Windows and Their Fitments
By Mary Ann Wheelwright
Through the glamour of the Colonial we are forced to acknowledge the classic charm shown in late seventeenth and early eighteenth century window designs. Developed, as they were, by American carpenters who were stimulated by remembrance of their early impressions of English architecture received in the mother land, there is no precise or spiritless copy of English details; rather there is expressed a vitality that has been brought out by earnest effort to reproduce the spirit desired. Undoubtedly the lasting success of early American craftsmanship has been due to the perfect treatment of proportions, as related one to the other. That these are not imitations is proved by an occasional clumsiness which would be impossible, if they were exact copies of their more highly refined English prototypes.
The grasp of the builder's mind is vividly revealed in the construction of these windows, for while blunders are often made, yet successes are much more frequent. They are evolved from remembered motives that have been unified and balanced, that they might accord with the exterior and be knitted successfully into the interior trim. Some of these windows still grace seventeenth century houses, and are found not only on old southern plantations, but all through New England, more especially along the sea coast. True products are they of Colonial craftsmanship, brought into existence by skilled artisans, who have performed their work so perfectly that today they are found unimpaired, striking a dominant note in accord with the architectural feeling of the period.
GROUP WINDOWS ON STAIRWAY
There is no question but that windows such as these lend character to any house, provided, of course, that they coincide with the period. Doubtless the designing of modified Colonial houses is responsible, in part, for the present-day revival of interest, not solely in windows of the Colonial period, but also in that which immediately preceded and followed it.
The first ornamental windows were of the casement type, copied from English cottage homes. Like those, they opened outward, and were designed with small panes, either diamond or square shaped. As they were in use long before glass was manufactured in this country, the Colonists were forced to import them direct from England. Many were sent ready to be inserted, with panes already leaded in place. Proof of this is afforded by examples still in existence. These often show strange patches or cutting. The arrangement of casements varies from single windows to groups of two or three, and they were occasionally supplemented by fixed transoms. Surely no phase of window architecture stands out more conspicuously in the evolution of our early designs than the casement with its tiny panes, ornamented with handwrought iron strap-hinges which either flared into arrow heads, rounded into knobs, or lengthened into points. That they were very popular is shown from the fact that they withstood the changes of fashion for over a century, not being abolished until about the year 1700.
Little drapery is needed in casement windows where they are divided by mullions. The English draw curtain is admirable for this purpose. It can be made of casement cloth with narrow side curtains and valance of bright material. A charming combination was worked out in a summer cottage. The glass curtains were of black and white voile with tiny figures introduced. This was trimmed with a narrow black and white fringe, while the overdrapery had a black background patterned with old rose.
GROUPED WINDOWS WITH SQUARE PANES, LACE GLASS CURTAINS AND CRETONNE OVER CURTAINS
In the field of architectural progress, more especially during the last few years, there have arisen vast possibilities for the development of odd windows. These, if properly placed, showing correct grouping, are artistic, not only from the outside, but from the inside as well. The artistic woman, realizing the value of color, will fill a bright china bowl with glowing blossoms and place it in the center of a wide window sill, where the sun, playing across them, will carry their cheerful color throughout the room. She also trains vines to meander over the window pane, working out a delicate tracery that is most effective, suspending baskets of ferns from the upper casement, that she may break the length of her Colonial window. Thus through many artifices she causes her simple room to bloom and blossom like a rose.
FOR FRENCH DOORS, USE MUSLIN WITH SILK-LINED OVERHANG
The progress made in window architecture is more apparent as we study the early types. Then small attention was paid to details, the windows placed with little thought of artistic grouping. Their only object to light the room, often they stood like soldiers on parade, in a straight row, lining the front of the house.
Out of the past has come a vast array of period windows, each one of which is of interest. They display an unmistakable relationship to one another, for while we acknowledge that they differ in detail and ornamentation, yet do they invariably show in their conception some underlying unity. There is no more fascinating study than to take each one separately and carefully analyze its every detail, for thus only can we recognize and appreciate the links which connect them with the early American types.
We happen upon them not only in the modified Colonial structures, but in houses in every period of architecture. It may be only a fragment, possibly a choice bit of carving; or it may be a window composed in the old-fashioned manner of from nine to thirty panes, introduced in Colonial days for the sake of avoiding the glass tax levied upon them if over a certain size. A charming example of a reproduction of one of these thirty-paned windows may be seen in a rough plaster house built in Salem, after the great fire. The suggestion was taken from an old historic house in a fine state of preservation in Boxford, Mass.
The first American homes derived their plans and their finish from medieval English tradition. They were forced to utilize such materials as they were able to obtain, and step by step they bettered the construction and ornamentation of their homes. As increasing means and added material allowed, they planned and executed more elaborately, not only in size and finish, but in the adding of window casings, caps, and shutters.
The acme of Colonial architecture was reached with the development of the large square houses with exquisitely designed entrances and porticos. These often showed recessed and arched windows, also those of the Palladian type. At the Lindens, Danvers, Mass., a memory-haunted mansion, may be seen one of the finest examples of these recessed windows. This famous dwelling, the work of an English architect, who built it in about 1770, is linked with American history through its use by General Gage as his headquarters during the Revolution.
The recessed windows that are found here reveal delicate mouldings in the classic bead and filet design, and are surmounted by an elaborate moulded cornice, which lends great dignity to the room. This is supported by delicate pilasters and balanced by the swelling base shown below the window seats. Such a window as this is no mere incident, or cut in the wall; on the contrary, it is structural treatment of woodwork. Another feature of pronounced interest may be noted on the stair landing, where a charming Palladian window overlooks the old-fashioned box-bordered garden that has been laid out at the rear.
We have dwelt, perhaps, too much on the old Colonial types, neglecting those of the present day, but it has been through a feeling that with an intimate knowledge of their designs we shall be better able to appreciate the products of our own age, whose creators drew their inspiration from the past. A modern treatment of windows appears in our illustration.
75 BEACON STREET, BOSTON
THATCHED-STYLE COTTAGE FOR AMERICAN SUBURBS