architecture and interior design_19th century_ch10

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Uniquely American, the Stick Style in architecturereinterprets medieval half-timbered buildings and thenew balloon framing construction method with woodenplanks or sticks that form decorative surface patterns onexteriors. Queen Anne originates in England as anattempt to create an image of home, tradition, and mid-dle-class comfort. Highly eclectic, the style combineselements from the 16th, 17th, and 18th centuries.Queen Anne appeals to Americans also, who translateit into wood instead of the brick of England. NeitherStick Style nor Queen Anne has a corresponding inte-rior or furniture style, but some interiors and furniture inQueen Anne buildings vaguely recall 18th-century prototypes.

HISTORICAL AND SOCIAL

Queen Anne rules Great Britain from 1702 to 1714. Shehas little interest in government and as a result rulesthrough advisors. During this time, English architectureand interiors are classical in feeling. Large-scale buildingsand complexes display restrained Baroque (17th century)characteristics, including center emphasis, advancing andreceding planes, some curves, and bold classical details.The period sees the spreading of the rectangular blockmanor house, developed earlier, with symmetrical façade,sash windows, classical details such as quoins, and a hippedroof. The Neo-Palladian style begins during Queen Anne’sreign and is based on the writings of Vitruvius and the workof Andrea Palladio, a 16th-century Italian Renaissancearchitect, and Inigo Jones, a 17th-century English archi-tect. Interiors during the early 18th century are restrained,sober, and classical in details. Furniture continues the ear-lier Dutch William and Mary style but becomes simpler,more attenuated, and more curvilinear.

After the 1850s, a second generation of the middle classcomes into its own. These individuals are from moneyedhouseholds and possess the advantages of education and cul-ture. They regard the creation of beauty as important as wellas the cultivation of classical Greek virtues, refinement, and

C H A P T E R 1 0

Stick Style,Queen AnneStick Style

1860s–1880s,

Queen Anne

1880s–1910s

Ah, to build to build! That is the noblest art of all thearts. Painting and Sculpture are but images, aremerely shadows, cast by outward things. On stone orcanvas, having in themselves no separate existence.Architecture, existing in itself, and not in seeming asomething it is not, surpasses them as substanceshadow.

Henry Wadsworth Longfellow, from Palliser’s New Cottage Homes and Details, 1887, by George and Charles Palliser

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Architecture and Interior Design from the 19th Century: An Integrated History, Volume 2, by Buie Harwood, Bridget May, Ph.D., and Curt Sherman.Published by Prentice Hall. Copyright © 2009 by Pearson Education, Inc.

S T I C K S T Y L E , Q U E E N A N N E 237

manners to create a gentlemanly or lady-like image. Thisgroup leads sophisticated lives, traveling, attending plays andcultural events, and socializing with friends and family inwell-appointed houses. During the 1860s, these Englishsocialites begin to look back to their Stuart (late 17th cen-tury) and Georgian heritages (18th century) for the desirableattributes of refinement and gentility. This interest in a laterpast rather than the popular Gothic Revival helps contributeto the development of the Queen Anne architectural style.

Although American architects are aware of Englisharchitectural developments through publications and travelin England, they do not wholeheartedly follow them. How-ever, the 1876 Philadelphia Centennial Exhibitionacquaints the American public with both the Stick Styleand English Queen Anne, and they soon become popularstyles for residences. Americans (Fig. 10-1) look back totheir own 17th- and 18th-century pasts more as an anti-dote to contemporary industrial life than an ideal of gen-tility (see Chapter 13, “Colonial Revival”). This nostalgiaopens the way for wider acceptance of Stick and QueenAnne. Rejecting the shady values demonstrated in con-temporary politics, the middle class flees the corrupt, scan-dalous cities of the present and escapes to the purer, simplerrural life and imagined past. Summer resorts filled with pic-turesque Stick and Queen Anne structures amid tranquillandscapes become popular travel destinations.

CONCEPTS

■ Stick Style. Applied to American buildings as a half-timbered appearance rendered in wood, the Stick Styledevelops during the 1850s from concepts of the Picturesque,

historicism, and Gothic Revival theory. Early-19th-centuryPicturesque suburban architecture in England and late Gothicvernacular buildings in England, France, and Germany formthe model for this uniquely American style. Also influentialare Swiss cottages and the board and batten cottages of A. J. Davis and A. J. Downing published in Rural Residences(1837) and The Architecture of Country Houses (1850).■ English Queen Anne. Arising in the 1860s, EnglishQueen Anne is the style of choice for the middle class.Although its name suggests the early 18th century, highlyeclectic Queen Anne includes characteristics from Englishvernacular, Elizabethan, Tudor, and Japanese architectureas well as that of the 17th and early 18th centuries. Unlike

IMPORTANT TREATISES

■ Carpentry Made Easy or The Science and Artof Framing on a New and Improved System,1858; William E. Bell.

■ Detail, Cottage and Constructive Architecture,Containing 75 Large Lithographic Plates,1873; Amos Jackson Bicknell.

■ Homes and How to Make Them, 1874; EugeneClarence Gardner.

■ Illustrated Homes, 1875; Eugene Clarence Gardner.

■ Rural Homes, 1868; Gervaise Wheeler.

■ Woodward’s National Architect, 1869; GeorgeEvertson Woodward.

Periodicals: American Architecture and Building News,British Architect, and Building News (England).

� 10-1. Mark Twain (above, center), Molly Brown, and acarpenter, c. 1865–1880; United States.

238 V I C T O R I A N R E V I VA L S

the Greek and Gothic Revivals, Queen Anne strives,through eclecticism, not to revive a past style or to createa new historical style. Consequently, there is confusion,even among practitioners, about what exactly constitutesQueen Anne. By the 1890s, Queen Anne is applied toalmost anything that is not Gothic Revival.■ American Queen Anne. Americans translate elementsof English Queen Anne into wood and use it primarily forresidences. Its image of home and ancestry appeals to boththe middle class and design critics who urge the style’s im-mediate adoption. A variation is Victorian Vernacular. Ittranslates Queen Anne, Stick, and other styles into com-mon or folk versions of architecture, interiors, and furni-ture for the American middle and working classes. Often,builders, artisans, or cabinetmakers simply add details ofhigh styles to folk or traditional forms (Fig. 10-3).

DESIGN CHARACTERISTICS

Primarily architectural styles, Stick and English and Amer-ican Queen Anne look back to the Middle Ages, EnglishRenaissance, and vernacular buildings for inspiration.

Highly eclectic, they adopt asymmetry, irregularity, verti-cality, forms, and details of earlier buildings

■ Stick Style. Structures in this style feature stickworkforming panels and framing windows and doors. Addi-tional stickwork appears in the bracket supports beneaththe roof, decorative trusses in the gables, and ornamentalcresting. Full- and partial-width porches have supportswith diagonal stickwork braces. Mostly residential, thestyle conveys a half-timbered, medieval feeling. The StickStyle has no corresponding style in interiors or furniture,although some rooms may reflect a general exterior char-acter in paneling with stick-like patterns.■ English Queen Anne. Architecture of this style featureselements from Stuart, Georgian, medieval, Early Renais-sance, and vernacular English buildings. Human scale andthe visual language speak of refinement, simplicity, com-fort, and hominess, qualities appealing to the middle classinstead of the wealthy or landed gentry. Characteristicsinclude brown and red brick, white-painted sash or case-ment windows, oriel or bay windows, Flemish or straightgables, tall and prominent chimneys, hipped or gable roofs,cupolas, pediments, pilasters, and columns. Interiors inQueen Anne buildings may follow revival styles, Aesthetic

� 10-2. Architectural details, 1870s–1880s; United States.

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principles, or be 19th-century interpretations of QueenAnne. The latter bear little resemblance to the originals,although characteristics include pediments (usually bro-ken), swags, urns, ceiling medallions, and other qualities of18th-century interiors. Colors, textures, and furnishingsare typical of the 19th century instead of the prototypes.Like architecture, Queen Anne interiors and furniture areeclectic and loosely resemble the corresponding 18th-century styles, but distinctions are not clear.■ American Queen Anne. This style evidences variety asa key characteristic. Houses are large, asymmetrical, andrambling with full- or partial-width porches. A variety ofwindow types, materials, textures, and colors is typical—anything to avoid a plain or flat wall surface. Towers orturrets, prominent chimneys that are usually decorated,and a multiplicity of roofs and roof types are also charac-teristic. Interiors and furnishings may be in a revival styleor follow Aesthetic Movement or Arts and Crafts princi-ples. The latter is contemporary with the Queen Annestyle’s height of popularity in the United States. Althoughthe first examples are architect designed and closely re-semble English models, the style proves so popular thatbuilders and artisans produce many examples across thenation, and it frequently appears in home plan books. Inthe United States, there are fewer Queen Anne interiorsand furniture.■ Motifs. Motifs include sunflowers, pediments, columns,spindles, scrollwork, quoins, Flemish gables, strapwork,swags, cherubs, flowers, and foliage (Fig. 10-2, 10-8, 10-16,10-19, 10-23, 10-32, 10-34, 10-36, 10-37, 10-43).

� 10-3. Gazebos (summer houses), 1870s–1890s; United States.

ARCHITECTURE

Primarily residential, the Stick Style emerges on the EastCoast of the United States during the 1850s and is morepopular in pattern books than in practice, according to theactual number of buildings built. The first example of themature style and a prototype for others is the John N. A.Griswold House (Fig. 10-8) designed by Richard MorrisHunt and built in Newport during the Civil War. Otherexamples are mostly located in summer resorts, such asNewport, Rhode Island, where the style’s light and rusticappearance is appealing. An exception is San Francisco,where the style continues well into the 1880s, corre-sponding to the city’s rapid growth during the period. Theso-called Painted Ladies (which may be Stick, QueenAnne, or Italianate) form a colorful regional style for rowhouses with stickwork, brackets, and other wood decora-tion (Fig. 10-18).

English Queen Anne does not have a strong theoreti-cal or scholarly base but adopts the irregularity, openplanning, truth in construction, and honesty of materialof Gothic Revival without its moral or religiousovertones. Striving for freedom in planning, design, anddecoration, the style derives its red brick, sash windows,cupolas, shutters, and fanlights from 18th-century archi-tecture. Gables, pediments, white trim, and prominentcoves come from 17th-century buildings. Traditionalearlier English buildings contribute a homey, friendlyappearance, half-timbering, tiled façades, pargework,overhangs, casement windows, and plans and elevations

that appear to have evolved over time with additions asneeded. Some buildings reveal elements of the AestheticMovement and Japanese design.

The foundation for Queen Anne is laid during the1850sand 1860s by renewed interest in the Stuart and Georgianperiods, a rejection by some architects of the moral andreligious nature of Gothic Revival, and a move toward aless literal interpretation of Gothic evident in the work ofsome architect–designers such as Philip Webb. Believingthat buildings during Queen Anne’s reign were basicallymedieval in form with classical ornament applied, designers

turn to the pre-Georgian period. The style coalesces in thework of William Eden Nesfield and Richard Norman Shawfollowing their study of vernacular Elizabethan andJacobean architecture. By the 1870s, the visual languagehas fully developed as more Queen Anne buildings arebuilt and published in architectural and building

� 10-5. Allied Assurance Company, 1–2 St. James Street, c. 1882; Pall Mall, London, England; Richard Norman Shaw.Queen Anne.

� 10-6. S. Peter’s by the Sea Episcopal Church, late 19thcentury; Cape May, New Jersey. Stick Style.

� 10-4. Women’s Pavilion, and New Jersey State Building,International Centennial Exhibition, 1876; Philadelphia,Pennsylvania. Stick Style.

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magazines. Queen Anne is very popular in England duringthe second half of the 19th century for all types of buildingsand, to a lesser degree, interiors and furniture, where it iseven more eclectic than in architecture. Three of the mostinfluential buildings are Leys Wood (Fig. 10-9), a largecountry house in Sussex resembling Elizabethan mansions;New Zealand Chambers, an office building in London,

both by Richard Norman Shaw; and the Red House(demolished) in London by J. J. Stevenson.

The first American example of Queen Anne, theWatts Sherman House (Fig. 10-15) in Newport, RhodeIsland, by H. H. Richardson, closely follows Shaw’s LeysWood. It sets the stage for other early architect-designedstructures, which tend to be more horizontal and differ-ently massed than English examples are. Other Americandifferences include more open space planning, varyingroom heights and floor levels, and greater integration ofexterior and interiors through porches, larger windows,and use of exterior materials inside. This early version ofQueen Anne evolves into the Shingle Style, but thevariety, eclecticism, and quasi-medievalism of EnglishQueen Anne continue in numerous wooden residencesacross America. House pattern books, the expanding rail-road system, balloon framing, standardized lumber sizes,and factory-made precut architectural parts quickly spreadthe style, enabling thousands of Americans to have smalland large houses in the latest Queen Anne fashion.

Public and Private Buildings • Stick Style■ Types. Although primarily a residential development(Fig. 10-8, 10-11, 10-13), there are a few Stick Style state

� 10-7. Hotel del Coronado, 1886–1888; Coronado, California.Queen Anne.

� 10-8. John N. A. Griswold House, 1862–1864; Newport, Rhode Island; Richard Morris Hunt. Stick Style.

IMPORTANT BUILDINGS AND INTERIORS

pavilions at the International Centennial Exhibition (Fig. 10-4) and some churches (Fig. 10-6) and resorthotels elsewhere.■ Materials. Wood is the primary building material for allbuilding types. A few examples may mix brick, stone, ormasonry with wood.■ Façades. Stickwork, composed of flat boards, createspanels that organize the façade and emphasize the structure

(Fig. 10-4, 10-6, 10-8, 10-13). Applied over wall surfaces(usually upper stories), stickwork may be horizontal, verti-cal, and/or diagonal. The pattern of sticks may reflect theballoon framing beneath or simply decorate the surface.Although resembling half-timbering, the wall beneaththe stickwork is covered with traditional American clap-boards instead of plaster. The verticality, asymmetricalmassing, and irregular silhouette of medieval buildings

■ Arcadia, California:

—Queen Anne cottage, 1881; A. A. Bennett.■ Cambridge, England:

—Dining Hall, Newnham College, CambridgeUniversity, 1874–1910; Basil Champneys. QueenAnne.

■ Cape May, New Jersey:

—Elridge Johnson House (Pink House), 1882.Queen Anne.

—Emlen Physick House, 1879; attributed to FrankFurness. Stick Style.

—S. Peter’s by the Sea Episcopal Church, late 19thcentury. Stick Style.

■ Denver, Colorado:

—George Schleier Mansion, late 1880s; E. F. Edbrooke.—Molly Brown House, c. 1880s; William Lang.

Queen Anne.■ Eureka, California:

—Carson House, 1884–1886; Samuel and JosephC. Newsom. Stick Style/Queen Anne.

■ Galveston, Texas:

—Sonnenthiel House, c. 1887. Queen Anne.■ London, England:

—Allied Assurance Company, 1–2 St. James Street,Pall Mall, c. 1882; Richard Norman Shaw. QueenAnne.

—Bedford Park (Queen Anne village), 1877–1880;Richard Norman Shaw. Queen Anne.

—Linley Sanbourne House, c. 1870s; Kensington.

—Lowther Lodge (Royal Geographic Society),1873–1875; Kensington Gore, Richard NormanShaw. Queen Anne.

—New Scotland Yard, 1887–1890; RichardNorman Shaw.

—New Zealand Chambers, 1871–1873; RichardNorman Shaw. Queen Anne.

—Palace Gate, No. 8, 1873–1875; Kensington; J. J.Stevenson. Queen Anne.

■ Los Angeles, California:

—Hale House, c. 1885; Joseph Cather Newson.—Lewis House, 1889; Joseph Cather Newson.

■ Newport, Rhode Island:

—John N. A. Griswold House, 1862–1864; RichardMorris Hunt. Stick Style.

—Watts Sherman House, 1874–1875; HenryHobson Richardson. Queen Anne.

■ Northumberland, England:

—Craigside, 1869–1884; Richard Norman Shaw.Queen Anne.

■ Philadelphia, Pennsylvania:

—Women’s Pavilion, New Jersey State Building,Michigan State Building, and the PennsylvaniaState Building, International CentennialExhibition, 1876. Stick Style.

■ San Diego area, California:

—Hotel del Coronado, 1886–1888; Coronado.Queen Anne.

—Sherman-Gilbert House, 1887–1889; Comstockand Trotsche. Stick Style.

—Villa Montezuma, Jesse Shepard House, 1887.Comstock and Trotsche; Queen Anne.

■ San Francisco, California:

—Haas-Lilenthal House, c. 1886. Queen Anne.■ Surrey, England:

—Lodge at Kew Gardens, 1866; W. E. Nesfield.Queen Anne.

■ Sussex, England:

—Leys Wood, 1866–1869; Richard Norman Shaw.Queen Anne.

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� 10-10. Model house; published in Details of Cottage andConstructive Architecture . . . Showing a Great Variety ofDesigns for Cornices, Brackets, Window Caps, Doors, Piazzas . . . , 1873; by Amos J. Bicknell. Queen Anne.

� 10-11. Mark Twain House, c. 1874; Hartford, Connecticut;Edward Tucker Potter. Stick Style.

are common. Additional characteristics include squareor rectangular towers and rectangular bay windows.Single-story porches, which lighten the mass of thestructure, may be partial or full width and extend on one,two, or three sides. Porch supports have diagonal brack-ets. Some houses may be polychrome with colors empha-sizing stickwork. Some display elements from other stylesor cultures (Fig. 10-11).

� 10-9. Leys Wood, 1866–1869; Sussex, England; RichardNorman Shaw. Queen Anne.

■ Windows. One-over-one or two-over-two sash windowsare most common although some have bay windows (Fig.10-7, 10-8, 10-11, 10-13). A few examples have casementsor triple sash windows. Shutters are not used.■ Roofs. Multiple steeply pitched roofs may be gabled,cross gabled, or hipped with wide eaves and large bracketsbeneath to support them (Fig. 10-4, 10-7, 10-8, 10-11,10-13, 10-16). Ends of rafters may be exposed in gables.Also typical is a decorative truss in the apex of the roof thatrepeats stickwork on the facade. Dormers, cresting, andpendants are common. Slate or wooden shingled roofs maybe polychrome.

Public and Private Buildings • QueenAnne■ Types. English Queen Anne defines many publicbuilding types, including offices (Fig. 10-5), schools, col-leges, shops, pubs, coffee houses, hospitals, hotels, andeven a few churches. Private building types include

� 10-12. Floor plans, Mark Twain House, c. 1874; Hartford, Connecticut; Edward Tucker Potter. Stick Style.

� 10-13. Emlen Physick House, 1879; Cape May, New Jersey;attributed to Frank Furness. Stick Style.

� 10-14. Craigside, 1869–1884; Northumberland, England;Richard Norman Shaw. Old English style, Queen Anne.

manor houses, town houses or terraces, flats, and workerhousing (Fig. 10-9, 10-14, 10-20). Only a few countryhouses adopt the style because it is not pretentiousenough for the wealthy.

In the United States, Queen Anne is primarily a residen-tial style, usually for single-family dwellings or townhouses(Fig. 10-10, 10-15, 10-16, 10-18, 10-19). Queen Anne’s largerambling forms and residential appearance make it suitablefor hotels (Fig. 10-7) and a few commercial buildings.■ Site Orientation. Houses in England may be rural or urbanwith appropriate sites (Fig. 10-9). England’s Bedford Park,one of the first garden cities, features green settings for itssmall and large, single or duplex simplified, Queen Annehouses, schools, shops, pubs, and church. Some buildings,such as schools, have lawns surrounding them. In theUnited States, Queen Anne houses fill newly developedsuburbs or large lots in cities (Fig. 10-15, 10-17, 10-19).■ Floor Plans. Commercial structures have no typical floorplans but develop from space allowances and functionalneeds.

English and American houses usually have irregularfloor plans centered on living halls, large spaces with stairs,a fireplace, and often an inglenook or area with built-inseating around the fireplace (Fig. 10-12). American planshave tall and broad openings between the living hall and

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DESIGN SPOTLIGHT

Tall chimney

Variety in roof designHorizontal band of windows

Horizontal emphasisSmall window panesHalf-timbering

Shingles accent facade

Partial-width porch for entry

Architecture: Watts Sherman House, 1874–1875; Newport,Rhode Island; Henry Hobson Richardson. Queen Anne. TheWatts Sherman House is considered the first Americanexample of Queen Anne. Richardson models Shaw’s work,which he is familiar with through publications of it. How-ever, he creates something new and uniquely American.More horizontal than British examples, the house massesaround the central open floor plan with monumental livinghall. Horizontal bands of windows highlight the hall on theexterior and form a glass wall. Richardson rejects the redbrick and white paint of England for a combination ofgranite, brownstone, stucco, and shingles in various shapes.Tall chimneys, leaded casement windows, and half-timbering recall English medieval examples. Although lack-ing the ample porches characteristic of later examples,Richardson’s design greatly influences the Queen Anne,Colonial Revival, and Shingle styles. The house has hadseveral additions since its initial construction, the earliest byStanford White in 1881. The open plan centers on a largestaircase and living hall from which space flows throughbroad openings into the dining room, library, and drawingroom. Details from the Middle Ages define the stair and halland include beamed ceilings, wainscoting, a large hoodedfireplace, and stained glass windows.

� 10-15. Watts ShermanHouse; Newport, RhodeIsland.

DESIGN PRACTITIONERS AND FURNITURE MANUFACTURERS

■ Richard Morris Hunt (1827–1895) is known for hisbuildings in classical styles and grand manor housesfor the wealthy, but his Griswold House is the firstexample of Stick style in the United States. Hunt isinfluenced by French half-timber structures he sawwhile studying abroad (see Chapter 12, “ClassicalEclecticism”).

■ William Eden Nesfield (1835–1888), along withShaw, inaugurates the Queen Anne and OldEnglish styles in England. Nesfield’s Lodge at KewGardens in Surrey is considered the firstmanifestation of Queen Anne.

■ Richard Norman Shaw (1831–1912) creates theQueen Anne and Old English architectural stylesand becomes their leading practitioner inEngland during the 1870s. He regards them assecular, domestic, and English in contrast to theGothic Revival. Shaw soon tires of Queen Anneand moves on to Renaissance and Georgian

Revival. Through publication, his work is wellknown on both sides of the Atlantic. Shaw alsodesigns interiors and furniture, of which littlesurvives.

■ John James Stevenson (1831–1908) is theleading designer of Queen Anne residences inLondon. His own house, called the Red House andnow demolished, showcases his ideas and iswidely imitated.

■ Berkey and Gay (1861–1948) is one of the threelargest furniture manufacturers in Grand Rapids,Michigan, in the second half of the 19th century.Known for its excellent quality, the companyproduces furniture in many revival styles, particularly dining room and bedroom suites ofRenaissance Revival, Eastlake, and Gothic Revival.In the early 20th century, it adds an upholsterydivision and is a leading producer of ColonialRevival furniture.

� 10-16. Carson House, 1884–1886; Eureka, California; Samuel Newsom and Joseph C. Newsom. Stick Style/Queen Anne.

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� 10-17. Villa Montezuma, Jesse Shepard House, 1887; SanDiego, California; Comstock & Troitsebe. Queen Anne.

� 10-16. (continued)

DESIGN PRACTITIONERS

■ Grand Rapids Chair Company (1872–1973)produces caned chairs and frames for upholsterysuites until the early 20th century when it beginsmaking living and dining room furniture in revivalstyles. Its best-known line is Castle Oak, a TudorRevival style. During the 1950s, the companyproduces a line of modular furniture for thehome. It becomes a subsidiary of Sligh Furniturein 1945 and is fully integrated into BakerFurniture in 1973.

■ Mitchell and Rammelsberg (1849–1930s),Cincinnati, Ohio, uses interchangeable parts andornament to produce many types of furniture in aplethora of styles for home, office, and saloon.One of the largest furniture manufacturers in theUnited States, the company stocks less expensivefurniture in showrooms in New Orleans, St. Louis,and Memphis. The firm also makes customfurniture to order for wealthy clients.

■ Sligh Furniture Company (1880–present) of GrandRapids, Michigan, manufactures bedroom furnitureexclusively until the 1930s when it adds a line ofdesks and moves to Holland, Michigan. The companyproduces a range of residential furniture and clocks.

■ Materials. English Queen Anne buildings most oftenare of brown brick with red brick trim or only red brick(Fig. 10-5). Windows and other details are paintedwhite. Ornament may consist of terra-cotta plaques withnaturalistic motifs, tiles, and pargework. Balcony sup-ports may be of wood painted white, stone, or wroughtiron. Roofs usually are slate.

Wood is the dominant building material for AmericanQueen Anne houses and hotels (Fig. 10-7, 10-18, 10-19).Timber is plentiful, and the scroll saw and balloon framingmake wooden buildings cheaper, easier, and faster to con-struct. Some homes have a mixture of materials such asterra-cotta, brick, or stone, and wood. Board and batten,clapboards, or shingles may cover wall surfaces (Fig. 10-17).On roofs are wooden or slate shingles and, sometimes, ironcresting (Fig. 10-16, 10-17).

American color schemes are composed of several colorsthat contrast the body of the house with structural details,such as windows, brackets, and eaves. Multiple contrastingcolors cause elements to apparently advance and recede, cre-ating highlights and shadows. Dark, rich colors from natureare popular, including brown, terra-cotta, and olive green.■ Façades. Queen Anne buildings in both England andthe United States are asymmetrical and varied in form and design but convey a similar feeling to late medieval, 17th- and 18th-century, and/or rural houses of the past(Fig. 10-9, 10-13, 10-14). Both English and American pub-lic and private buildings may be self-contained or ramblingdepending upon the site and function. Façades, rarely flat,have a variety of projections, protrusions, and volumes.Although larger in scale than residences, public buildingshave a similar character to residences.

� 10-18. Townhouses, 1870s–1880s; United States. Queen Anne/Stick Style.

surrounding spaces, which gives a more open feeling andallows space to flow between and among rooms. Alsoevident in the Stick Style, balloon framing and centralheating make these new, open plans feasible. The largewindows and ample porches characteristic of Americanhouses help bring the outside into the house.

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� 10-19. Houses, c. 1880s–1900s; United States. QueenAnne/Victorian vernacular.

English structures, particularly commercial buildings,usually have brick pilasters often dividing fronts into bays.Common characteristics of both public and private build-ings are straight and Flemish gables, tall and decoratedchimneys, half-timbering, tile work, jetties, combinations ofwindows (Fig. 10-5). Somewhat less typical are quoins,stringcourses, columns, pediments, and arched lower stories.Houses sometimes have niches to display blue and whiteporcelain or other decorative objects. Important buildings,such as town halls, may have centerpieces, clock towers, ora cupola. Following Shaw, some buildings have a large cove,often with patterned pargework, joining wall and roof.

American Queen Anne houses have round, polygonal,or angled towers, usually on corners, half-timbering, deco-rative stone or terra-cotta panels, and wooden scrollwork

� 10-20. Lowther Lodge, c. 1873–1875; Kensington Gore,London, England; Richard Norman Shaw. Queen Anne.

� 10-21. Decorative glass windows, c. 1870s, 1880s; United States.

� 10-19. (continued) � 10-19. (continued)

A variety of colors, textures, and materials is common. Inthe 1890s, a version of Queen Anne called Free Classicappears in the United States with classical columns, colon-nettes, pediments, and Palladian windows. Like the StickStyle, Queen Anne houses have single-story full- or partial-width porches surrounding them. Some have additionalsmaller porches on their upper stories. Some exampleshave the latticework and/or horseshoe arches of Islamic ar-chitecture. Townhouses or flats have similarly designed de-tails usually organized in multiple components for unity(Fig. 10-18). American Queen Anne hotels resemblelarge-scale houses with bays, towers, prominent chimneys,and porches (Fig. 10-7).■ Windows. Use of a variety of windows is characteristicof all Queen Anne structures in England and the UnitedStates (Fig. 10-19, 10-21). Casements with leaded panesor sash windows with small panes painted white are fre-quent. Other types include round, square, Palladian, andarched. Some sashes have a single pane below with smallpanes above. Shop windows often have a single pane ofglass to display merchandise more effectively. Windows

highlighting porches, walls, gables, and windows (Fig. 10-10,10-17, 10-19). Rooms, balconies, walls, and roofs inter-lock. Rooms may project over porches or bay windows.Spindles embellish gables, porch supports, and cornices.

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� 10-22. Later Interpretation: Grand Floridian Resort and Spa,c. 1990; Lake Buena Vista, Florida; Wimberly, Allison, Tong, & Goo.

(Fig. 10-21) may be single, double, or triple, and one, two,or three stories tall. Some are small and unobtrusive, whileothers dominate the facade. Bay and oriel windows may beangled with three to five sides, curved, or curved with flatfronts, and exhibit endless variations. Details for bays arenumerous, including arches, pediments, and pargework.Glazing bars may be of wood, lead, or stone. Bays mayproject beneath overhangs or have balconies above them.Stained, leaded, etched, and colored glass is common in

American Queen Anne. To restrict as little light as possi-ble, colored glass often is limited to transoms or borders.■ Doors. Entries may be prominent or unobtrusive, cen-tered, or on one side. Formal porches with pediments andcolumns or simple surrounds composed of columns or pi-lasters carrying lintels, a pediment, or fanlight may definethe entry (Fig. 10-16, 10-19). Doors are wood paneledpainted dark green or black. Doorways in American build-ings usually have simple or less complicated surrounds thanthose in England do. Doors may be single or double andhave plain, etched, or stained glass in the upper portions.■ Roofs. Most buildings have a multiplicity of steeplypitched roofs that may be gabled or hipped (Fig. 10-14, 10-15, 10-16, 10-17, 10-19). Townhouses usually have flatroofs, sometimes with a false gable. Dormers, usually em-bellished, are common in all styles in both countries. Flem-ish or straight gables are common in English Queen Anne.Jerkinhead roofs may appear in American Queen Anne.Towers may have angled or conical roofs or onion domes.Starbursts, shingles, tiles, flowers, or foliage may decoratethe apex of roofs in American Queen Anne. Bargeboardsand decorative trusses are common adornments. Towersand gables may have finials or pinnacles. Large chimneysmay resemble Elizabethan or Tudor examples.■ Later Interpretations. In the late 20th century, Queen AnneStyle houses adapted for modern living appear in upscaleAmerican housing developments. Often clad in vinyl siding,the contemporary versions have a tower and a porch butfewer decorative details and colors than their predecessorsdid. A keeping room or great room replaces the earlier livinghall. Hotels also exhibit Queen Anne and Stick Style char-acteristics, particularly those located near water (Fig. 10-22).

INTERIORS

Stick Style buildings do not have corresponding interiorstyles, so their rooms feature fashionable revivals such asRococo, Renaissance, Medieval, or Gothic. Like architec-ture, interiors in Queen Anne houses do not replicate thoseof the 18th century. Most follow revival styles or theAesthetic Movement (see Chapter 16, “Aesthetic Move-ment”) or Arts and Crafts Movement (see Chapters 17,“English Arts and Crafts,” and 18, “American Arts andCrafts”). A few recall 18th-century interiors with classicalcolumns, pediments, low relief plasterwork in classical motifs,or wall paneling (Fig. 10-26, 10-27). As is typical of the time,each room may depict a different style with masculine styles,such as Jacobean, defining dining rooms and halls and femi-nine styles, such as Adam, in the parlor and morning room.

Public and Private Buildings■ Types. Living halls become characteristic during this pe-riod as formal living begins to give way to informality. Theyserve as living rooms, entrance halls, and circulation spaces

DESIGN SPOTLIGHT

� 10-24. Stair hall, Watts Sherman House,1874–1875; Newport, Rhode Island; HenryHobson Richardson. Queen Anne.

Dark brown wood against white wall

Architectural bracing in wood

X shape relates to half-timbering

Half-timbering

Room relates to Gothic great hall

Stair rail recalls Gothic tracery

� 10-23. Stair hall, John N. A. Griswold House; Newport, Rhode Island.

Interiors: Stair hall, John N. A. Griswold House,1863–1864; Newport, Rhode Island; Richard MorrisHunt. Stick Style. The stair hall is reminiscent of me-dieval interiors with its high ceilings and walls high-lighted with dark wood brackets, panels, and flat trim.Carving in the stair rails recalls Gothic tracery. The flatwood trim and X shapes in the panels unite with the

stickwork on the exterior and call attention to the dec-orative wall surface. The medieval character of the ex-terior and architectural details define the Stick Style.Definitive characteristics are the stickwork, porch sup-ports with diagonal braces, bracket supports beneaththe roof, decorative trusses in the gables, and orna-mental cresting.

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� 10-25. Entry hall, parlor, and dining room, Molly BrownHouse, c. 1880s; Denver, Colorado; William Lang. Queen Anne.

� 10-26. Wall elevation with chimneypiece; published inSuggestions for Home Decoration, 1880; England; by T. Knight,design by J. D. Sedding. Queen Anne.

� 10-28. Model bedroom, shown at the International HealthExhibition, 1884; England; published in British Architect, June1884; designed by R. W. Edis for Jackson and Graham. Queen Anne.

� 10-27. Dining room; published in How to Build, Furnish, andDecorate, 1883; by Robert W. Shoppell, New York.

(Fig. 10-24, 10-29). Many homes still retain the parlor, whichvaries from comfortable family rooms to carefully decorated,maintained, and seldom-used monuments to formal living(Fig. 10-25).■ Relationships. Often there is little relationship between ex-terior and interior because no similar vocabulary exists in

either Queen Anne or Stick. However, houses and interiorslater may reveal elements of the Aesthetic Movement andJapanese influence (see Chapter 16, “Aesthetic Movement”)and Arts and Crafts Movement.■ Color. Colors vary with the interior style chosen.Revival-style colors tend to be more saturated or dark and

� 10-30. Stair hall and dining room, Jeremiah Nunan House,1892; Jacksonville, Oregon; architect George Franklin Barber,from his architectural pattern book mail-order catalog TheCottage Souvenir. Queen Anne.

� 10-29. Entry hall and stairs, Carson House, 1884–1886; Eureka, California; Samuel and Joseph C. Newson. Queen Anne.

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� 10-31. Floor tiles, and oilcloths and linoleum (patternsimitate decorative tiles, wood planks, and ingrain carpets);Colorado and Virginia.

� 10-32. Mantels, late 19th century; United States andEngland. Queen Anne.

� 10-33. Wall designs and color schemes; published inPainting and Decorating, c. 1898; by Walter Pierce, London.

� 10-34. Wood screen and portières; published in thePractical Handbook on Cutting Draperies, by N. W. Jacobs, 1890.

rich especially after midcentury. Aesthetic Movement col-ors follow tertiary hues. Queen Anne colors lean towardthose of the Neoclassical (late 18th, early 19th century)and as such may be saturated lighter tints. Arts and Craftsinteriors use colors of nature.■ Lighting. Most homes have gas light in gasoliers, sconces,and portable lamps in brass or wrought iron (Fig. 10-28, 10-29). Americans also use kerosene or oil lamps. Electricfixtures come into use late in the period. Designs for fixturesmay adapt characteristics of Neoclassical, the AestheticMovement, Arts and Crafts, or Revival styles.■ Floors. Most floors are wood with rugs following the ad-monitions of design critics. Middle and lower middle classescling to carpeting, which they can more readily afford.Some continue replacing carpet with grass matting in thesummer. Other types of floors include decorative tile andlinoleum (Fig. 10-31). Oilcloths cover some floors.■ Walls. Walls are decorated according to the interiorstyle chosen. In revival interiors, wallpaper and paint arethe most common wall treatments. Using wallpapers, theworking classes can easily imitate more sophisticated andexpensive treatments. Those influenced by the AestheticMovement favor tripartite painted, paneled, or papered

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� 10-35. Lace curtain patterns; c. 1880s–1900s.

� 10-36. Ceiling patterns in paint (top) and metal, late 19thto early 20th centuries; Pennsylvania, Texas, and Illinois.

walls (Fig. 10-25, 10-26, 10-29, 10-33). British housessometimes have tiled dadoes in the hallway, bathrooms,and kitchens. Plate rails high on the wall display collec-tions of china. As earlier, fireplaces are focal points (Fig.10-26, 10-27, 10-28, 10-32). Queen Anne chimneypiecesusually have broken pediments surmounting shelves fordisplay. Tiles, usually blue and white, surround the fire-place opening. A cove or delicate cornice molding with awallpaper border below separates the wall and ceiling.■ Window Treatments. Window treatments vary from sim-ple panels hanging from rings on plain rods to layers oftreatments typical of revival styles. Lace curtains continueto be fashionable (Fig. 10-35).■ Doors. Doors have simple surrounds, are paneled andstained a dark color. Doorways and openings to public roomsusually have portières that match the room’s décor andsometimes the window treatments (Fig. 10-34). Upper por-tions of openings may have spindle grilles (Fig. 10-2, 10-34).■ Textiles. Rooms boast a variety of textiles embellishingmantels and shelves and covering windows, pianos, and/orbacks and arms of upholstery. Pillows, shelf lambrequins,and antimacassars made by the lady of the house areproudly on display.■ Ceilings. Ceilings in revival-style interiors are usually alighter tint than are the walls. Those influenced by the Aesthetic Movement have painted decorations orwallpapers (Fig. 10-36). Queen Anne ceilings may havelow-relief plaster decorations in white or other colors.

DESIGN SPOTLIGHT

� 10-37. Mail-order-furniture. Sears, Roebuck and Companyand Montgomery Ward and Company catalogs.

Furniture: Mail-order furniture: Side chairs; published inF. E. Stuart; Sears, Roebuck and Company; and Mont-gomery Ward and Company catalogs, c. 1900; UnitedStates. These chairs illustrate the many stylistic choices

for dining chairs available to consumers at the end of the19th century. Turning, spindle work, and caned seats arecommon features. Incising and pressed and appliedwood decoration embellish some models.

■ Later Interpretations. In the late 20th century, increasedawareness of the economic benefits of reusing older build-ings for commercial or residential purposes in England andthe United States leads to the preservation, restoration,rehabilitation, and adaptive use of numerous structures (seeChapter 30, “Modern Historicism”). However, often onlythe original exteriors remain, while earlier interiors aredestroyed or severely modified. Like other Victorian styles,rooms within Stick and Queen Anne houses usually reflecta period flavor instead of an accurate depiction of the period.

FURNISHINGS AND DECORATIVE ARTS

As in interiors, no similar vocabulary to architecture de-velops in furniture and, as a result, eclecticism rules. Use ofnew and old furnishings in various styles characterizes

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� 10-38. Mail-Order Furniture: Dining chairs, office chairs, androckers; published in Montgomery Ward and Company and Sears,Roebuck and Company catalogs, c. 1895, 1902; United States.

� 10-39. Mail-Order Furniture: Tables; published in F. E. Stuartand Sears, Roebuck and Company catalogs, c. 1900; United States.

� 10-40. Cabinet in the Queen Anne style; published in ArtFurniture, c. 1877; England; designed by Edward W. Godwin.

� 10-41. Mail-Order Furniture: Desks; published in the Sears, Roebuck and Company catalog, c. 1900; United States.

rooms, which may have Japanese prints, English porcelain,Oriental or Middle Eastern folding screens, Art Furniture(see Chapter 16, “Aesthetic Movement”), cottage furni-ture, and Sheraton, Chippendale, Jacobean pieces, and/oroverstuffed upholstery.

A few architects and others design furniture inspiredby English traditional styles. This so-called Queen Annefurniture displays a range of forms and motifs from the17th, 18th, and 19th centuries (Fig. 10-40). Designerspay little heed to correct use of forms and motifs. Char-acteristic of many pieces are shelves and brackets to dis-play objects and collections.

In the United States, Victorian vernacular furniture inter-pretations are cheaper, machine-made versions of high stylessuch as Renaissance or Rococo Revivals. Americans canpurchase furniture in department stores or through the mail.

Because much of the country remains rural, many furnishtheir homes through mail order using Sears or other catalogs(see Chapter 1, “Industrial Revolution”).

Public and Private Buildings■ Types. Factory-made office furniture of flat or rolltop desksand chairs is readily available and affordable (Fig. 10-38, 10-41; see Chapter 1, “Industrial Revolution”). For homes ofpeople less enamored with eclecticism, suites of furniture forthe parlor, the dining room, and bedrooms are most popular(Fig. 10-44). For the parlor, factories make affordable three-piece suites consisting of a sofa or settee, an armchair, and arocker. Dining room suites have extension tables, chairs, anda china cabinet. Typical for bedrooms are beds, dressers, nightstands, and wash stands.

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� 10-42. Mail-order furniture: Wardrobes, china cabinets, andcupboard; published in Sears, Roebuck and Company and J. Shoolbred and Company catalogs, c. 1895, c. 1889; UnitedStates and England (see Chapter 1, “Industrial Revolution”).

■ Distinctive Features. Queen Anne furniture (Fig. 10-40)features broken pediments, fretwork, turned balusters,columns, and pilasters. Characteristics of Sheraton, Adam,and Chippendale may mix together. Light-scale furnituremay appear spindly. The use of gold-finished oak, appliedcarving, and embossed decoration characterizes middle-classfactory-made furniture.■ Relationships. Furniture has completed its migrationfrom the perimeter of the room and is arranged near light-ing and for use. Sizes for manufactured furniture are stan-dardized by this period.■ Materials. Mahogany and fruitwoods in a dark finish are fa-vored for Queen Anne style furniture. Much factory-madefurniture is oak or walnut. Oak is cheaper, more readily avail-able, and strong enough to withstand packing and shipping.

■ Seating. Manufactured oak chairs follow many styles(Fig. 10-37, 10-38). Details such as curving legs and carvedflowers signal Rococo Revival. Renaissance Revival chairsand rockers have baluster legs, spindle backs, and appliedmoldings. No matter what the style, seats may be solidwood, leather, or caned. Most common are pressed backchairs and rockers. A metal die, heat, and pressure applydesigns to backs, giving the impression of hand-carved em-bellishment. Made in several price levels, they have turnedlegs, solid seats and backs with designs that are usuallycurvilinear with flowers and foliage on the crest or splat.Windsor chairs also are a popular choice for consumers.■ Tables. American furniture manufacturers producemany different types, styles, and price levels of tables.Dining tables in oak usually are monumental in scale with

� 10-44. Mail-Order Furniture: Chamber suites; published in Montgomery Ward and Company; Sears, Roebuck and Company; andNew England Furniture Company catalogs, c. 1895, c. 1902; United States.

� 10-43. Sideboards, c. 1890s–1900s; United States.

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� 10-45. Mail-Order Furniture: Iron and brass beds, c. 1860s–1900s; United States and England; manufactured byGeorge Heyman and Sears, Roebuck and Company; andpublished in Hints on Household Taste by Charles L. Eastlake(bottom view; see Chapter 1, “Industrial Revolution”).

decorations. The most expensive parlor tables have marbletops and a center support composed of three or four legsand a central member (Fig. 10-39). Legs are rectilinearin form with incised or pressed decoration. Other parlortables have rectangular wooden tops, turned splayed legs

a single center support that is turned or rectangular. Fourlegs with paw feet or rounded ends provide support and em-bellishment. Round tables usually have several leaves.Fancier tables have four turned legs or melon supports withpaw feet. The bowed stretcher and apron feature pressed

connected to a lower shelf, and ball and claw feet in woodor glass. Fancier tables have pressed decoration on theiraprons.■ Storage. Queen Anne–style desks, bookcases, and side-boards with cabinets on top have broken pediments andbrackets to display objets d’art (Fig. 10-40, 10-42, 10-43).The bases have slender, straight, tapered legs in the LateNeoclassic manner. A lower shelf provides additionaldisplay space. Swags, paterae, urns, arabesques, husks, andstringing decorate the drawers, doors, and legs.

Factory-made oak storage pieces include sideboards,china cabinets, desks, bookcases, desk and bookcase com-binations, and kitchen cabinets (Fig. 10-41, 10-42). Theyare rectangular in form with wood, brass, or glass pulls andpressed, applied, or carved decoration on the crest. Chinacabinets have high, mirrored backs with shelves and lowerdrawer and doors. Fancier examples have applied or presseddecoration.

■ Beds. Wooden beds have tall solid backs with pressedor applied decorations (Fig. 10-44). Tops may be flat,arched, curved, or pedimented. Solid footboards repeatthe headboard design but are shorter. Iron or brass beds(see Chapter 1, “Industrial Revolution”) may be com-posed of plain, round, and turned rods topped with ballsor curving rods (Fig. 10-45). Bedroom suites includematching dressers, chiffoniers, washstands, wardrobes,and night stands (Fig. 10-44).■ Upholstery. Common upholstery fabrics are damask, vel-vet, leather, horsehair, and tapestry. Upholstery displaysmany different types and patterns of fabrics in contrast toensuite rooms of the earlier 19th century.■ Decorative Arts. Numerous brackets and shelves on fur-niture, the mantel, and wall shelves display blue and whiteporcelain and other ceramics. Japanese fans and peacockfeathers may add an exotic touch. Stands hold plants andflowers. Mirrors, paintings, and prints may cover walls.

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