Architect of this splendid, typically New Orleans interpretation of the Greek Revival was James Calrow. Charles Pride was the builder. Originally the lot comprised half a square extending all the way to Camp street, boundaries which are still defined by identical fencing along the block. This decorative fence was a patented design and as such was a forerunner of the unaesthetic chain link fences of today. A century ago it was unthinkable that beauty and utility not go hand in hand.
Two years after the completion of the house, Brevard died and his daughter inherited the property. In 1869 she sold it to Emory Clapp for his bride. In preparation for the newlyweds, special mirrors were ordered from France for the double parlor, where they hang today. Made of rosewood, these mirrors are ornamented with the monogram of the bride and groom. A pair of the mirrors hangs over the marble mantels and the other pair, hung at opposite ends of the huge parlor, reflect the handsome crystal chandelier ad infinitum, a source of delight to visitors.
On the south side of the house are double galleries of the same delicate ironwork. The hexagonal library with bedroom above and the accompanying grillwork gallery were added by the Clapps in 1869. For over 65 years Mrs. Clapp made her home here, taking a loving interest in both house and grounds. Upon her death in 1934 the house was purchased by Mrs. Frank Brostrom. Next owners were Federal Judge and Mrs. John Minor Wisdom, who occupied the house from 1947 until 1972. Present owners are Mr. and Mrs. John A. Mmahat, who have tastefully preserved the various outstanding features of the house.
Both inside and outside walls are of brick. The recessed entrance provides space to fold back the tremendous storm doors. Door and window frames in the house follow several patterns but for the most part are topped with egg and dart molding and a Roman classic design of great charm. Especially elaborate treatment of the woodwork was used in the dining room. Among the many beautiful plaster ceiling centerpieces, the medallion in the library is considered the finest.
From the entrance hall the stairway, which has rails and spindles of mahogany, extends in an unbroken flight to the floor above. The typical double parlor is divided by a large arch, necessary to support the ceiling. This arch of carved mahogany terminates in a decorative corbel at either end. Two fireplaces warmed the area in winter and many windows, all with handmade glass, provided the necessary summer ventilation. The marble mantels are unusual in that they are an unidentical pair. One depicts spring; the other, autumn. Throughout the house are rare antiques, paintings and objets d’art.
The front portion of the beautiful garden has a formal arrangement focusing on a classical statue. There is also a bird bath backed with a long bed containing cherry laurels (Prunus Laurocerasus), yews (podicarpus), myrtles, a seasoning bay tree (Laurus nobilis), a large cocculus, camellias japonica, and azaleas, edged with boxwood. A huge purple bougainvillea climbs the iron lacework on the front, while the back of the gallery supports a Quirqualis indica vine, a tropical plant sometimes called Rangoon creeper. The bed alongside the house has camellias, multifleur, and Confederate jasmine vines (Trachelospermum jasminoides).
An integral part of the landscape design is the limestone balustrade which encloses the garden and runs along the flagstone paving. There are formal boxwood parterres in the back garden and an inviting circular bench which surrounds an exceptionally large sweet olive tree (Osmanthes fragrans). The planting around the fish pond includes podicarpus, sasanquas, bottle-brush (Callistemon lanceolatus), shrimp plant (Beloperone guttata), loquat, viburnums, and barberries. White azaleas in profusion lend springtime beauty.
Elaborate ornamentation over windows and doors in Mmahat house is of carved mahogany. Note ceiling medallion detail, crystal chandelier.