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Remodeled Farmhouses

<h2>CHAPTER VII</h2> <h3>BOULDER FARM</h3> The remodeling of an old farmhouse is apparently a simple matter; it would at first seem necessary only to preserve the main lines and characteristics of the original in the alterations that are required to meet the conditions of modern life. But when one realizes that the less conspicuous details are also important, in order to maintain the essential harmony of the whole, it becomes a more intricate proposition. One cannot merely study the details already on the building and slavishly copy them for the new parts, because frequently it will be found that doors or windows or shutters have been added by more recent owners and are not really in keeping with the old structure at all. In order to reclaim the house, then, so that it shall have a consistent unity throughout, one must have some understanding of the evolution of these details. There is no more significant element in these old Colonial houses than the front door. It was placed in the center of the front wall and formed the unit of the exterior design. The very early doors were of heavy oak boards placed vertically and fastened together with horizontal strips. These batten doors, as they were called, were made very sturdy and strong, in order to resist attacks from Indians or other marauders. Often they were marked with an awl into diamond and lozenge patterns and sometimes studded with hand-wrought nails. Not for a good many years did the panel door come into use. At first it was a flat panel, flush with the sides of the door and separated from the sides and top only by a small bead molding. This was soon developed into the flat sunken panel, meeting the surrounding wood with several moldings; and then the panels were beveled and raised in the center, and the moldings gradually became more elaborate and delicate in outline. The early doors were solid for purposes of protection, but as the country became more settled, thick bull's-eye glass was inserted into the top horizontal panel to let light into the hall. As the interior plan was changed in its evolution, the hall became larger, and these bull's-eyes did not provide sufficient light, so the transom was introduced over the door. For some time a simple top light was used, divided by lead and then wooden muntins. Then side lights were introduced, and the treatment became more elaborate in the beautiful styles of the later Georgian period. The frame about the door was at first of flat, undecorated boards, the upper one resting on the two at the sides. Then these were molded and mitered at the corners, and later a cap of heavier moldings was put across the top. This hood became more and more prominent and required the use of definite support. Console brackets were sometimes used but more frequently flat pilasters set against the wall. These gradually became more important, developing into the three-quarter round and finally the isolated column. The pediment and cornice were then extended into the open porch that is one of the splendid features of the Georgian style. Here in cornice and capital was a field for the development of all the most delicate and beautiful motives of classic carving. As this door and porch was the center of the design of the exterior, the windows were grouped symmetrically about it, the same on each side. There were few of them at first, and they were of rather small size. Casement windows were the earliest kind used, and the small, diamond panes were sunk in lead, as were those made in the mother country. It is probable that most of these windows were brought over from England and not constructed here. After 1700, the sliding sash was introduced, dividing the windows horizontally, and these had wooden muntins. It must have been considered a more elegant type of window, for it was used in the front of the house for a long time, while the leaded casement was still put in rear windows for many years. The early wooden muntins were quite heavy but later became nearly as delicate as the leaden ones. They divided the sash horizontally and vertically into squares. The window casings, like the door frames, were at first entirely plain and then had a heavier band across the top which developed into a molded cap or cornice, as at the entrance. When sliding sashes were introduced, the walls of the houses were not thick enough to contain them, so the frames and the sashes were built on to the outside, frequently projecting quite a distance. The necessity for constructing them in this way led to the deep jambs and sills which are such a charming characteristic of the Colonial style. Shutters were used on the outside of the house as a means of protection from the Indians, when the country was being settled, and these were made of heavy, battened wood three or four inches thick, like the doors. Subsequently a small diamond was cut in the top to admit some light when the shutter was closed. Then a shutter with a solid upper and lower panel was used, and finally these panels were replaced with slats. There was one other part of the exterior which developed interesting characteristics to be observed in the remodeling: that is, the cornice of the roof. This was merely the overhang in the early buildings and sometimes consisted of the framing beam actually exposed. In the Georgian houses, this was boxed and later elaborated with splendid carvings that deserve perpetuation in more lasting material than wood. There was no gutter for rain-water, and the drip from the eaves was caught on flagstones on the ground at the corners of the house. This detail, although not needed with modern gutters and rain pipes, gives a charming old-time touch when retained in the remodeled home. It is by attention to such seemingly insignificant points that the atmosphere of the original buildings has been consistently retained in so many cases. An excellent instance of how this has been done may be seen in a late Georgian type of farmhouse that stands somewhat back from the old Londonderry turnpike on an estate at Hopkinton, New Hampshire. Although it is not very old, having been built in 1820, it is typical of the better class of simple home in the early days of the Republic. <div class="figcenter"> <ANTIMG src="images/ill_042.jpg" width-obs="600" height-obs="446" alt="Boulder Farm—Front View" title="" /> Boulder Farm—Front View</div> The history of the building of this old house is rather interesting. In the days when lotteries were still in flourishing condition, and some of the best men in the community were interesting themselves in the various schemes, a member of one of the churches induced Deacon Philip Brown's hired man to purchase a ticket for a paltry sum. Repenting his investment, he afterwards sold it to his employer, who was a clever silversmith and clock-maker, much respected and well known in the community through his yearly rounds about Hopkinton to repair the clocks of the farmers. The ticket proved to be the winning one, that drew a great prize. With part of this money, Deacon Brown purchased the old "Boulder Farm," as it was called from a great rock that still stands in an open field just south of the house. Here he erected the Georgian farmhouse that is standing to-day. The rest of the money, so the legend runs, he buried somewhere in the field, but he probably removed it later, as it has never been found. He placed the house on rising land, a short distance from the broad highway, built in the same year and for a long time the straight thoroughfare from Londonderry to Concord and Boston. Deacon Brown lived on the estate until 1846, with the exception of the year 1830, when it was occupied by Governor Matthew Harvey of New Hampshire. The property, placed on the market, then fell into the hands of a man named Kelly, brother-in-law to Grace Fletcher, the first wife of Daniel Webster. During his life, the great American statesman often visited there. What happened during the period between this occupancy and the time of its purchase by Mr. Harry Dudley of Concord, New Hampshire, is not recorded, but we can be confident that the house had careful treatment from its state of preservation. It was while Mr. Dudley was looking around for a home with ample grounds, and near enough to his business to allow him to go back and forth every day, that he discovered this historic place. Its attractiveness and the healthfulness of the surroundings appealed to him. Very little was needed to bring the house back to good condition and make it habitable. The land was attractive and could be improved. In front of the house was a wide stretch of meadow that was easily terraced to meet the boundary line. To the many old trees shading the house and lawn were added young trees to replace some of the ancient ones that were dying. <div class="figcenter"> <ANTIMG src="images/ill_043.jpg" width-obs="462" height-obs="600" alt="The Front Doorway" title="" /> The Front Doorway</div> Although the house was a model type of the architecture of its day, and there had been abundant room for the old-time residents, modern ways of living demanded additional space. A long ell, built at the rear for the service department, and a wide veranda in dignified Colonial style along one side were the two main exterior alterations. The appearance of the windows was changed by putting in larger panes in order to admit more light, but they were still in keeping with the old-time atmosphere. The reshingling and repainting of the house and the addition of the trellises at one side completed the exterior improvements. The splendid front entrance porch with its graceful fanlight, Doric columns, and straight cornice, and the equally interesting though less imposing side porch were left practically unchanged. The old blinds were restored, to give the stately, old-time atmosphere to the mansion. The new veranda is wide and extends along the whole side of the house. Its flat roof rests on coupled Doric columns that carry out the classical Georgian detail of the entrance porch; the second story is finished with a simple balustrade, in keeping with the fine simplicity of the main lines. During the summer months this broad piazza is a delightful out-of-door living-room, from which there is a splendid view over the green country; and one can, in imagination, picture the old stage-coaches of former days lumbering by on the highroad. The upper part of the veranda opening from the chambers on that side of the house is used as a sleeping-porch. The path that leads to the main entrance passes through a wicket gate and ascends the terrace over stone steps to the granite block before the door. The pleasant formality of this porch is accentuated by two close-clipped bay trees, one on either side of the step. <div class="figcenter"> <ANTIMG src="images/ill_044.jpg" width-obs="461" height-obs="600" alt="The Hall" title="" /> The Hall</div> This door opens directly into the hall and faces the long, straight flight of stairs which reaches the second floor without a turn. The woodwork of these stairs is particularly nice in proportion and line; and the carving under the ends of the steps, in a simple but beautiful scroll design, is most interesting. The hand-rail is mahogany, and the molding which follows it on the wall side above the wainscoting is also mahogany. <div class="figcenter"> <ANTIMG src="images/ill_045.jpg" width-obs="600" height-obs="461" alt="The Parlor" title="" /> The Parlor</div> In the parlor at the left no innovation has been introduced, and it remains almost as when the house was built. There we find the old white wainscoting unpaneled, with a fine carved molding defining the top. The windows, recessed in the Colonial style, retain their original inside shutters that are still used. It is unusual to find these to-day, for in remodeling houses the shutters are almost always removed in favor of more modern conveniences. Shutters were formerly used as we now employ curtains, to be closed at night-fall or to shut out light and cold. The fireplace in this room is a fine example of Colonial work. It shows a central medallion of a plentifully filled fruit basket and wheat sheaves over the fluted side columns; the edge of the mantel shelf has an unusual ball and string ornamentation finely carved. The wall-paper dates back to the time of the fireplace. It shows a Grecian pastoral design in shades of brown, yellow, and old rose and was hand-printed from blocks made in England. Through all these years it has retained its brightness, escaping the hands of time, and lends a charming and quaint atmosphere to this room. All of the movable furnishings are equally well in keeping; the slat-back chairs and tables conform to the spirit of the period, as does the fine old Empire mirror, resting on its rosettes. On the opposite side of the hall from the parlor is the living-room. This is similar in character, with a fireplace only slightly less interesting. It has the same old white wainscoting, but the upper walls have been covered with a modern foliage paper which, strangely enough, blends harmoniously with the setting of the room. It is furnished with eighteenth-century pieces corresponding to those in the other parts of the house. <div class="figcenter"> <ANTIMG src="images/ill_046.jpg" width-obs="600" height-obs="450" alt="" title="" /></div> <div class="figcenter"> <ANTIMG src="images/ill_047.jpg" width-obs="600" height-obs="461" alt="Two Views of the Dining Room" title="" /> Two Views of the Dining Room</div> At the end of the hall is the dining-room, reached through an open arch. The old wall and door here were cut away in the remodeling to produce an impression of spaciousness and give a vista from the entrance clear through the house and into the garden at the rear. The arch was added to finish the opening, but it conforms carefully to the details found in the architecture of that day. This room was originally divided, and one part used as a kitchen, but the partition was removed and the two thrown into one, making a long dining-room which occupies the greater part of the rear of the house. At the end, the old single window was enlarged, and two smaller ones cut through on either side to make a delightful sunny group which adds materially to the charm of the room. In the fireplace, which was the original old kitchen one, used for cooking and baking, the brick oven was removed to admit the introduction of a door opening into the living-room. Otherwise it was left unchanged, and the white painted woodwork about it, although simple and unpretentious, is beautifully proportioned. The old flint-lock and warming-pan which hang there pleasantly emphasize the Colonial idea. The wall-paper is a reproduction of a Colonial block pattern in soft shades of gray and green. The floors in this room, as all over the house, are covered with matting laid over the original boards, which were found to be in too bad a condition to restore; entirely new ones would have been necessitated had bare, polished floors been demanded. <div class="figcenter"> <ANTIMG src="images/ill_048.jpg" width-obs="600" height-obs="460" alt="The Den" title="" /> The Den</div> At the end of the dining-room, opposite the triple window, a door leads into a small room which is used as a den. This retains the old fireplace opening from the same chimney and directly back of that in the parlor. The walls have been papered in a plain green and are sparingly decorated with sporting prints and trophies suggestive of the hunt and the master's particular domain. Doors lead from this room not only into the dining-room, but to the parlor and the veranda at the side. The ell of the house, opening from the dining-room, is devoted to butler's pantry, kitchen, servants' dining-room, and servants' chambers on the second floor. The upper story of the main part of the house has been kept almost as when it was built, and the large square chambers are well-lighted and airy. The open fireplaces and the Colonial furniture, four-posters and highboys and chests, give to the rooms a delightfully old-fashioned atmosphere. The whole house is a fine example of late Georgian architecture, preserved in all its interesting detail. <hr style="width: 65%;" /> <div style="break-after:column;"></div>

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