Tag Archives: Portico

Can you spare a quoin? — A visit to Gunston Hall

On a recent trip down to Virginia, my wife and I finally got a chance to see Gunston Hall in Lorton, VA.  This 18th century mansion was the home of George Mason — a patriot, statesman and founding father  often best known as the ‘Father of the Bill of Rights.’

Approaching Gunston Hall
Approaching Gunston Hall

The plantation sits on what became known as ‘Mason’s Neck’ in Northern Virginia on the Potomac River. This handsome brick home was under construction from 1755-1759 and was a formidable mansion in its day. The exterior is brick with distinctive quoins in the the four exterior corners exude a sense of permanence and have helped the home outlast most of it’s contemporary wood clad buildings.

Gunston Hall (From the landed entrance)
Gunston Hall (From the landed entrance)

The detailed interiors were designed by a young William Buckland who went on to design the interiors of other famous homes including the Hammond-Harwood House, Mount Airy (Richmond, VA), and the Prince William County Courthouse.

Obligatory tourist picture of me standing in the kitchen yard.
Obligatory tourist picture of me standing in the kitchen yard.

Buckland worked with the very talented carver William Bernard Sears to fit out the interior of the house. The interior combined elements of rococo, chinoiserie, and gothic styles which was an unusual contrast when compared to the simple decoration favored in Virginia homes at the time.  Although chinoiserie was popular in Britain at the time, Gunston Hall is the only known house to have this decoration in colonial America. [click here for more info — previous sentence paraphrased from this Wiki entry]

Schoolhouse as viewed from front portico of the main house.
Schoolhouse as viewed from front portico of the main house.

Unfortunately the museum does not allow photography inside the mansion, so you will have to take my word for it, but the interior details and carvings are exquisite — from the fretwork in the yellow ochre dining room which imparts a very asian feel, to the gilded rococo baufats and carved egg and dart details on the doors and mantel in the ‘Paladian room’. From what little remains of Buckland and Sears’ original work you can see what gifted craftsmen they were.

3/4 View of Gunston Hall
3/4 View of Gunston Hall

Based on architectural and archeological research, conservators and preservation craftsmen have done an excellent job preserving and restoring the home to much of it’s earlier prominence — from carvings, to wall papers and hangings, to the chinoiserie. Much of this restoration work is fairly recent and the house is deliberately spartan in the areas where they do not have reasonable evidence to say what was there originally. (A refreshing take compared to some other properties wherein the preservationists and curators filled in the blanks as they went and thus blurred the line between was was really there and what is an educated guess on how to interpret a room)

Alee of ancient boxwood
Alee of ancient boxwood

On the rear or riverside of the home you will see the allee of boxwoods that date back to the time of George Mason and may be the last extant example of a once imported Boxwood species no longer found in England. The rear porch was also quite distinctive with it’s Gothic arches.

Riverside entrance to Gunston Hall
Riverside entrance to Gunston Hall

If you are interested in architecture, woodwork, wood carving or early American history I highly recommend a visit to Gunston Hall. It takes about  half day to see it all and explore the grounds and outbuildings. You can learn more about this historic site here.

Reproducing Traditional Molding for the Alvah Kittredge House

The Alvah Kittredge House in Roxbury Massachusetts is a great example of high style Greek Revival architecture in Boston and a tangible link to the city and the nation’s early history.

Alvah Kittredge House in the 1880s (Photo Courtesy of Historic Boston Inc)
Alvah Kittredge House in the 1880s (Photo Courtesy of Historic Boston Inc)

The Greek Revival Style was most popular in the United States during the second quarter of the 19th century. (Approximately 1820-1850) During this time period the population and economy was also growing by leaps and bounds. The United States was still a young nation and many folks wanted to show off their new found affluence.  During this period of great optimism there was a strong belief in the American Democracy and many associated the ideals of the new nation with those of early Greek Democracy. Around this time, access to Greece and the designs of antiquity were also coming into the mainstream as influential citizens like Thomas Jefferson read books like ‘The Antiquities of Athens‘, Benjamin Latrobe and others built out Hellenistic monuments and public buildings in Washington D.C. and other large east coast cities, and builder’s guides like Asher Benjamin’s ‘The Practical House Carpenter’ proliferated the tool chests of local joiners and carpenters. Given this atmosphere many folks wanted to have their own building look like a Greek temple. For most of the ‘middling’ Americans, especially those in more rural and western locales the scale and details would be simplified down to keeping classical proportions and greatly simplifying details to meet their budgets — pilasters instead of columns, simplified moldings or even flat boards attempting to echo the pediment and other design elements of a Greek temple.

Looking up at the portico of the Alvah Kittredge House (Photo by Bill Rainford)
Looking up at the portico of the Alvah Kittredge House (Photo by Bill Rainford)

In places with money — like public buildings and mansions — the builders could afford to go big with design elements like a colonnaded portico and carved relief details in the pediment etc. The Alvah Kittredge house is a great example of a high style Greek revival home which reflected the wealth of its original owner, and of Boston and the US in general at that time.  Not only is the house unusual given how the city has grown up around this once grand country estate, but the scale of the front facade needs to be seen in person to be properly appreciated. The two story portico with its double hung windows and high ceilings required wide and detailed moldings in order to be the appropriate scale for such a magnificent home.

The original crisp detail of this hand run molding is obscured by the many layers of paint over the generations. (Photo courtesy of the Taunton Press)
The original crisp detail of this hand run molding is obscured by the many layers of paint over the generations. (Photo courtesy of the Taunton Press)

This 8 inch wide molding was made by hand using traditional wooden molding planes likely on site and from eastern white pine. This is not the sort of thing you can buy at a local big box store, or millworks supply company. The best way to replicate this sort of casing is to make it from the same materials and in the same manner as the original joiner….

Using a molding comb to capture the profile. (Photo courtesy of the Taunton Press)
Using a molding comb to capture the profile. (Photo courtesy of the Taunton Press)

I started by capturing the molding profile via molding comb or profile gauge which aids in transferring the profile to the newly prepared stock.

Setting in the details with a Snipe's Bill plane. (Photo courtesy of the Taunton Press)
Setting in the details with a Snipe’s Bill plane. (Photo courtesy of the Taunton Press)

Next by using traditional wooden molding planes I carefully set in all the major transitions in the profile

Using traditional molding planes to replicate the profile. (Photo courtesy of the Taunton Press)
Using traditional molding planes to replicate the profile. (Photo courtesy of the Taunton Press)

Many of these planes I use date back to the time period when the Kittredge house was actually built and yields results that simply cannot be duplicated by machine. The original handwork had variations and facets which catch the light differently when compared to stock that is milled by a machine.

Section of new molding alongside an original sample -- a nice match. (Photo by Bill Rainford)
Section of new molding alongside an original sample — a nice match. (Photo by Bill Rainford)

The end result is a near identical match that will help insure that future generations living in the Kittredge house will be able to enjoy it’s many details in much the same way as Alvah did when the house was first built.

If you’d like to learn more about how to make traditional moldings, please check out the related article ‘Master Carpenter Series:Traditional Molding’ I wrote for FineHomebuilding which can be found here  (There is also a related video series which you can find on www.finehomebuilding.com/extras for the Sept 2013 issue)

-Bill Rainford
Preservation Carpenter, Joiner, and Instructor
https://rainfordrestorations.wordpress.com

P.S. The above post was written for my friends at Historic Boston Inc here. You can learn more about Historic Boston and specifically about the Alvah Kittredge House here.