details can be identified in the Hooper House, while the later Carey House is a complex synthesis of seventeenth- and eighteenth-century forms, with both a Palladian window, a “Hancock House” gambrel roof and balcony on the facade, and an overhanging upper story and leanto at the side and rear.” Elements of the Hancock House from Sturgis’s measured drawings were utilized by Robert Peabody as the basis for the Massachusetts State Building at the World’s Columbian Exposition of 1893, making it the prototypical Colonial house for the ensuing quarter-century.78 A more specific relationship can be FIG. 38. STAIRCASE OF THE BOYLSTON traced between Sturgis’s redesign of “The HOUSE AS REMODELED BY STURGIS (1878). (Boston Athenaeum, Sturgis Papers, Grange” and the later history of the photographby J.N. Pearlman.) Boylston House in Brookline (1737), rented between 1870 and 1888 by Sturgis and his wife from Colonel Henry Lee (fig. 29). The and styles. Ogden Codman, Jr., for exam- heavy proportions of the classical, ple, provided single rooms for several later pedimented doorway and the five-part Newport mansions which Richard Morris symmetrical configuration of the fenestra- Hunt designed in this way.74 tion reflect the 1730sGeorgian addition to the original seventeenth-century portion. IV The Boylston House had no large-scaleex- Definitive study of the specific devel- tension in the Federal period to parallel opment of Colonial Revival architecture in John Codman III’s enlargement of “The Massachusettsis needed. The number and Grange,” and its facade in the nineteenth influence of early buildings were greater century must have resembled the original here than elsewhere in the country, and the appearanceof the earlier Russell Mansion. development of the Colonial Revival would In 1878,having occupiedthe housefor eigh- appear to have been a much more specific teen years, Fanny and John Sturgis added sequential matter than has heretofore been to it substantially.‘9 To the northwest, a realized.75 The close chronological rela- library was inserted into the corner of the tionship of several major Massachusetts ell in a position identical to that of the Fed- mansions of the late 1730shas been noted eral “Hall” at Codman House. Breaking above, but the motifs of double-arched through the arched window of the staircase Redesign of “ The Grange” 61

landing at the Boylston House, Sturgis well ahead of the full-scale surfacing of the created a double staircase mounting into Colonial Revival in American architecture this northwestern addition with much the following the Philadelphia Centennial Ex- same virtuoso spatial result as had been hibition in 1876. More significant, perhaps, achieved in 1797at “The Grange” (fig. 38). was Sturgis’s perception of his role as a Finally, the parlor fireplace in the Boylston remodeler, which started at “The Grange” House repeated the characteristic and peaked in his great designs for Mrs. eighteenth-century form of the paneling of Jack Gardner at 152-154Beacon Street and the parlor at “The Grange,” the Royal1 for Frederick Ames at 306 Dartmouth House, and the Hancock House (fig. 39).*O Street, Boston, both executed in 1882, the This arched fireplace wall appeared re- latter generally considered to be his mas- peatedly in other new designs by Sturgis, terpiece.82At Dartmouth Street, the inte- most notably in the Lawrence Homestead gration of multiple stylistic essays into a in Groton which he extended in 1874,with a single great composition on the main floor large addition incorporating this same and staircaseis a culmination of concepts motif (fig. 40).8r which Sturgis had delineated initially in the The redesign of “The Grange” in 1862 billiard room, the dining room, and hall at initiated central stylistic themes and many “The Grange.” fundamental perceptions which run Not only was it Sturgis, moreover, who through the later designsof Sturgis and in- conceptually and stylistically pursued the corporate reflections of the Colonial style eighteenth century, for Ogden Codman’s

FIG. 39. PARLOR OF THE BOYLSTON HOUSE, BROOKLINE, MASSACHUSETTS (1737). (BostonAthenaeum, Sturgis Papers.) 62 Old- Time New England

FIG. 40. PARLOR OF THE LAWRENCE HOMESTEAD, GROTON, MASSACHUSETTS, BY STURGIS (1875). (Boston Athenaeum, Sturgis Papers, photograph by J.N. Pearlman.)

FIG. 41. PARLOR AT “ROOKWOOD,” MANCHESTER-BY-THE-SEA, MASSACHUSETTS, BY R. CLIPSTON STURGIS FOR MRS. FANNY CODMAN STURGIS (1896). (Boston Athenaeum, Sturgis Papers; Sturgis family photograph.) Redesign of “The Grange”

country home was a vision for Fanny Stur- paneled fireplace wall duplicating that of gis as well. Following the untimely death of both the Boylston and Codman houses(fig. John Hubbard Sturgis in England in 1888, 41). In her later years, then, the memories, R. Clipston Sturgis, his nephew and surroundings, and reminiscences of successor, designed “Rookwood” at Frances Anne Codman Sturgis still echoed Manchester-by-the-Sea for his widowed the Boylston House and the eighteenth- aunt in 1896.83The interior contained a century forms of “The Grange” in staircase hall derived from the Boylston Lincoln. House and a parlor with an arched and

NOTES

1. Arthur L. Finney, “The RoyaIl House in Gibbs and his designs for St. Martin-in-the- Medford: A Reevaluation of the Structural and Fields, London (1721-1726). Documentary Evidence,” Abbott L. Cum- 8. Macmillan Encyclopedia of Architects, mings, ed., Architecture in Colonial Massachu- Adolf K. Placzek, ed. (New York: Macmillan- setts, Publications of the Colonial Society of Free Press, 1982), S.V. “Gilman, Arthur,” by Massachusetts51 (Charlottesville: University of Margaret Henderson Floyd. Virginia Press, 1979), pp. 23-41. 9. Arthur Gilman, “The Hancock House and 2. See Chapin, this issue. Its Founder,” Atlantic Monthly 11 (1863). pp. 3. Walter Kendall Watkins, “The Hancock 692-707. House and its Builder,” Old- Time New England 10. See Howie, this issue. 17 (July 1926), pp. 3-19. 11. Richard Codman, Reminiscences of 4. Harriet F. Woods, Historical Sketches of Richard Codman (Boston: North Bennet Street Brookline (Boston, 1874). Industrial School, 1923). 5. For information on “The Vale,” see Fiske 12. See Metcalf, this’ issue. Kimball, Domestic Architecture of the Ameri- 13. Richard Codman, Reminiscences, pp. can Colonies and the Early Republic (New 42-44. A description of the wedding of John and York: Charles Scribner’s Sons. 1922). DD. 166. 189, 204, 241, 245; figs. 162, 200. Ogden Cod: Fanny is given by her brother. For the complex man, Jr. includes a drawing of “The Vale” genealogicalconnections of the two families see Frances Shaw Sturgis, Esther Mary Sturgisand in his “Notebooks,” Codman Papers, Boston John Hubbard Sturgis, Jr., The Descendants of Athenaeum. Nathaniel Russell Sturgis (Boston: By the AU- 6. The most complete discussionof the land- thor, 1925). scaped country estate is found in Charles A. Hammond, “Where the Arts and the Virtues 14. Richard Codman, Reminiscences. In chap- Meet: Country Life Near Boston, 1630-1862” ter one, description of the house by BuIfinch at (Ph.D. dissertation in progress, 1981, Boston No. 29, his father’s art collection and life on University.) Chestnut Street are given. Richard’s later work, is notable and well illustrated in, for example, 7. DamreU V. Moore and George Coolidge, G.W. Sheldon, Artistic Country Seats, 2 vols. Boston Almanac (Boston, 1860); William H. (New York: D Appleton, 1887),2: 185-187.Here Pierson, Jr., American Buildings and Their Ar- are discussed Richard’s decorations for chitects: The Colonial and Neoclassical Styles “Vinland” by Peabodyand Stearnsin Newport, I (New York: Doubledav. 1967). Early descrio- Rhode Island, with its mural paintingsby Walter tions of the Arlington Street Church are given by Crane. the Almanac, which stressesits Italian models, while Pierson discusses their transition to 15. Richard Codman, Reminiscenses, PP. America through the English publications of 18-21, 28. 64 Old- Time New England

16. See Howie and Metcalf, this issue. 29. The 1850s are generally characterized by 17. Martin Green, The Problem of Boston (New excessiveheight in domesticdesign, an aesthetic York: Norton, 1966), pp. 142-163. reflection in both masonry and wood of the new potentiality of balloon-frame construction, then 18. Ogden Codman, Jr., “Notebooks,” Cod- availablefor the first time in the east. The use of man Papers, Boston Athenaeum. very low balusters,newels, railingsand dadosin 19. Margaret Henderson Floyd, “A Terra Cotta structuresof this period was a ubiquitousdevice Cornerstone for Copley Square: Museum of for enhancingthe eighteen to twenty-three foot Fine Arts, Boston, 1870-1876,by Sturgis and ceiling heights which were also common. Brigham,” Journal of the Society of Architec- 30. The ell of “The Grange” is probably a de- tural Historians 32 (May 1973), pp. 83-103. sign by Ogden Codman, Jr., although further 20. Bainbridge Bunting, Houses of Boston’s study of his drawings and the collection is Back Bay (Cambridge: Harvard University needed to fully document its evolution. Press, 1%7), passim. The development of the 31. See Chapin, this issue. Bills for the work Back Bay and the impact of Bryant and Gilman done during the late 1790s in Lincoln do not are discussedhere. specify quoins, although the other components 21. Floyd, “Museum of Fine Arts,” passim. of the structureare all mentioned. Large, three- 22. See Metcalf, this issue. dimensional blocks of this sort were common 23. Codman Family Manuscripts Collection during the eighteenth century, but fell into dis- (hereafter referred to as CFMC), Thomas H. favor after 17% with the advent of the attenuated Newbold to Ogden Codman, Sr., 14 January and delicate style of Bulfinch. 1860,3 April 1860,box 35, folder 799. The year 32. Comparison of these lintels with those which is written on these letters in another hand of “Mount Felix” suggests a derivative is a later error, sinceJohn was not working in this relationship. country until the fall of 1861.They probablydate 33. A.J. Downing, The Archifecture of Country from 1863. Houses (New York, 1858).The rise of landscape 24. Floyd, “Museum of Fine Arts,” passim. architecture, primarily under the impetus of See also Sturgis Papers, Boston Athenaeum. Downing’s theories in the 184Os,encouraged 25. For Barry, see Henry-Russell Hitchcock, domestic design which, for the first time, was Architecture, 19th and 20th Centuries oriented from the interior outwards. (Baltimore: Penguin, 1958), and A. Barry, The 34. Vincent ScuUy,The Shingle Style (New Ha- Life and Works of Sir C. Barry (London, 1867). ven: Yale University Press, 1955), discussesat 26. “Mount Felix,” also known as Walton length the evolution of the house in the House, has been much documented, most re- nineteenth century from a box-like configura- cently by JohnArcher Stonebanks,Mount Felix, tion to an open plan. Walton-on- Thames, (Walton and Weybridge 35. Macmillan Encyclopedia of Architects, Local Historical Society Paper No. 17, 1978). Placzek, ed., S.V. “Sturgis, John Hubbard,” by See also Royal Institute of British Architects Margaret Henderson Floyd. Drawings Catalogue (Farnborough: D. C. 36. CFMC, John Hubbard Sturgis to Ogden Heath, 1977), p. 48.; A. Barry, Barry, pp. Codman, Sr., 11 September 1863,box 35, folder 107-109. 799. This letter makes clear that John was 27. A picture of the Sturgisfamily in residence heavily involved with the interior decoration, in at “Mount Felix” is given in Julian Sturgis, addition to the structural changes at “The From Books and Papers of Russell Sturgis (Ox- Grange. ’ ’ Although the mantel in the “Hall” ford: Oxford University Press, n.d.). Prince Al- dates-from 179711798,a number of the upstairs bert, an amateur architect, was much involved mantels were moved by both John and then Og- with the Osborne House design himself and den, Jr., and documentationis not clear on the knew Barry well, althoughthey were not close. sequence. Cubitt acted generally as contractor rather than 37. The existence of this beam was discovered designer. bv SPNEA when “The Grange” was acquired. 28. Carroll L. V. Meeks, “Henry Austin and the Itwas put in by Sturgis,who a&o partially rebuilt Italian Villa,” The Art Bulletin 30 (June 1940), the staircase. The documentation beyond this pp. 145 ff. point is only visual. Redesign of ” The Grange” 65

38. The boxing of the treads is unusual, and 48. The chronologicalplace of “The Grange” in skiRfuBydone. Its style is more complex than Sturgiss’ oeuvre gives it particular importance. most comparablestaircases from the eighteenth 49.. See Nylander, this issue. Bookcases were century, but not found elsewhere in other stairs placed in the southeasternparlor in the 186Os, by Sturgis. Without further structural docu- and these were purchasedfrom Marcotte. Later mentation the date is problematical. they were moved to the billiard room, where 39. Margaret Henderson Floyd, “John Hub- they presently are located. bard Sturgisof Boston and the English Architec- 50. The doorway of the Museum of Fine Arts, tural Image” (Typewritten manuscript, 1981). Boston (1870) and the unornamented brick ex- 40. David Hart, “X-Ray Investigation of Build- terior of the apse of the Church of the Advent, ings,” Bulletin of the Association for Preserva- Boston(1875) are but two examples of this qual- tion Technology 5 (No. 1, 1973), pp. 9-21. The ity of contrast seen in Sturgis’s other work. dado on the wall of the staircasehas been deter- 51. See Metcalf, this issue. mined by Hart to have been original, while 52. CFMC, John Hubbard Sturgis to Ogden bahrstersand newel of the front part of the stair Codman, Sr., 20 November 1880,box 35, folder are probably also from the 1741 building pro- 799. In this letter John urgesOgden, Sr. to allow gram. Richard Codman (Reminiscences, pp. Ogden, Jr. to return to Boston and reside with 9-10) erroneously says that balustersand newel him at the Boylston House. were imported. He was, however, on the site 53. See Metcalf, this issue;Ogden Codman, Jr., during the period of Sturgis’s redesign, and “Notebooks,” Codman Papers, Boston would have known if an entire new staircasehad Athenaeum; Floyd, “Measured Drawings of the been installed. Hancock House.” 41. Margaret Henderson Floyd, “Measured 54. Ogden Codman, Jr. to Herbert-Wheilden- Drawings of the Hancock House by John Hub Cotton Browne, 21 April 1936,Codman Papers, bard Sturgis:A Legacy to the Colonial Revival,” Boston Athenaeum. This letter effectively Architecture in Colonial Massachusetts, pp. reveals Ogden’s attitude toward Sturgis’s gener- 87-111. Sturgis’s drawing of the stair is repro- ation and its work. duced in the above volume as fig. 3 I. The drawing is now located in the SPNEA Archives, along 55. Bunting (Back Bay, pp. 179-185)discusses with most of the other drawings of the Hancock Snell and Gregerson’s Endicott House, 165 House. Marlborough Street, Boston, referred to by Og- den, Jr. in his letter. Andrews, Jacquesand Ran- 42. The alternating turnings of bahrsters, toul were a well-known later Boston firm, con- though differing in proportion (those at the temporaneouswith Ogden,Jr. Jacqueshad been Royall House, for example, are very slender), in the office of H.H. Richardson and had ac- are generic in great American pre-revolutionary companied him on a trip to Europe in 1882. houses. 56. Ibid. Chapters six and seven differentiate 43. In Floyd, *Measured Drawings of the Han- this sequence within late-nineteenth-century cock House,” figs. 37, 38, 4@42 illustrate the design. Carey House, including the newel. 57. The aesthetic difficulties confronting the 44. Ibid., pp. 108-111. American architect in producingsuch designs is 45. Sturgisused encaustictile for the large cen- discussedby Montgomery Schuyler, “Concern- tral hallway at “Greenvale Farm,” a seasidecot- ing Queen Anne,” American Architecture and tage designed in Newport, Rhode Island, for Other Writings, William Jordy and Ralph Coe, John Barstow in 1864,and continuedto incorpo- eds., 2 vols., (Cambridge: Harvard University rate this material in his later designs. Press, 1961)2: 453-487. 46. The critical technological issue here is the 58. See Nylander, this issue. Examination of the inlaid clay which enablesthe encaustictile to be bills for the portieres in the dining room enabled used for flooring where wear would be high. Richard Nylander to clarify that the rectangular Ordinary decorated or painted tile can be used bay was not initially planned by Sturgis, but only for vertical and wall surfaces. added after the draperies had been ordered. 47. Floyd, “Museum of Fine Arts, Boston.” 59. See Chapin, this issue. Lion’s heads by pp. 83-103. Daniel Raynerd have been identified in frag- 66 Old- Time New England

ments from the dining rpom fireplace, salvaged Classical style (the correct translation). Widely after Sturgis’s remodeling. publishedin French work ofthe day, the writings 60. Bunting (Back Bay, pp. 139-153) gives of Viollet-le-Due and Cesar Daly’s periodicals, examples of more usual woodwork and mantels its first impact was felt in America in the 1860s. of the 1860s. Channeling would be the equivalent of fluting. 61. Floyd, “John Hubbard Sturgis of Boston.” 71. The stylized anthemionis comparable, dec- The Sturgis Papers at the Boston Athenaeum oratively, to the channeling discussedabove in contain many references to Rhinelander, an old that it derives from classical precedent, but is personal friend of Sturgis. For information on executed by machine. the Rhinelander house, see Historic Building 72. See Nylander, this issue. In reviewing the Data Sheet, Rhode Island Statewide Survey, bills for the wallpaper for the dining room, Phase 1, Newport, Plat 25, Lot 71. The dining Richard Nylander has establishedthat the ceil- room fireplace here is faced also with encaustic ing may well have also been papered with the tiles. stylized geometrical wallpaper used on the 62. Paul R. Baker, Richard Morris Hunt (Cam- walls, which is also closely derived from Dresser bridge, Mass.: MIT Press, 1980). pp. 132-137. examples. If this were the case, the aspectof the room would have been even more cohesive. 63. The Elizabethan style of woodwork, most closely identified in the work of William Burn in 73. Floyd, “Museum of Fine Arts,” pp. 85-88. England, is not apparent on any wide scale in Since Sturgiswas in Englandfrom the fall of 1866 Boston until later in the 1860s. See David to that of 1870,Ogden Codman, Sr. coped alone Walker, “William Burn: The country house in with the furnishing of the billiard room. the woodwork of which had been completed.’ The transition,” Jane Fawcett, ed., Seven Victorian paper is clearly a Sturgis selection, along with Architects (London: Thames and Hudson, 1976), pp. 8-31. his suggestionfor the painted monogramon the ceiling. CFMC, John Hubbard Sturgisto Ogden 64. Mary E. Adams, ed., The Lockwood- Codman, Sr., 11 September 1863, box 35, file Matthews Mansion (Norwalk: Lockwood- 799. Matthews Mansion Museum, 1%9). The library 74. Examples of Codman’s work in Hunt’s by Marcotte is illustrated on p. 18 of this book. Newport mansions are best known at 65. See Nylander, this issue. “Chateau-sur-Mer” and “The Breakers.” 66. See Christopher Dresser, The Art of Deco- 75. Floyd, “Measured Drawings of the Han- rative Design (London: Day & Son, 1862), cock House,” pp. 102-l 11. passim and plates 4, 26. 76. Ibid., figs. 35-42. 67. Floyd, “Museum of Fine Arts,” pp. 8688. 77. The Carey House is one of the earliest 68. John Hubbard Sturgis, Ruthin, to Fanny known examples of the archaeologicalphase of Codman Sturgis, “Three Letters,” 28 Sep- the Colonial Revival. tember 1859, Sturgis Papers, Boston 78. Floyd, “Measured Drawings of the Han- Athenaeum. cock House.” Robert Peabody, an early 69. The Lawrence Room, the only portion ofthe spokesmanfor the Colonial Revival in the 187Os, Copley Square building to have been moved to was primarily responsiblefor the popularizingof the present museum location on Huntington the Hancock House after 1893. In 1928 R. Avenue, is illustratedin AmericanArchitect and Clipston Sturgis, successorto John’s practice, Building News 8 (October 1880). It was also of used the drawings once again to produce an combined Elizabethan and Jacobeanstyle. exact replica of the Hancock House in Ticon- 70. The built-in mirror, which becomes preva- deroga, New York, which is much more ar- lent in the work of late-nineteenth-century ar- chaeologicallycorrect in its interpretation of the chitects, is an ideal device for extending and original. faceting interior space. 79. Frances Rollins Morse, Henry and Mary Neo-Grec design forms, derived ultimately Lee: Letters andJournals with other Family Let- from classicalornamental sources, aimed to re- ters, 1802-1860 (Boston: By the Author, 1926); duce these models to patterns which could be Colonel Henry Lee, Beverly Farms, to Colonel executed by the machine, thus creating a New Marshall P. Wilder, (1881), Lee Family Papers; Redesign of ” The Grange”

made available through the kindness of Mrs. 81. The exterior of the Lawrence Homestead E.P. Richardson, of Brookline, Mass. The con- (1874)is far more related to Queen Anne Revival tinued existence of the seventeenth-century designthan to Colonial precedents.The detail of frame was establishedby the author and Abbott this interior segment, however, is Colonial. L. Cummings on site. Ogden Codman, Jr., 82. For the Gardner house see Artistic houses “Notebooks,” Codman Papers, Boston (New York, D. Appleton, 1884). For the Ames Athenaeum; Frances Anne Codman Sturgis, House see Bunting, Back Bay, pp. 260-265.The “Diary of 1890,” Sturgis Papers, Boston latter is Jacobethan,a stylistic extension of the Athenaeum. dining room at “The Grange.” 80. See stereopticon views of the Hancock 83. Old photographs and guest books from House interior (SPNEA Archives) publishedby “Rookwood” are in the Sturgis Papers, Boston Watkins, “The Hancock House and its Builder,” Athenaeum. p. 16.