of wood fires, but its effect upon the air is not so drying. If wood or bituminous coal is used, however, the chimney flues should be built larger, as they otherwise are apt to become obstructed by soot. DESIGN NO. 5. The candor and simplicity with which this design expresses the plan on which it is built, in the picturesque breaking of its sky-lines, with gables, hips, crests, and chimneys, its fair acknowledgment of all constructive obligations, and in its freedom from the cockney frippery of pretense, may serve as a good illustration of the progress which American rural architecture has made 6 2 GROUND PLAN FOR DESIGN NO. 5. since its days of Puritan plainness. But 1. Veranda.-2. Hall, 8X32.-3. Parlor, 15x28.-4. Lifew specimens are now left of the real Pu-brary, 15x17.-5. Dining-Room, 15x25.-6. Kitchen, 17×17.-7. Butler's Pantry.-8. Store-Room.-9. Lavaritan architecture of "the good old colony tory. times" in New England, of the old stone Estimated cost, $10,000. Revolutionary Dutch farm-houses on the Hudson, or of the plantation houses of Maryland and Virginia, built by the first settlers with imported bricks. There is an Old-World expression about these venerable buildings which recommends them to our interest as historical reminiscences, and it must be confessed that there are truth and solidity about their construction, which we look for in vain in the architecture of a later day. Undoubtedly they fairly express the solid energy, determination, and greatheartedness of the founders of a new empire in the wilderness. The straightforward respectability and honorable pride of the old Governors are strongly imprinted upon their mansions. Our prosperity, however, was too great and too rapid to preserve invio late this marked self-respect and simplicity in architecture, and soon pretentious display, without the refinement of education, became the aim, finally settling into the era before mentioned of domesticated Greek temples and immense classic porticoes in wood. The true refinement of colonial aristocracy, the hearty hospitality of the gentleman of the old school, seem to have been overwhelmed by the conspicuous show and glitter of a society whose "new-crowned stamp of honor was scarce current," and which naturally in architecture develop a fever for base imitation. This cottage, one of the half-timber and tile designs of the Jacobite period, is a good example of the exceedingly ornamental structures of that time. Like its prototype, it is built of brick at least to the second story, where the tile-hanging and halftimber work begins. As tiles, however, are difficult to obtain in this country, shingles of equal width and cut to a pattern may be substituted. If these are of good quality, neatly shaved and jointed, they require no paint, dipping them in oil being sufficient to preserve and give them a deep warm color. These might terminate on a moulded cornice, with dentals underneath projecting about six inches from the brick wall, the furring being arranged so that the shingles may curve outward. There might be a similar cornice and curve at the foot of the main gable and at the head of the gable window. The roof, of course, should be of slate; but it is better not to repeat this material on the walls, for even if a different color be used, a hard, rigid appearance is sure to be the result. The half-timbering of the library gable may be treated as follows: The principal uprights can be solid, the intervals filled in with brick, and then covered with a coating of cement. There is a difficulty here, however, for unless the timbers are thoroughly seasoned, they are liable to shrink away from the brick-work, leaving openings for the admission of cold. Another method is to have the squares lathed in the ordinary manner, and then stuccoed. In this case there should be a sinkage in the side of the timbering, on the principle of a tongue and groove, which the cement will enter, so that in case of shrinkage the joint will not be exposed. In order the further to prevent dampness, it would be well to have the sill or bottom rail rabbeted, as in the case of a groove here the water is apt to lodge, and thereby hasten decay. So far as tightness is concerned, I think the better way is to carry the brick walls up to the eaves of the second story. A series of planking in lieu of half-timbering is then secured to the walls, and the bricks between are covered with stucco. Still another way is to seal the walls with vertical boards, to which affix plank battens as above. The last two methods might be thought objectionable on the ground of imitating half-timbering, thus pretending to be what they are not, and so failing to preserve the truth, which, as we have before said, is one of the first principles of architecture. This appearance of sham, however, may be prevented by treating the planking on the principle of battens simply, without any attempt at imitation. The ornaments represented in the panels should be stamped in the stucco while it is fresh, and then filled up with red or black mortar. If wood is used as a backing, these figures might be produced by scroll-sawing, or even stenciled, in red or black outline. VIGNETTE, SHOWING THE HALF-TIMBER GABLE. If cement is used, the cove under the projection may be of the same material. The employment of different-colored slate on the roof is objectionable, especially as in this case it is sufficiently broken without being cut up into patterns. We think that red or purple slate appears the best; but all should be of uniform color. In the accompanying vignette we have attempted to illustrate the library gable, showing the half-timbering and ornamental panels on a larger scale. DESIGN NO. 6. In this arrangement we have three rooms, a greenhouse, and a kitchen on the first story. As in designs Nos. 2 and 3, the rooms are placed opposite, allowing the breeze to circulate unobstructed through the living portion of the house. The veranda, being exposed to the morning sun, is protected by an awning, which, while affording ample shade, is at such an elevation as not to cut off the view. This awning, of course, can be raised when the sun has sufficiently retreated to leave the piazza in the shade. It is generally considered an advantage to have the veranda on the easterly side of the house, the afternoon being the time it is most in use. It will be observed that the library and dining-room chimneys come in the corner of the rooms. There is often an advantage gained in such digressions from stereotyped customs, and they can be treated as agreeable and novel features; and, if thought advisable, the opposite corners may be made to correspond, as shown in our plan of the | in the attic, so as to unite on the roof in a library. Yet we have no hesitation in ac- single stack. cepting the situation and coming out boldly with this corner treatment without attempting symmetry, especially when there is an evident motive. The object in this case is to bring the two chimneys together 13 12 One of the most important features, and one that is peculiarly susceptible of bold and artistic treatment, is the main staircase. In the present instance, as shown in the vignette, it is placed at the end of the hall. The first landing being raised but six steps, gives the appearance of an elevated gallery or dais, beyond which, and agreeably terminating the vista, there is a spacious greenhouse. The principal newel is plain but elegant, and is surmounted by an appropriate gas standard. The niche between the flight, not serving as a passage, is occu- time convenient, features of this design is pied by a seat of plain construction cov- the recessed balcony coming under the main ered with an ornamental leather cushion. roof. This to the chamber is like the veranThrough the door at the right we pass da to our living-room, and where in pleasant down six steps to a lavatory beneath the weather most of our time is spent. Here, platform, beyond which, under the green- amidst flowers and twining vines, we may house, is the billiard-room. vary our literary occupation by attention On the exterior I have endeavored to show how a simple square cottage, constructed in this style, may be made exceedingly picturesque. This is not accomplished by any straining after effects, but each line seems to fall naturally into its place, and the whole appears a legitimate outgrowth of the requirements suggested by the peculiarities of our climate. It is often remarked that these broken and irregular roofs are pretty enough to look at, but very uncomfortable to live under. This is because the ceilings of the second story are frequently cut off and made to follow the sloping lines of the roof, so as to interfere with the headway; and, being directly on the rafters, there is not sufficient space to protect the room from the external changes of heat and cold. But these inconveniences are far from being unavoidable; they are simply blunders of the builder, and can always be avoided in a well-studied plan. The roof in this design not only permits the second-story rooms to be square, but serves as a protection from the elements by covering the triangular space over the veranda, which may readily be utilized as closets. The attic has a similar protection in a loft, which is lighted and ventilated by louvre boards in the peak. This loft may be roughly floored, and used as a storage and trunk room. One of the most effective, and at the same the to our gold-fish VIGNETTE, SHOWING RECESSED BALCONY. TO MY MAPLES. YOUR time is come, my tall and straight-limbed maples, Whose boles the wrathful winds have blenched, not We've done, at last, with frosts and snows as staples, This is your hour; ye shall no more be flouted I mark your slender twigs against the azure Grow bossy with the rounding of their gems, So sweet the mid-day silence shall be golden Of thrush and oriole, in the morn that sing; Less dear their notes than those, both new and olden, Which Love's young ecstasies to young hearts bring. And so, my maples, tall and verdure-crested, Ye shall fling back the floutings of the spruce, I love you all, O trees, that round my garden Grand winter trees that draw your fringy curtain resignation; but he wisely kept himself in bed, as at the point of death, and so shunted the popular abuse on to Franklin in England, who was his friend, and, it was supposed, the friend of the Stamp Act. The newspapers came out next day in mourning for their own approaching demise, Bradford's Journal bearing a death'shead and coffin, and the words, "The Pennsylvania Journal departed this life October 31, 1765, of a stamp in her vitals. Aged twenty-three years." The history of Philadelphia for the next three years is the history of an exceptionally temperate, prudent community, slowly rousing into a temperate, prudent resistance to injustice. If they were more tardy than any other colony in this resistance, it must be remembered that the injustice T is a curious study to note in these rec- touched them less keenly. They had al Iorda noy, especially in ways been ruled, in not England, Westcott's invaluable History of Philadelphia, which is a most vivid panorama of the past, drawn with a Flemish minuteness and accuracy, how the disagreement with the mother country, beginning with a murmur of discontent in the outer business circles, angry talk in counting-rooms and clubhouses, scarce heard in domestic life, rose suddenly into the storm that racked the little colony to its foundations, and brought ruin and death close to every home and every woman and child. The Pennsylvania Assembly acted tardily in resenting the passage of the Stamp Act. Massachusetts and Virginia flamed with indignation for months before the placid Quaker town saw fit to join them. When, however, the Royal Charlotte, having on board the stamped papers, hove in sight, all the ships in the Philadelphia harbor dropped their flags to half-mast, and all the bells were tolled as for the death of Liberty. Committees waited daily on Hughes, the stamp agent, demanding his but by the Penns and the Governors appointed by the Penns; and although there was an incessant squabble going on between the Province and the Proprietaries, the rule had been easy and just, and Philadelphia knew that it had been so. There can be no doubt that her leading men were drawn with extreme reluctance into the violent separation from the mother country. The Quakers threw their full dead-weight of inertia against the revolutionary movements of Massachusetts and Virginia radicals, for which we can scarcely blame them. They had come here to find not only religious liberty, but a chance to rise socially and politically, and had gained all they sought. They were firmly seated on the soil, and were the ruling power. They were asked now to engage in a bloody war, which their principles forbade, to give up an authority which they had used with wisdom and justice, and to give it up into the hands of people alien to themselves in belief, habits, and educa |