reproduction is prohibited - the watch hill conservancy ·...

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RichardC.YoungkenIncollaborationwithChaplinB.Barnes


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WatchHillStyleTableofContents

Preface 5

WatchHillStyle 9Doorways&Entrances 11Roofs 15Porches&Loggias 19Windows 23Textures 27Landscapes&Gardens 31ArchitecturalCompositions 34

Architects&Designers... 39...SomeofTheirWorkatWatchHill 41

LandscapeArchitects&TheirWork 49

Glossary 52

ReferenceswithSelectAnnotations 54

Acknowledgements

3

TheWatchHillConservancyCopyright2009ISBN0-9770586-1-1

TheWatchHillConservancygratefullyacknowledgesthemanyWatchHill“cottage”ownerswhohavesupportedthisproject,welcomingustotheirhomesandpermittingustousethephotographicimagescaptured.AsimilargenerosityonthepartofthevariousWatchHillnon-profitorganizationsprovidedvaluableaccesstotheirresources,includingtheirarchives.BothJoanYoungkenandBarbaraT.Barnesprovidedvaluableproofreading,editing,andformatsuggestions.Finally,weexpressourdeepappreciationtoTheAlfredM.Roberts,Jr.CharitableFoundation,whosegeneroussupportmadethisenterprisepossible.



WatchHill,RhodeIsland’sdistinctivelate

19th-andearly20th-centurysummercolony

architectureanditssurvivingintegrityhaveearneditalistinginthe

NationalRegisterofHistoricPlacesmaintainedbytheDepartment

oftheInterior.Thisisthenation’slistofbuildings,sites,and

districtsthataresignificantfortheircontributiontoourAmerican

heritage,theirstateofpreservation,andtheirabilitytoconveythe

Americanexperiencewithconsiderableauthenticity.

ThedevelopmentofWatchHill’sprivatesummerhomes

followedanerawhenlargepost-CivilWarresorthotelshad

dominatedthelandscapeofthispointoflandframedwithwater

onthreesides.Itwasduringthatearlierperiodthatthehealth-

restoring,recreationalaspectsofWatchHill’ssomewhatisolated

seasidelocationwerediscoveredbyurbanfamiliesofmeanswho

soughtasummerescapefromtheheat,noise,grime,confusion,and

densityofcitylife.Heretheyfoundarespiteclosetonaturewith

thecoolingandrestorativeaspectsoftheAtlanticOceanathand.

ManyofWatchHill’ssummervisitorscamenotjustfromthecities

oftheEasternseaboardbutalsofromtheMidwest,theearliestof

thecottagersfromCincinnati,Ohio.

Familiesreturnedeachsummer,laterparticipatinginashiftto

summercottagebuildingasthehotelvenuesgenerallylostappeal

towardtheendofthe19thcenturyandassurroundingfarmland

becameavailablefordevelopment.Theirnewcottages,together

withprivateclubs–golf,tennis,yacht,andbeach–becamethenew

focusofsociallife.

ThisshiftfromhotelstocottageswasnotuniquetoWatch

Hill.ItalsooccurredatotherNortheastseaside

resorts,amongthem,inRhodeIsland,thoseat

Narragansett,Jamestown,andNewport.AtWatch

Hill,thewaveofhousebuildingfollowedtheinitial

landinvestmentintheearly1880sofaCincinnati-

basedsyndicateofsummervisitorswhosawthe

appealthatprivatesummerresidenceswouldoffer

overcommunalandmoreformalhotellife,bought

farmlandadjacenttothehotelarea,andsoldlotsto

friendsandfellowsummervisitors.

Thelargecollectionofsummerhousesthatcomprisemostof

theWatchHillHistoricDistrictwerebuiltovertherelativelyshort

spanoftwentyyears,roughlybetween1886and1906,within

anexpandingcurvilinearstreetpatterninspiredbythedesignsof

landscapearchitectFrederickLawOlmsted,Sr.These“cottages,”

astheywerecalled,weredesignedandbuiltincompatiblesummer

housearchitecturepopularatthetimeandare,asaresult,rather

homogeneousincharacter.Theyareawindowintothetasteand

styleofthoseoftheperiodwhoweresuccessfulintheirbusinesses

andprofessions,andcouldaffordanextendedandrelaxingvacation

–atatimewhenAmericanenterpriseandaudacityweregaining

theworld’sattention.

Accomplishedarchitects,

designers,andbuilderswere

employedtocreateWatch

Hill’scottages.Inthebrief

timeperiodinwhichmost

ofthesecottageswerebuilt,

architecturalinterestand

tasteinthenortheastern

statescenteredprimarilyon

evolvingwood-framedandshingledAmericaninterpretationsof

earlierpost-medieval,colonial,andcraftsmanbuildingformsand

embellishments,theresultofwhichweretheShingleStyle,Colonial

Revival,andtheAmericanArtsandCraftsmovements.Muchof

thesummerresidentialarchitectureofWatchHillisa

blendofthesethreeartistictrendsintoadistinctiveand

iconicWatchHillStyle.The“cottagecolony,”asthe

WatchHillsummercommunitybecameknown,was

laterembellishedwithaneclecticmixofcottagesinthe

Norman,Tudor,andMediterraneanrevivalstyles,all

ofwhichsharewiththeearlierstructuresarelaxedand

organicarchitecturalconnection.

Preface

5



Whatwastruemorethanaquartercenturyago(1985),when

WatchHillwaslistedintheNationalRegister,isstilltruetoday,as

statedinthenomination:WatchHill’s“...country-housearchitecture

forthewell-to-dorepresentedtheepitomeofgoodtaste….Watch

Hillisaremarkablywell-preservedhistoricalcommunitynotablefor

itsarchitecturalandenvironmentalqualityanditsevocationofan

importantphaseinAmericansocialhistory.”

WatchHill’spreservationisnoaccident.Thecolonyandits

cottageshaveretainedtheirdrawamongthefamilieswhohave

summeredhereovergenerations.Manyofthecottagestodayarestill

ownedbydescendantsoftheearlycottagersorthoserelatedthrough

marriageandkinship.Thiscontinuityofcommunity,whichChaplin

BarneschroniclesinWatchHillThroughTime,hasledtocontinued

interestinWatchHill’sarchitecturalresources,theirsetting,andtheir

preservation,andhasinturnattractednewfamiliestosettlehere.

WhiletheWatchHillHistoricDistrictislistedintheNational

Register,thisFederaldesignationcarriesnolocaldesignreview

authority.However,attheinstigationoftheWatchHillConservancy,

theTownofWesterlyhasadopteddesignreviewstandardsforthe

Villagecommercialarea.WesterlyTownCharterrevisionsin2008

providefortheestablishmentofatown-widearchitecturalreview

board,andtheRhodeIslandCoastalResourcesManagement

Council(CRMC)isrequiredtoseekopinionsfromtheRhode

IslandHistoricalPreservationandHeritageCommission(RIHPHC)

regardingtheimpactsofcoastalprojects.Theseinitiativesindicatea

growingcommunitysentimentthatdesignreviewcanbeextremely

beneficialinpreservingthecharacterofaplace.Absentspecific

6



designreviewregulationsforWatchHill’scottages,however,anawarenessofthe

designelementswhichcontributetotheirspecialcharactercangofartoencourage

compatiblenewconstructionwhenitiscontemplated.

ThegoalofthismodestprimeronWatchHill’shistoricarchitecturalstyleisto

provideaguideforthoseconsideringnewconstructionorpreservation,toassistin

understanding,appreciating,andrespectingthecolony’sarchitecturalheritageand

character.

WhilenotallnewconstructionatWatchHillhasenhancedtheHistoricDistrict,

andinrecentyearsanumberofhistoriccottageshavebeenlostthroughdemolition

ormisguidedrenovations,muchnewconstructioncomplementstheHistoricDistrict,

demonstratingthatfinelywrought,context-sensitivedesignblendsinratherthan

detracts.Afewimagesshowingelementsofthisrecentworkareincludedinthis

booktogetherwiththoseofthehistoricarchitecture.Inmuchofthissuccessfulnew

building,historicdesigndetailsarecarefullyinterplayedandsubtlyreinterpretedwithrestraintintherightproportionanddetail,tocreate

newandinterestingcompositionsthataddtoWatchHill’sarchitecturalcharm.

NotshownisthenewconstructioninWatchHillthathasnotbeenassensitiveasitmighthavebeen.Herefeaturessuchasmannerist

orout-of-scalebuildingelements,super-sizedmassing,andlargewindowopeningshavecreatedanincongruouseffect.Butthisisthe

exception,ratherthantherule.

TheWatchHillConservancy,whosemissionincludesthepreservationofthenaturalandbuiltenvironmentsofWatchHillandthe

conservation,maintenance,andenhancementofitshistoricalvaluesandcharacter,hascommissionedthisintroductiontothearchitectureof

WatchHillinthehopethatitwillinspirecontinuedstewardshipofWatchHill’sarchitecturalresources.

7



WatchHillStyle



WatchHillstandsapartinthemindsofmanyasauniqueplaceontheNewEnglandcoast.

ButwhatmakesWatchHillsoremarkable?Itsnaturalbeauty,ofcourse,isstriking,butWatchHillhas

alsoevolvedarchitecturallytocomplementthatbeauty.

Developedasasmallresidentialsummerenclaveandremainingrelativelyintactforoveracentury,

WatchHillisdefinedbyitslocationonacoastalpeninsula,itsrollingtopography,protectedharbor,

milesofsoft,white,sandybeaches,andarchitecturallysignificant19th-andearly20th-centurysummer

houses.TheWatchHillstyleexemplifiedintheselargeShingle,earlyCraftsman,ColonialRevival,and

academicrevival-styledsummerhousesisrelaxedandsimple,centeredontheweather,timeofday,and

thepastimesofsummerontheNewEnglandcoast:gardening,tennis,fishing,sailing,golf,entertaining,

andenjoyingthebeach.Thearchitectureandthesurroundinglandscapeprovidethestagesetforthis

leisurelylifestyle.Asaresult,thecottagecolonyofWatchHillisan

iconoftheNewEnglandsummer.

What,then,isWatchHill’sarchitecturalessence?Byexploring

individualdesignelements–doorways,roofs,porches,windows,

textures,andmaterials,andtheiruse–onecanbegintounderstand

thecomponentpiecesofwhatmakesWatchHillarchitectureso

visuallyengaging.Theseelementsfromthepopularstylesoftheperiodarecombined

insummerhousearchitecturetoenabletheownerstoenjoyfamily,guests,andavital

connectiontotheoutdoors.Wide,furnishedporches,bothopenandenclosed,provide

indoor-outdoorlivingspacescooledbyoceanbreezes.Large,openroomsareoftenpainted

whiteandfurnishedinsea-inspiredcolors.Thesespacesoftenflow

fromalargecentral“livinghall,”aninnovationintroducedwiththe

QueenAnneandShingleStylearchitectureoftheperiod.Secondandthirdstoriesfullofbedrooms

bringthefamilytogether,although,atthetimeofconstruction,thetopfloorwasgenerallytherealm

ofservants.Populararchitecturaldetailsareoftencombined–QueenAnneflourishes,ShingleStyle

stonefoundationswithshingledwalls,ColonialRevivalentrancesandwindows,Craftsmaneaves,and

exposedrafters.Everythingiscomfortable,spacious,andunderstated.Theelementsareusedwith

restraintandasenseofproportion.

The“cottage”labelgiventothesesummerhousesismorereflectiveofaninformalandcarefree

lifestyle,withcomfortableinteriors,thandescriptiveofsizeorpretention.Mostofthecottagesappear

largerthantheyactuallyare.Manyarejustoneroomwide.Thearchitectureanditslandscapedsetting

fittogetherincomfortableunity.OneoftheremarkablefeaturesofWatchHillisthatithassurvived

asanarchitecturalandsocialensemble.Itenduresbecauseitisappreciatedandwell-loved,embodying

time-honoredtraditions,andasenseofplaceandpermanence.

WatchHillStyle

9



Doorways&Entrances

Muchofthecharacterofthesecottagesis

pronouncedintheirentrances.Somearemore

imposingthanothers,butingeneralfrontdoorwaysare

downplayedtocreateasenseofsummerinformality,

especiallyconsideringthescaleofeachhouse.Oftenthe

frontdoorissetwithinaporch;manyarewithinsymmetrical

ColonialRevivalframeswithpilasters,cornices,fanlights,and

sidelights.ThedoorsthemselvesareoftenDutchColonial

doubledoorsthatcanbehalf-openedasawelcomegreeting

toarrivingguests.Thesedoorwaysarenotablyconsistent

regardlessoftheoverallformofthehouse.

Meticulouslygroomedprivethedgeshavenowbecome

aWatchHillsignature,manyhavingarchedopeningsand

distinctivegatestowelcomevisitorsarrivingbyfootorbicycle,

leadingthembyapathwaytothehouse.

11



12



13



RoofsTextureandformarethebywordsforWatchHill’sroofs.Manyare

complexarrangementsofgables,hips,upsweptrooflines,projectingeaves,

anddormers.Somearequitesymmetrical,moundinguplikealayercake,

whileothersrambleandelongateafterrisingfromthefirstfloortoshelter

multi-storycottages.Manyroofsarestillwood-shingled.Theyarepartand

parceloftheShingleStyleandearlyCraftsmanhousestheyadornwiththeir

wide-bracketedeavesorexposedrafterends,andgabled,hipped,orshed-

roofeddormers.Inthesea-airclimate,theseroofsweatherafteronlyone

season.Someroofsareslate,resemblingmedievalstoneroofsandaddingto

thearchitecturalcharacteroftheNormanandTudorRevivalcottagesthey

shelter.Therearesomeredclaytileroofsaswell,providingadistinctivelook

toseveralSpanish,Moorish,orMission-inspiredhouses.Thereisevenone

whosewoodshingleswhimsicallymimicEnglishcottagethatch.Thevariety

ofchimneysisalsonotable.

15



16



17



Porches&Loggias

WatchHill’sporches

arewideandgenerous,often

designedasatransitiontothe

gardenandframingviewsto

thesea.Herefamiliesenjoyall-weathersummeractivities:reading,

napping,cocktails,anddining.Onhotdaystheseporchescapturethe

seabreezesandonrainydaystheyprovideshelter.Porchcolumnsare

oftenTuscanorgothic-archedinaCraftsmanstyle;somehaveacertain

whimsyandplayfulness.Manyporchesarepartiallyenclosedwith

multiplewindowsinlight,transparentarrangementswhichhelpretain

anopenandrusticporchfeel.Someporcheshaveanendwallofglass

doorsasashieldagainsttheprevailingsouthwestwind.Somehavebeen

convertedtosunroomswithmulti-paned,inward-openingcasementsor

slidingmulti-panedwindows.Insomecasesthewindowsslidedown

intoaboxed,shingledbalustradeunderneath,vanishingfromsight

whenopen.Inafewcottages,interiorroomshaveasunroomfeeland

mayconnectdirectlytooutdoorspaces.

19



21



WindowsMostwindowsinWatch

Hill,largeorsmall,aremulti-

paned,givingspecialcharacterto

thecottageswiththeirwooden

muntinbarsandframes.Some

windowsdisplaydiagonalmuntin

barpatternsinamedievalstyle.

Somegiveastern-gallerynauticalappearance.

Configurationsincludefanlights,projecting

bays,andglazedmulti-panedFrenchdoors

openingtoporches.Largerwindowsareoften

framedindecorativewayswithornamental

muntinconfigurationsinCraftsmanmotifs

addingabitofwhimsy.

Somewindowsfromtheearliestperiod

ofWatchHill’scottagedevelopmentare

round-headedandframedbydecorativegable

bargeboardsorbracketwork.

23



24



25



Textures



Textures

WatchHill’sdistinctivearchitectureisrichlytextured,from

cobblestonefoundationstoshingledwallsandroofs.

Textureisadrivingcharacteristicofcottageexteriordesign.

Manycottagesareshingledwitheitherredorwhitecedar.Redtends

todarkenovertime;whitemayturnsilvergray.Thelate19th-century

ShingleStylederivesitsnamefromsuchbuildings,theiridiosyncratic

formssheathedtightlyinshinglework,someofwhichisdecorativeand

patterned.

Othercottagesfromthesameperiod,butofamoremedieval

revivalstyleandNormanorTudorderivation,areofsolidstoneorbrick

masonryappearance.Someare“half-timbered”withexposedwood

framingsystemsordecorativework.Somearestuccoedorpargedto

resemblewhitewashedstone.Thesehousesbearasimilaritytothe

EnglishCraftsmantraditionspopularinsuburbanBritainandAmerica

atthetimeoftheirconstruction.

27



29



Landscapes&Gardens

31

TheroadwaysandlanesofWatchHillarebordered

byhedges,fences,andcobblestonewallstothedegreethat

someofthecottagesarebarelyvisibleandglimpsedonly

throughsmallgardengatesorfromdrivewayentrances.

Thiswasnotalwaysthecase.Inthelate19thandearly20th

centuries,thelandscapewasmuchmoreopenandthere

werefewhedges.Asthesummercolonyevolvedandmore

privacywassought,propertybordersalongtheroadswere

plantedwiththeubiquitoushedgingseentoday.These

hedgesarenowverymuchapartoftheheritageandcharacterofthearea.

Anumberofcottageshavesimpleperennialbordersalongtheirhedges.

Somehavedefinedcottagegardens,cuttinggardens,rosegardens,ora

fencedpotager.Drivewaysareoftengravel-surfacedwithbrickorBelgian

blockentrances;thosewithdrivewaycirclesorforecourtsmayhaveaporte-

cochere,oralevelentrancefromthedrivetothehouse.Terracesaround

thecottagesareoftenstone;otherwisethecottagemayhaveawood-framed

porchentrancefromthefrontwalkordrive.Whetherterraceorporch,

mostaredecoratedwithpotsofannuals.Garagesarerarelyvisible,norare

automobilesprominentlyinview.Similarlythemoderndeckorsystemof

decksisnotwidespread.

WhilethespreadofvegetationhastransformedWatchHill’slandscape

fromopenfieldstozonesofcoverandprivacy,thecottagersarezealously

protectiveoftheirviewstothewaterandthisvitallinktoaseasidelocation

andidentity.Bylongstandingtraditiontheytrytopositionandmaintain

theirplantingstoprotecttheviewsofneighbors.

Thissamesensitivityandintuitiveresponseto

placeinfluencesdecisionsorconcernsastothe

sitingofnewhousesandadditions.



32



33



ArchitecturalCompositions

WatchHilldoorways,entrances,roofs,porches,windows,

andwallsurfacescombinewithindesignconfigurationsinhalfa

dozenorsodistinctivearchitecturalcompositionsorensembles

withduecaregiventotherightproportion,rhythmofwindow

anddooropenings,roofline,andotherdetails.Thescaleand

massingofthebuildingsandtheirrelationshiptotheirsettings

isequallyimportant.Althoughlandscapingnowshields

somecottagesfromview,manyareincloseproximitytoeach

other,necessitatingsensitivityandcarewiththeseelementsof

composition.

ForWatchHill’sShingle,ColonialRevival,andearly

CraftsmanStylecottages,descriptivelabelsarehelpfulto

distinguishonecottage

formfromanother.

Importantkeysto

identificationarethe

rooftype,footprint,and

massingofthehouse.



35

Hip-RoofedBlockThebasichip-roofedblockmassing,usuallyinatwo-storyconfiguration

andeveninthoseofthreeormorestories,isusedtocreateconsiderable

volume.Thesecottagesaregenerallylarge,shingledhouseswithColonial

Revivalsymmetry,withfloorplansatleasttworoomswide,fronttoback.

Themassingandarchitecturaldetailscreateavertical,layeredlook.Often

upper-levelbalustrades,roofdecks,andrecently-addedwidows’walksadd

totheverticality.Generallythesehouseshaveshed-orhip-roofeddormers

toaccenttheirhippedroofsaswellasexposedrafterendsundertheirroof

soffits.

CrossGableThecross-gableformallowsformoreasymmetryandlessformalityof

designthanthehip-roofedblockform.Thesecottagesaregenerallymorein

theShingleStyle,withColonialRevivaldetails.Someofthemorerecently-

builtcottagesinthisformmaydisplaymoreornamentationthantheearlier

onesindecorativegable-endbracketwork,stylisticallyahold-overorre-

interpretationoftheearlierHighVictorianGothicandQueenAnnestyles.

HighGableThesimpleend-gableformisadominantfeaturereminiscentofchalets

inthemountainousregionsofEurope.Bythelate19thcentury,thechalet

hadbeenpopularizedinearlierandcontemporaryarchitecturalpatternbooks

forvacationcottages.Thehighgableisalsoathrowbacktothe17th-century

post-medievalformsofearlyAmericanhouses,gainingpopularityafterthe

nation’sbicentennialcelebrationin1876,afterwhichanostalgiaforallthings

“Colonial”heldsway.

DoubleGable

Thedouble-gableformintheShingleandEnglishTudorRevivalstyles

popularattheturnofthecenturyharkenstoaromantically-inspiredlookat

medievalsources,includingthehalf-timbered,double-gabledEnglishcottage.

ThisformadvancedthroughtheShingleStyletomoredetaileddouble-

gabledmedievalrevivalhousesintheearly20thcentury,madepopularwith

themorerefinedarchitectureoftheEnglishArtsandCraftsstyle.Thedouble

gablealsohasbecomepopularinlate20th-centuryShingleStylerevival

architectureatWatchHill.



FlankingWingsThesecottagesareamongthelargestinWatchHill,carryingintheirforma

GeorgianformalityandalsoharkeningbacktothemedievalH-shapedplanfoundin

manyEnglishcountryhouses.

SplayedWingsOftenthesecottagesarejustoneroomdeepfrombacktofrontandseemmuch

largerthantheyactuallyare,ramblingalongaridgeorpromontory.Usuallytwo-and-a-

halfstoriesinheight,theyhaveacentralcorewithwingsangledinwardtodefineafront

circleorentrycourt.ThesecottagesconveytheirCraftsmaninspirationwithdetails

suchasdiamond-patternedwindowsandexposedrafterends.Theyareusuallyhip-

roofedwithshed-orhip-roofeddormers.

GableonGableShingleStylecottagesoftenconveythemostcomplexmassinginadisarmingly

subtleway.Roofgablesarenotalwaysofequalsize,andtheirjuxtapositionallows

forsecondandthirdstoriestobeenclosedwithintheroof.Expressedwithaskinof

shinglesstretchedacrosstheframeofabuilding,wrappingundertheeaves,andwith

aminimumofornamentation,thiscottageformembodiestheShingleStyle.Here

thegreatintersectingroofgablesgivevolumeforthesecondandthirdfloorsandare

reminiscentoftheausterityofthe17th-centurygable-roofedpost-medievalhousesofour

Colonialforebears.

GablewithTurretTheshingledturretformiscarriedthroughfromtheQueenAnneStyle,usuallyas

anextensionoftheporchonthefirstlevel.Oftentheturrethasbeenenclosed.

GambrelAdoptedbyShingleStylearchitects,thegambrelroofformevokesnostalgiafor

thesimplevernacularAmericanNewEnglandandDutchColonialhousesofthe18th

centuryandalsoprovidesconsiderablespaceforbedroomsundertheeavesinasecond

andsometimesthirdfloororgarret.Oftenreferredtoas“ModernColonial,”thisform

isfrequentlyseenatWatchHill,sometimesenlivenedwithcrossgambrelsorgambrel-

roofeddormers.

36



37

OtherFormsWatchHill’sshingledcottagearchitectureevolvedintheearly

20thcenturytolargerimposingrevivalversionsofEuropeancountry

housestyles.CottagesintheNorman,Tudor,andMediterranean

revivalstyleswerebuiltonlargeparcelsfurtherremovedfromthe

harborandtheVillage.ABermuda-stylecottagefromthe1950s

addsanotherunexpectedelement.Whilestrikinglydifferent,these

cottagesneverthelessblendinwiththeShingleStyle,Craftsman,and

ColonialRevivalworkofthelate19thcentury,andaddapleasing

varietyandromancetoWatchHill’sarchitecturalcharacter.



38



39

AnumberofWatchHill’scottagesareknowntohavebeendesignedby

noteworthyregionalandnationalarchitectswhoseworklikelyinfluencedthedesign

ofmanyotherbuildingsintheNationalRegisterdistrict.Manyofthesedesigners

wereofthefirstgenerationofAmericanstoreceiveaformaleducationinarchitecture.

AmongthemwereGeorgeKeller,EdwardFooteHinkle,HenryW.Wilkinson,Albert

WinslowCobb,GrosvenorAtterbury,JohnA.TompkinsII,HoraceS.Frazer,H.

VanBurenMagonigle,EvartsTracy,WilliamRalphEmerson,WilsonEyre,John

RussellPope,WarringtonLawrence,andMottB.Schmidt.Well-knownlandscapearchitects,theOlmstedBrothers,Warren

Manning,WadleyandSmythe,andMarianCrugerCoffin,werealsoinvolvedincreatingafewofWatchHill’sgardenand

parklandscapes.

Providingastunningcollection,theworkofthesenoteddesignersatWatchHill,representedinoverthreedozencottages

andtheirgardens,interpretsthetasteofthelate19thandearly20thcenturiesandembodiesthetimelesssearchforhonest

materialsandcraftsmanship.ThearchitectsandlandscapearchitectswhopracticedatWatchHillrepresenttheverybest

designtalentoftheirtime,rankingwithsuchoftheirmentorsand

colleagues(withwhomtheytrainedorcollaborated)asPeabody

andStearns;McKim,MeadandWhite;GustavStickley;Delano

andAldrich;CarrereandHastings;andFrederickLawOlmsted,Sr.

Lesserknownarchitectsarealsorepresentedincluding,JohnCherry;

Gardner,PyneandGardner;andE.F.Gilbert.Thearchitecturalforms

atWatchHillaregenerallyreminiscentofmuchearlierbuildings,

bothinthecolonialAmericasandinmedievalEurope,wherefine

handworkandcraftsmanshipinnaturalbuildingmaterialswerethe

norm.MuchoftheworkisintheShingleStyle,ColonialRevival,

andearlyCraftsmanstyles,ubiquitousalongtheNewEnglandcoast.

Thecottagesconveyartisticexperimentationandablendingofthese

designinterestsoftheperiod.

ThepopularityoftheShingleStyleandtheAmericanArtsandCraftsmovementlastedfromtheearly1880stotheFirst

WorldWar.TheShingleStylewastherefinedbuildingstyleforthosewhohadtheconfidencetoembraceatrulyAmerican

architecturalform.Itwasparticularlyattractivefortherelaxedlifestyleofacarefreesummervacation.Summercottages

suchasthoseatWatchHillhavebeendescribedas“mansionsininformalsummerattire.”Followingtheromanticperiod

oftheVictorianera,thesebuildingsreflectthepastinartandarchitectureandconveyasenseofwhimsyanddelightinthe

unexpected.WhimsyisafundamentalpartoftheWatchHillStyle.

ThesummercottagesdesignedandbuiltalongtheNewEnglandcoastwerehighlightedincontemporaryperiodicals.

Patternbooks,suchasthosebyJohnCalvinStevensandAlbertWinslowCobb(above),andGustavStickley,amongothers,

alsocelebratedthelookandprovidedinspiration.UndoubtedlysuchresourcesinspiredWatchHill’scottagersandtheir

designersinbuildingtheirsummerhomes.

Architects&Designers...



TheTimbers,1917,designedbyJohnRussellPope



CollinsCottage,1880

WatchHillChapel,1876-1902

...SomeofTheirWorkatWatchHill

By-The-Sea,1879

Seaswept(OceanMound),ca.1880

Keller

GeorgeKeller,Hartford,Connecticut(1842-1935)

AprominentIrish-bornHartfordarchitect,Kellerisresponsibleforavastcollection

ofbuildingsandstructures-churches,houses,publicbuildings,andmemorials

-throughouttheHartfordareaandtheregion.HetrainedintheofficesofCharles

F.Anderson,theWashington,D.C.architectoftheSenateandHousewingsofthe

NationalCapitolpriortotheCivilWar,andmovedtoHartfordin1864.Keller’s

associationwithWatchHillistheresultofthepatronageofJamesL.Howard,a

manufacturerofrailroadcarpartsandasummerresidentofWatchHill,afounderofthe

WatchHillChapelSociety,andLieutenantGovernorofConnecticutinthelate1880s.

Keller’sarchitecturalwork,includingtheinterioroftheWatchHillChapel,

emphasizesHighVictorianGothicformsanddecorationinspiredbytheenormously

influential19th-centuryBritishartcriticJohnRuskin.Throughhiswork,Keller

espousedabeliefinhonestyofmaterialsandthepicturesquewhichtheromanticGothic

stylesconveyed.Oftentheseformsarevertical,expressedinhightowersandsteeproofs.

KellerwasnotfondofpretenseortheClassicalRevival.Althoughhisworkisnotofthe

StickStyle,whichwaspopularelsewhereasapreludetotheQueenAnneandShingle

Styles,hisWatchHillwork,shownonthispage,isabridgebetweentheearlymansard-

roofedhotelsandtheshingledcottages.

41



Wilkinson

HenryWilhelmWilkinson,SyracuseandNewYork(1870-1931)

ThesonofaSyracuse,N.Y.banker,Wilkinsonstudiedarchitectureat

CornellUniversityunderarchitect-professorandGothicistCharlesBabcock.

Aftergraduatingin1890,heworkedforCram,GoodhueandFerguson,the

celebratedBoston-basedfirmofRalphAdamsCram,afellowmedievalist

andnotedGothicRevivalarchitect.WhileinBoston,Wilkinsonwasa

foundingmemberoftheArtsandCraftsSociety.ReturningtoSyracuse

by1900,hejoinedwithGustavStickleytocreatetheinitialAmerican

Craftsmanmovement,combininginfluencesoftheEnglishArtsandCrafts

stylemadepopularbysucharchitectsanddesignersasWilliamMorris,Philip

Webb,RichardNormanShaw,andlaterVoysey,Scott,andMackintosh.

WilkinsondesignedfurnitureforStickleyandatleastoneofhishouseplans

waspublishedinTheCraftsmanmagazine.MovingtoNewYorkCity,he

embarkeduponanarchitecturalcareerofhisownafter1903.HisWatchHill

commissionsattheturnofthecenturycoincidewithaformativeperiodin

hiswork,presumablywhilehewasworkingwithCraminBostonandduring

hisearlycareerwithStickley.

Hinkle

EdwardFooteHinkle,NewYork(1876-?)

Hinkle,amemberofaprominentCincinnatifamily,attendedAndover

andYale,graduatingin1901.Thereafter,heattendedCambridgeUniversity

andtheEcoledesBeaux-Arts,completinghisstudiesinarchitectureand

designfrom1901-1905,andreturningtoreceiveanumberofWatchHill

commissionsonLighthousePointfromtheClementA.Griscomfamilyin

1906and1907.HebuiltAktaion(laterMoana)forhimselfonlandgiven

tohimbytheGriscoms.OthersshownhereareThePoint,Trespasso,and

Edgewater.

Taurento,1907,isshownonpage11,toprightandonpage50.Not

shownisNapatree,ca.1907(notextant).

ThePoint(TheManorHouse),1906

Trespasso,1907Edgewater(Edgecliff ),1907Moana(Aktaion),1906

Edgemere,built1886,enlarged1899

Graydon,1900

Neowam,1900

Wetumanetu,1899

42



AtterburyandTompkins

GrosvenorAtterbury,NewYork(1869-1956)

BorninDetroit,educatedatYale,Columbia’sGraduateSchoolof

Architecture,andtheEcoledesBeaux-Arts,Atterburyinitiallyworkedinthe

officesofMcKim,MeadandWhitebeforepartneringwithJohnTompkins

inthelate1890s.AtterburyisknownforhisrestorationdesignsforNew

YorkCityHall(1902),themodelForestHillsGardenplannedresidential

communityinQueens,andnumerousseasideandcountryhousesthroughout

thecountry,notablyonLongIsland’sNorthShore.Atterbury’sworkwas

publishedwidely,includingbyGustavStickleyinTheCraftsman(1908).

JohnAlmyTompkinsII,NewYork(1871-1941)

BorninBaltimoreandeducatedatSt.Paul’sSchoolandColumbia,

TompkinstraveledextensivelyinGreatBritainandEuropefrom1894until

hisassociationwithAtterburyandtheirForestHillsGardenscommission.

TompkinsiscreditedwithmanyoftheWatchHillcommissionsofthe

AtterburyandTompkinspartnership.Tompkins’patroninWatchHillwas

Mrs.ClaraHunterStantonofNewYork,whocommissioneddesignsforfive

cottagesbetween1899andherdeathin1914(Tepee,

Wigwam,TheWickiup,TheBungalowandMarbella).

Tepee(Montrose),1899,isshownonpage17,

topright.Notshownare:Marbella(Chenowith,The

Ledges),ca.1914(notextant);Wigwam(Rosemont,

Redlac),1900(attributedtoTompkins).

HighWicket(Sowanniu,ChuckleHill,

GreysideNorth),1900

TheBungalow,1899

TheMisquamicutClub,1900-1919

TheKnoll

(TheFolly),

1899

SunsetHill,1915TheWickiup,1900(attributedtoTompkins)

43



TracyandMagonigle

EvartsTracy,NewYork(1869-1929)

TracygraduatedfromYalein1890,attendedtheEcoledesBeaux-Arts,

andworkedintheofficesofMcKim,MeadandWhite.Hewasinassociation

brieflywithMagonigleinthemid-late1890swhilethepartnership’sWatch

Hillworkwasunderway.

HaroldvanBurenMagonigle,NewYork(1867-1935)

Unlikemanyofhiscolleagues,Magonigledidnotreceiveaformal

educationinarchitecture,buthedidacquireextensiveon-the-jobtraining

withanumberofimportantarchitecturalfirmsincludingCalvertVaux,

CharlesL.Haight,Rotch&Tilden,andMcKim,MeadandWhite.He

traveledabroadextensivelybetween1894and1896,enlarginguponhis

studyofarchitectureunderaRotchfellowship.TheWatchHillcottageshe

designedinpartnershipwithTracyappeartohavebeendesignedwhilehe

wasalsoworkingforMcKim,MeadandWhite.Magoniglealsocollaborated

withHenryW.WilkinsonondesignsforanalumnihallatCornellUniversity

(notbuilt)andacourthouseinBrooklyn,N.Y.After1903,Magoniglewasin

practicealone.Hewasaprolificarchitect,sculptor,andartist,winningseveral

medalsanddesigncompetitions.

Ninigret,1899

LaMaritima(TheBoulders,Arcadia),1898

GitcheGumee(Seaview,TheDug-Out),1895,1898

44



ChapmanandFrazer

HoraceSouthworthFrazer,Boston(ca.1865-1931)

FrazerattendedYaleandtheMassachusettsInstituteofTechnology

(MIT),receivinghisdegreein1885.Afterwardheassociatedwiththe

architecturalfirmsPeabodyandStearns,andLongfellow,Aldenand

Harlow,beforejoiningwithJohnChapmanin1892.Chapmandiedin

1895;however,FrazerkepttheChapmanandFrazername,concentrating

onresidentialwork.Manyofhisdesignswerepublishedintheleading

architecturaljournalsoftheday,includingArchitecturalRecord,American

Architect,andAmericanArchitectandBuildingNews.Agreatbodyofhis

suburbanresidentialworkexistsintheBostonarea,particularlyatBrookline

andChestnutHill,whereover67housesbyFrazerareextant.HisWatch

Hilldesignsprogressstylisticallyfromtheshingled,gambrel-roofed“Modern

Colonial”tothestuccoedEnglishArtsandCrafts.Theselatercottagesare

similartohissuburbanBrooklinecommissions.

NotshownistheMemorialBuildingoftheWatchHillImprovement

Society,1917.

SunshineCottage,1898

Cloverly,1900

Ridgeleigh(Ridgeleigh,FarLook),1902Meadholme,1900

Tredegar(Russula),1900 RedTop,1900

45



Emerson

WilliamRalphEmerson,Boston(1833-1917)

KnownasoneoftheprincipalarchitectsoftheShingleStyle,Emerson

wasnotformallyeducatedasadesigner.AcousinofRalphWaldoEmerson

andafriendofartistanddesignerWilliamMorrisHunt,hegrewupin

BostonandMaine,andapprenticedwithJonathanPreston,ahighly-

regardedBostonbuilder.Emerson’sarchitecturalpracticefocusedon

individualresidencesfornotableclients,includingaCambridgehouse

forWilliamJames;heisparticularlywell-knownforthesummercottages

hedesignedintheShingleStyleatdevelopingsummercoloniesalong

Boston’sNorthShoreandontheMainecoastandislands,includingFelsted

forFrederickLawOlmsted,Sr.onDeerIsle.Hiscottagesaresensitively

designedinharmonywithfeaturesofthesite,expressingthemselvesasone

withtheirsettingthroughtheuseofstoneandshingledwalls,usuallywith

aboldorexposedcoastallocation.Emerson’sShingleStyleworkrankswith

thatofPeabodyandStearnsandMcKim,MeadandWhiteasinnovative

stylisticexpression.Hisshort-livedperiodofexperimentationand

exuberanceintheShingleStylewasinthe1870sand1880s.Theknown

EmersonWatchHillcommissioninthelate1890s,Minnebama,conveys

Emerson’smovementintothemoreformalandconservativeColonial

Revivalidiom,awayfromtheinventivenessoftheShingleStyle.

GreenleafandCobb

AlbertWinslowCobb,Springfield,Massachusetts(1868-1941)

CobbwaseducatedatTuftsandMIT.Hetrainedinarchitecturewith

twonotedBostonfirmsoftheperiod,firstwithPeabodyandStearnsand

laterwithShepley,RhutanandCoolidge.HealsoworkedwithWilliam

RalphEmerson.Afterward,hejoinedtheprolificcoastalMainearchitect

JohnCalvinStevensinhisBostonandPortlandpracticeandcollaboratedon

aninfluentialShingleStylepatternbookofthetime:ExamplesofAmerican

DomesticArchitecture(seepage39).Publishedin1889,thisillustrated

book,amongothers,helpedtosolidifytheShingleStyleastheiconicstyle

forseasidesummerhousesontheNewEnglandcoast.CobbandStevens

designednumerousShingleStylesummercottagesalongtheMainecoast.

Inthe1890sCobbmovedtoSpringfieldtoopenanofficewithLuther

Greenleaf.Cobb’ssingleknownWatchHillcommission,Appleby,isfrom

thisperiod,althoughatleastoneothercottage,Sunnyside,1895(page24,

dormer,topright),maybederivedfromhispatternbook. Appleby(SunsetView,Wasigan),1899

Minnebama(Pinecroft,Tick-TockHouse),1899

46



Lawrence

WarringtonLawrence,NewYork(1861-1938)

AnativeofBaltimore,LawrencegraduatedfromMITandbeganhis

careerintheofficesofMcKim,MeadandWhite,whereundoubtedlyhewas

inspiredbythefirm’searly20th-centuryrefinementoftheColonialRevival

style.Lawrence’sdesignsreflectamoreacademic,formal,and“grandestate”

approachtodomesticseasideandcountryhousedesignsthantheShingle

Stylecouldprovide.HisworkatSeabrightandGlenRidge,NewJersey,

reflectthisdevelopingtaste.AnearduplicateofhisWatchHilldesignfor

ClarmarexistsatGlenRidge.

Eyre

WilsonEyre,Philadelphia(1858-1944)

EyrewasborninFlorence,Italy,butraisedinNewport,R.I.He

attendedcollegeatMITforonlyoneyear,departingforPhiladelphiawhere

hebeganworkforJamesPeacockSimsin1877,takingovertheofficeon

Sims’deathin1882.EyreiscreditedbymanyasafounderoftheShingle

Styleandhisbestknownworkisinthatstyle.HelecturedattheUniversity

ofPennsylvaniabetween1890and1894andwasafounderofHouseand

Gardenmagazine.In1911heformedapartnershipwithJohnGilbert

McIlvaine;itistheircountryhouseworkintheearly20thcenturythatdrew

acclaim,providingEyrein1917withtheGoldMedalofthePhiladelphia

chapteroftheAmericanInstituteofArchitects(AIA).Eyre’sknownWatch

Hilldesign,ChannelMark,isintheColonialRevivalstyle,includinga

centralPalladianwindow,butalsofeaturinganoff-centerentryporchand

doorway.ChannelMark(Anchorage),1914

Clarmar,1931

47



Windansea,1922 NormanHall(StoneHouse),1915

TheTimbers,1917

48

Pope

JohnRussellPope,NewYork(1874-1937)

PopestudiedarchitectureatTheCityCollegeofNewYorkandColumbia’s

SchoolofMines,graduatingin1894.HewonascholarshiptotheAmerican

AcademyinRomein1895,spendinganadditionalyeartravelinginItalyand

Greece.HeattendedtheEcoledesBeaux-Artsin1896,openinghisNew

York-basedarchitecturalpracticein1903.Popebecameapremierdesigner

inthepopularstylesoftheearly20thcentury,notablytheTudor,18th-century

French,Georgian,andBeaux-ArtsClassicalRevivalstyles.In1919hecreated

amasterplanforYale,and,severalyearslater,oneforDartmouth(1922-23).

Heisparticularlycelebratedforhistwolargepubliccommissions:theNational

GalleryofArtandtheJeffersonMemorial,bothbuiltpost-humously.His

greatTudorhousesincludetheBranchhouseinRichmond,Virginia(1917)

andhisownsummerhouse,TheWaves,inNewport,R.I.(1927).HisWatch

Hillcommission,TheTimbers,isacomplexTudorRevivalestateconsistingof

asprawlingmainhouse,gatelodge,andguesthousewithmulti-levelterraces

situatedonaknolloverlookingdunesandbeach.

Schmidt

MottB.Schmidt,NewYork(1889-1977)

BorninMiddletown,N.Y.,SchmidtstudiedarchitectureatthePratt

Institute,graduatingin1906.Hethenstudiedabroadforfouryears,and

establishedhisNewYork-basedarchitecturalpracticein1912.Throughhis

associationwithElsiedeWolf,thepre-eminentAmericandesigneroffashionable

interiorsinthefirstdecadesofthe20thcentury,Schmidtgainedseverallarge

commissionsandbecameknownasa“societyarchitect,”designingtownhouses

andcountryestatesforAstors,Vanderbilts,andRockefellers.Hisstylereflected

thetastefortherevivalstylesoftheearly20thcentury,includingTudor,

Norman,Georgian,ClassicalRevival,andMediterranean.HisWatchHill

commissionsareNormanHallandWindansea.



OlmstedBrothers,Boston(1898-1961)

FoundedbyFrederickLawOlmsted,Sr.(1822-1903),whoalong

withCalvertVauxdesignedNewYork’sCentralPark(1858etseq.),the

notedOlmstedlandscapearchitecturepractice,bythelate1890s,was

ledbyhissons,JohnCharlesOlmsted(1852-1920)andFrederickLaw

Olmsted,Jr.(1870-1957).Thelegacyofthisfirmislegionwithmultiple

commissions,bothpublicandprivateacrossthecountry,spanning100

yearsofwork.Large-scaleestategardenswereaspecialty,alongwith

plannedresidentialcommunities,municipalparksystems,andcitymaster

plans.Patronsincludedthemost-celebratedAmericansofthetime.The

Olmstedsalsocollaboratedwiththemost-notedAmericanarchitectsof

theperiodandtrainedintheirofficemanyoftheperiod’sfinestlandscape

designers.Throughtheirprodigiouswork,theOlmsteds,father,sons,and

theirassociates,canbecreditedwithestablishinglandscapearchitectureasa

professioninAmerica,bringingtheneedforurbanparksandopenspaceinto

thespotlightforlivablecitiesduringthemid-late19thandearly20thcenturies.

Duetotheirenormouspopularity,itisunusualthattheyappeartohavehad

onlyafewcommissionsatWatchHill,makingtheextantdesignedlandscape

featuresofthesepropertiesallthemoreinterestingandimportanttopreserve.

NotshownisSunnyHill(WardHouse),1921.

LandscapeArchitects&TheirWork

SunshineCottage,garden,1918,1929

MisquamicutClub,1919clubhousegrounds,witha

DonaldRoss-designedScottishlinks-stylecourse

addedin1923(shownonpage32).

49



Taurento,1907

Manning-designedlandscapeson

BluffAvenueandLighthousePoint.

Moana(Aktaion),1906

50

WarrenHenryManning,Boston(1860-1938)

Manningwasamongthelastgenerationofself-educatedlandscape

designerswhobegantheirworkbeforelandscapearchitecturebecamea

profession.HetrainedwithFrederickLawOlmsted,Sr.andwasassociated

withOlmsted’sfirmforeightyearsfrom1888-1896.Priortothisheworked

withhisfatherintheirfamily’swell-knownnurserybusinessinReading,

Massachusetts.Manningstartedhisowndesignpracticein1896andrapidly

becamesuccessfulwithcommissionsforcityparkprojectsandestates,among

theformer,WilcoxParkindowntownWesterly.Hewasvaluedforhisgreat

knowledgeofplantmaterialandtheenvironmentalsettingofhiswork.

AlongwithOlmsted,ManningwasafoundingmemberoftheAmerican

SocietyofLandscapeArchitects.HewasalsoafacultymemberatHarvard’s

GraduateSchoolofLandscapeArchitecture.AtWatchHill,alongwith

RobertF.BallantineandBradfordShinkle,theClementA.Griscomfamily

andtheirarchitect,EdwardFooteHinkle,werepatrons,commissioningwork

fortheirclusterofsummercottagesonLighthousePointandnearbyBluff

Avenue.

ShownelsewhereareJustholme(Seaesta,Weonit),1905,page35,upper

left;HillHouse(TheKedge),1903,page31,lowerright,andThePoint(The

ManorHouse),1906,page42.

Trespasso,Seaswept,Moana.



SunsetHill,1915

51

WatchHillVillagePark,1936

WadleyandSmythe,NewYork(1865-present)

Establishedin1865,andlocatedonParkAvenueatonetime,Wadleyand

SmytheFloristsprovidedbothdesignandinstallationservicesonalargescalefor

societyclients.DocumentedlandscapecommissionsincludethegardenatArden

House(forEdwardHenryHarriman)inOrangeCounty,N.Y.;atWisteriahurst

(forWilliamSkinner)inHolyokeMass.;atAvalon(forRobertS.Brewster)inMt.

Kisco,N.Y.;andatVernonCourt(forMrs.RichardGambrill)inNewport,R.I.For

someofthesecommissionstheyworkedwithwell-knownarchitectssuchasDelano

andAldrich,andCarrereandHastings,bothofNewYork.Wholelandscapeswere

broughttotheirsitesandinstalled.Forexample,thefirmshippedplantmaterial,

trees,shrubs,andflowersinfourboxcarsfromNewYorktoLouisville,Kentucky

forinstallationofthegardenattheHoraceTrumbauer-designedFlorenceBrokaw

Satterwhitememorialin1928.Thefirmstillexiststodayinitssocietyflorist,

landscapedesign,andinstallationbusinessasIreneHayesWadley&SmytheleMoult

locatedatOneRockefellerPlaza.

TheirknownWatchHillcommissionisSunsetHill.

MarianCrugerCoffin,NewYork(1876-1957)

CoffincompletedthelandscapedesignprogramatMITin1904andtrainedwithBostonlandscapedesigner

GuyLowellbeforeopeningherownpracticeinNewYork.Shewasoneofthefirstwomenlandscapearchitectsto

establishanofficeandabaseofwell-knownpatrons,includingHenryFrancisduPont(atWinterthur),ChildsFrick

(athisestateinRoslyn,N.Y.),EdwardF.HuttonandMarjorieMerriweatherPost(atHillwood,inBrookville,N.Y.),

andMarshallField(atCaumsett,inLloydNeck,N.Y.).Thesecountryhouselandscapeandgardencommissionsare

amongthedozensofestateprojectsCoffindesignedfromthemid-AtlantictoNewEngland.Coffinisalsoknown

forseveralmunicipalandinstitutionalcommissions,includingthelandscapeoftheUniversityofDelaware,theNew

YorkBotanicalGarden,andtheharbor-frontparkinWatchHillVillage.HerdesignthereincludedplacementofEnid

Yandell’sbronzesculpture,“ChiefNingret,”struckinParisin1911.Coffinmaintainedasummerhome,Wendover,

onEastHillsRoadinWatchHillfrom1921untilherdeathin1957anddesignedthesmallterracegardentherewith

definedoutdoorrooms.

NotshownisWendover(Araconda),ca.1912,gardenafter1921.



GlossaryArtsandCraftsmovement:Alate19th-andearly

20th-centurystylistictrendinthedecorativearts,furniture,

andarchitecture,emphasizingsimpleandhonesthand

craftsmanshipovermachine-madeproductsanda

returntosimpler,morerefinedformswithouteclectic

embellishment.Themovementisoftenidentifiedwith

GustavStickley,hisperiodicalThe

Craftsman,andhisfurnituredesigns.

AlsoknownastheCraftsmanStylein

architecture.

Bargeboards:Alsoreferredtoas

vergeboards,thesearewidedecorative

trimboardsaccentingtherooflineofa

gableend.

Brackets:Decorativewoodsupportsunderroofeavesand

soffits,usuallyL-shaped.

ColonialRevival:Astylisticperiodinthelate19thand

early20thcenturiesemphasizingAmericanColonial

forms,butusuallyinalargerscalethantheoriginal.This

trendwasinauguratedwiththepopularityofthenation’s

centennialexpositionin1876,gaining

momentumintotheearly-to-mid-20th

century.

Eyebrowdormer:Aformofarched

windowdormerexpressedinaroof,

popularintheShingleStyleand

ColonialRevivalperiods.

Fanlight:Ashallow,fan-shaped,

archedwindowofmultiplepanes

usuallyplacedaboveaprincipal

exteriordoor.

Gableend:Theendplaneorwallofasimplepitchedrooforportion

thereof.

Gableroof:Asimplepitchedroofoftwointersectingplanes.

Gambrelroof:Abarn-likeroofformpopularwiththeAmerican

ColonialandColonialRevivalarchitecturalstylesconsistingoffour

planes,thelowertwoplanesbeinggenerallysteeperthantheuppertwo.

GothicRevival:AromanticVictorianarchitecturalanddecorative

artsstyleemphasizingEuropeangothicforms.Archedwindows

anddoorways,steeplypitchedgableroofs,andotherelementsfrom

medievalbuildingsareusedfordomestic,

commercial,andinstitutionalbuildings.

Half-timbered:Theexposedtimberwood-

framesystemofTudorhouses,oftenwith

interveningspacesstuccoedorfilledwith

brickwork.

HighVictorianGothic:Aninterpretation

oftheGothicRevivalstyle,butem-

phasizingpolychromematerialsand

banding,particularlyinbrick-workon

wallplanesandwithslateorwoodshingles

onroofs.Oftenverticalelementsand

artfulpatternsareemphasizedfollowing

thedesignphilosophyofJohnRuskin,a19th-centuryBritishartcritic,

amongothers.

Hippedroof:AroofformpopularintheAmericanColonialandArts

andCraftsmovementwherefourshallowroofplanesfromeachsideofa

buildingintersectinaridge.

Mansardroof:AFrenchroofformadoptedinAmericanarchitecture

aftertheCivilWar,wheretheprimaryroofplaneisnearlythesame

angleasthewallbelow,allowingforanatticfloorofgreatervolumethan

aconventionalroof.Oftenthisplaneiscurved.Theupperportionsof

theroofaregenerallyhippedinashallowspantocoverthebuilding.

52



Mullion:Averticaldividingwall

memberbetweenwholewindowsash

units.

Muntin:Anarrowwoodormetal

bardividingwindowpanes,towhich

thewindowpanesareattached,

withinamovableorfixedwindow

sash.

Porte-cochere:Adeepporch

extendingfromadrivewayedge

toanentranceorextendedporch

providingsheltertopeopleand

vehicles.

Potager:Akitchengarden

combiningvegetables,herbs,and

flowersinanartfulandmutually

beneficialway;oftenfenced.

QueenAnneStyle:Alate19th-centuryromantic

architecturalstylederivedfromearlyAmericanColonial

orpost-medieval(late17thcenturyandearly18thcentury)

formssuchashighgables,brokenpediments,andbay

windows,andoftenembellishedwithturretsortowers

andspreadingporches.Decorativeshinglesandpanels

ornamentgableendsandupperfloorswhilelowerfloors

areclapboard-cladorbrick.Thisstyleisalsoreferredto

as“FreeClassical.”Inplan,oftenthereisalargecentral

“livinghall,”withastaircaseandinglenookfireplace,from

whichtheotherroomsopenfreelythroughwidearchways.

Rhythm:Therepetitivefrequency,uniformsize,andvertical

alignmentofwindowanddooropeningsinabuilding’s

facade.

53

ShingleStyle:Apopularlate19th-centuryAmericanseaside

architecturalstylederivedfromtheQueenAnneStylewith

extensiveuseofexteriorshinglesidingstretchedacrosswall

planes,corners,bays,soffits,androofs.Roofsoftenconceal

secondandthirdfloorsandsweepdowntocoverporchesor

upperbalconies.

Sidelights:Verticalwindowpanels,generallynarrow,that

framedoorways.

Soffit:Thepaneledundersidefacingofaroofeave.

Surround:Theornamentalworkordecorativetrim

surroundingadoor,windoworfireplaceopening.

TudorRevival:Anearly20th-centuryacademicrevival

architecturalstylewhichcapturestheEnglishmedievalperiod

ofhalf-timberedbuildings.Thisstyleissometimesreferredto

asElizabethan.Featuresincludediagonalwindowmuntins,

diamond-shapedwindowpanes,leadedglazing,andheavy

exposedtimbers(particularlyingableends),whichmaybe

structuralorapplied.Thespacesbetweenthetimbersmaybe

stuccoedorbrickedin.

Tuscancolumn:Asimpleroundcolumnpostusuallyused

forporchsupportsonlate19th-centuryShingleStylehouses.

Theseareornamentedwithsimplecapitals(ortops)and

moldingsinthe“Roman”Doricorder.



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Design.Portland:ThomasReidPublishingLLC,September,2007.

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StevensandAlbertWinslowCobb.

Aslet,Clive.TheAmericanCountryHouse.NewHaven:YaleUniversityPress,

1990.

Areviewofthemovementandtasteofcountryhouse-buildingwith

asectionontheseaside.

Barnes,ChaplinBradford.WatchHillThroughTime:TheEvolutionofaNew

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IceAge,and,intermsofhumanhistory,fromaboriginalsettlement

tothepresent.Aparticularfocusisonthedevelopmentandsocial

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andotherseligibleforlisting,with

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TheCenturyCo.,1909.

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whitepicturesofhousesclassifiedasto

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others,isfeatured.

Gabriel,CleotaReed.TheArts&CraftsIdeal:TheWardHouse,AnArchitect

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AnexhibitcatalogueoftheworkofarchitectWardWellingtonWard

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influentialmember.

“GeorgeKeller.”Atwww.bushnellpark.org,thewebsiteoftheBushnellPark

Foundation,2009.

InformationonarchitectGeorgeKellerandhisworkinHartford.

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November13,1994.

Descriptionofawell-knownHenryWilhelmWilkinsondesigninNew

YorkCity.

Griswold,MacandEleanorWeller.TheGoldenAgeofAmericanGardens:Proud

Owners,PrivateEstates,1890-1940.NewYork:HarryN.Abrams,Inc.,2000.

InformationontheworkoflandscapearchitectstheOlmstedBrothers,

WarrenManning,andMarianCrugerCoffin,amongmanyothers.

Hewitt,MarkAlan.TheArchitectureofMottB.Schmidt.NewYork:Rizzoli,

1991.

Holmes,Deborah.“VictorianShingleStyleHouses,1880-1900.”Atwww.

oldhouseweb.com,thewebsiteoftheOldHouseWeb,2008.

Jordy,WilliamH.andChristopherMonkhouse.BuildingsonPaper:Rhode

IslandArchitecturalDrawings,1825-1945.Providence:BellArtGallery,Brown

University;RhodeIslandHistoricalSociety;andMuseumofArt,RhodeIsland

SchoolofDesign,1982.

AnextensivecatalogueofdesignworkinRhodeIsland,including

biographiesofarchitects.

Jordy,WilliamH.andRonaldJ.Onorato,William

McKenzieWoodward,contributingeditors.

BuildingsofRhodeIsland.NewYork:Oxford

UniversityPress,2004.

AnextensivecatalogueofbuildingsinRhode

Island,includingWatchHill.

54



Lang,DerrylG.“TheDevelopmentofaSummerResort:WatchHill,Rhode

Island.”Master’sThesis.GraduateSchoolofArchitecture,Planning,and

Preservation,ColumbiaUniversity,1988.

AhistoryofthedevelopmentofWatchHillfromasocial,planning,and

architecturalperspective.

NationalRegisterofHistoricPlaces:WatchHill,RhodeIsland,WatchHillHistoric

District.PreparedbyRobertO.Jones,Jr.(RIHPC,1985).WatchHill:The

WatchHillPreservationSociety,1988.

Includesasectiononhistoricalsignificanceandsectionsdescribingthe

housesofWatchHillwithabuildinglistbystreetaddress.(Somestreet

nameshavesincechanged.)

“OlmstedResearchGuideOnline.”Atwww.rediscov.com/olmsted/,the

researchguidewebsiteoftheFrederickLawOlmstedNationalHistoricSite.

Ransom,DavidF.GeorgeKeller,Architect.Hartford:TheStowe-Day

Foundation,1978.

Reid,Roger,ed.EstablishmentofChestnutHillNorthLocalHistoricDistrict.

AReportPreparedbytheChestnutHillNeighborhoodAssociation.Brookline,

Mass.:BrooklinePreservationCommissionandDepartmentofPlanningand

CommunityDevelopment,February8,2005.

ManydwellingsinthedistrictweredesignedbyarchitectHorace

SouthworthFrazer.Theyarecataloguedbystreetanddescribed.

SomeareverysimilartothosehedesignedatWatchHill.

Schneider,Ardith,RobertaM.BurkhardtandMichaelBeddard.WatchHill

Then&Now.WatchHill:TheWatchHillPreservationSociety,2005(revised

2008).

Alarge-formatbookwithmanyblackandwhitehistoricalandcurrent

photosofWatchHillcottages.Nearlyeverycottageisdepicted.

Scully,VincentJ.TheShingleStyleandtheStickStyle,revisededition:

ArchitecturalTheoryandDesignfromDowningtotheOriginsofWright.New

Haven:YaleUniversityPress,1973.

Break-throughanalysisandidentification

ofthegenre.

SmithsonianInstitutionResearchInformation

System(SIRIS),Washington,DC,2009.

Informationisprovidedonarchitects

andtheirwork.

SocietyofArchitecturalHistorians.“AmericanArchitects’Biographies.”At

www.sah.org,thewebsiteoftheSocietyofArchitecturalHistorians,2009.

Sterngass,Jon.FirstResorts:PursuingPleasureatSaratogaSprings,Newport&

ConeyIsland.Baltimore:TheJohnsHopkinsUniversityPress,2001.

Ananalysisofpost-CivilWarsummerresortpopularityandlife.

Stevens,JohnCalvin,andAlbertWinslowCobb.ExamplesofAmerican

DomesticArchitecture,NewYork,1889.

AperiodarchitecturalpatternbookwithillustrationsofShingleStyle

NewEnglandseasidesummercottages,someofwhichbearresemblance

toseveralWatchHillcottages.

Stickley,Gustav.CraftsmanHomes:ArchitectureandFurnishingsofthe

AmericanArts&CraftsMovement(reproductionofthe1909edition).

NewYork:DoverPublications,1979.

Vadney,Greg.“Wilkinsonhelpedcreate‘NewFurniture’design.”Atwww.

syracuse.com,thewebsiteofthepublicationSyracuse,October23,2008.

ArticleonarchitectHenryWilhelmWilkinsonasoneofGustav

Stickley’searlycollaboratorsonfurnituredesign.

Walker,Sam,ed.AmericanGardens.NewYork:AcanthusPress,2006.

“WarrenManningProject.”Atwww.lalh.org,thewebsiteoftheLibraryof

AmericanLandscapeHistory,2009.

AresearchanddocumentationprojectoflandscapearchitectWarren

Manning’swork,whichdocuments,inpart,hisworkatWatchHill.

Withey,HenryF.andEliseR.BiographicalDictionaryofAmericanArchitects

(Deceased).LosAngeles:HenesseyandIngalls,1956.

Arespectedsourceforarchitects’biographies.

Woodward,WilliamMcKenzie.HistoricLandscapesofRhodeIsland.

Providence:TheRhodeIslandHistoricalPreservation&Heritage

Commission,2001.

AsurveyofWatchHilllandscapesisincluded,

withbiographicalsketchesofthedesigners,

includingtheOlmstedBrothers,Warren

Manning,andMarianCrugerCoffin.

Zaitzevsky,Cynthia.TheArchitectureof

WilliamRalphEmerson,1833-1917:Catalogue.

Cambridge,Mass:HarvardUniversityPress,

1969.

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