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HomeMy WebLinkAboutHouses of Southold The First 350 yearsHOUSES OF SOUTHOLD The First 350 Years SOUTHOLD TOWN LANDMARK PRESERVATION COMMISSION PLUM ISLAND GREAT GULL ISLAND HOUSES OF SOUTHOLD The First 350 Years Conceived and Produced by the Landmark Preservation Commission Illustrations Joy Bear Text Nicholas Langhart Research William Peters Editing Ralph O. Williams Chairman John A. Stack Published by the Town of Southold, Southold, New York Copy*ri6bt ~ 1990 b), the Town of Southold ISBN 0-8488-0870-31 10987654~21 Fir~ F~litlon Contents 4. 5. 6. 7. 9. 11. 12. 13. 14. 15. 16. 1Z 18. 19. 21. 22. 23. 24. 25. 2Z 29. 3O. 31. Southold Town Board Acknowledgements Introduction Houses of the Seventeenth Century The Old House Terry-Mulford House Doctor's House Revolutionary Cottage Houses of the Eighteenth Century One Story Houses Wlckham Farmhouse Thomas Moore House David Tuthill Farmstead Fregift Wells House Moses Case House Joseph Horton House Brown-Dean House Harmon-Tuthill House Two Story Houses Terrywold Osborne-Fleet House The Old Place Webb House Houses of the Nineteenth Century Georgian Kane-Schneider House Prelwitz House Howell-Kujawski House 32. 33. 35. 36. 3Z 39. 4O. 41. 42. 43. 45. 46. 4Z 48. 49. 51. 52. 53. 54. 55. 5Z 58. 59. 6O. 61. 63. 65. Aldrich House Greek Revival Holmes House Townsend Manor Gothic Revival Universalist Church Sacred Heart Church Cox-Forman Carriage House Cutchogue Library Italianate Ellsworth-Bond House Jefferson House Cupola House Brecknock Hall Victorian Era Glenwood Hotel Ellsworth-Tuthill House Mo-Mo-Weta Dart House Houses of the Twentieth Century Monroe S. Burr House Ruch House Townsend House Summer Bungalow Epilogue Locations Glossary SOUTHOLD TOWN BOARD 1990 Supervisor Scott Louis Harris Justice Raymond W. Edwards Councilman George L. Penny IV Councilwoman Ruth D. Oliva Councilwoman Ellen M. Larsen Councilman Thomas H. Wickham Town Clerk Judith T. Terry LANDMARK PRESERVATION COMMISSION Chairman John A. Stack Secretary Joy Bear Member William Peters Member Joseph L. Townsend, Jr. Member Ralph O. Williams SOUTHOLD TOWN BOARD 1987 Supervisor Francis J. Murphy Justice Raymond W. Edwards Councilman Paul Stoutenberg Councilman James A. Schonderbare Councilwoman Jean W. Cochran Councilman George L. Penny IV Town Clerk Judith T. Terry Acknowledgements Once the idea for a book about the houses of Southold was conceived, much help was needed to produce a formal text. This help was forthcoming from many sources, some as direct assistance and more in the form of sincere encouragement. The Southold Town Board sanctioned a grant application to the New York State Council on the Arts to write the book. That partial funding was a great boost. The town supplied additional funding to make possible the readying of the material for publication. We thank both agencies for their hdp. Choosing houses to illustrate the foot- prints of Southold history was a series of difflcuk decisions. Each of the houses that was selected illustrates an important facet of the architectural history of the Town. Apologies are offered to those who would have made different sdections. The many worthy houses from which the selections were made are listed in the Town's Survey of Historic Houses and may be reviewed in the local libraries. Sincere thanks are extended to the many individuals who assisted in the work: Peter Stevens for his photography, Hungerford Creative Services for their desk-top publish- ing design, Larry Adams who made his Macintosh available for editing, and all the wonderful people of Southold who allowed the Commission to examine their houses and histories as part of the study. Introduction The Eastern end of Long Island traces its colonial history to the early middle of the 17th-century. Over the 350 years since then, Southold's architectural heritage has been remarkably protected from the ravages of time and urban intrusion. For the many admirers of the Town who welcome the presence of the past, its isolation has contributed meaningfully to the conserva- tion of its physical artifacts, and especially to the preservation of its buildings. During the last part of the 20th-century, the community has become actively inter- ested in its origin as a 1640 colonial settle- ment and its subsequent growth. Historical societies have expanded their studies of local development and have greatly enhanced their teaching programs and their exhibits. Artifacts and documents are being made increasingly available in local muse- ums and libraries. But some of the most important artifacts are objects too large to be shown in local museums. These are the very homes and buildings that offered shel- ter and comfort to the early settlers and to the generations that made their homes in the Town. One of the results of the National Bicentennial was the realization that Southold's architectural heritage had to be protected. To discover and document the early buildings, a local Landmark Preservation Commission was appointed in 1983. The Commission was charged with the responsibility of establishinga Southold Town Register of Historic Structures and the examination and recommendation of houses and structures m be listed in that register. During the course of that work, we, the members of the commission, became acutely aware of the history of the Town. In our analysis and study, we found the dwellings to be as dynamic as the people who lived in them. We became fascinated with the warmth of the houses and the challenges of their dues and stories. The Town of Southold on Long Island's North Fork affords an interesting opportunity to examine and portray local domestic American architecture, ranging from houses constructed in the colonial style of Southold's settlement in 1640, to homes built in the first part of the 20th century. Of the hundreds of examples that could have been chosen for this book, 35 homes and three churches were selected to show the evolution of building forms and styles as they occurred in Southold. Some have been included because they are accurate and nearly unchanged examples of their type or style. Others were chosen because their alterations were typical in showing how times and tastes have changed. Still others are presented because they are unique. While Southold's history has endowed the town with its special mix of buildings, the local architecture does conform to the period styles seen elsewhere in the country, especially in the period after the Revolutionary War. The houses are presented chronologically according to their styles. Generally accepted terminology is used in the brief descriptions. The domestic structures built in Southold from its beginning to the Revolution usually were plain and functional, the work of thrifty farmers and seafarers who passed their conservative building practices to many generations, leaving only meager clues to use in dating the colonial buildings. All of the houses have been changed, expanded and modernized through the years so that positive identification of the early work requires thorough examination and study. Generally, the early houses were small, one-story structures, expanded in succeeding generations to evolve into the houses that are standing today. Often as we followed the clues of the house, working from the present larger structure, we found the first form of the house hidden within. Sometimes we found a pattern of timbers, or an original foundation, or even a remnant cellar. It was always a thrill to examine a present house and find evidence of an earlier structure inside. Where we found evidence of an early building having occupied the site of a present structure, and having been incorporated in the later construction, the date of the earlier building is given along with the date for the building which can be seen today. When the Landmark Preservation Com- mission, or another group, carefully surveyed and documented a building, the material offered herein reflects that data, but this book does not report a detailed study. Rather, it is a guidebook to Southold's historical homes that has been published by the Town to help irs citizens in recognizing the quality and variety of their local architectural legacy, and to encourage the concern for and the preservation of this unique and irreplaceable heritage, so that it can be cared for and appreciated by the present generarion and all those that follow. Houses of the Seventeenth Century P DOCTOR'S HOUSE OLD HOUSE K Kitch,.n P Pador The earliest form of permanent housing known in Southold is represented in the four examples that follow. The form was brought from the Connecticut and Massachusetts colonies in the middle of the 17th-century, and was known to have been built in England at the dose of the Middle These houses were larger than those built later, were based on a massive center chimney and had high steep roofs. They usually had unpainted exterior walls of dap- board or shingles. Originally, the windows were of the casement type (swinging out). Their sashes were fitted with diamond- paned glass set in lead, but only the Old House, restored as a museum in 1940, shows these today. All of Southold's 17th-century houses, standing today, were similar in form and layout. Their arrangement had a centered entrance on the main facade, leading to a narrow staircase set in front of the chimney. To the right was the parlor, (the largest room), and to the left, the kitchen also called the hall. There may have been smaller rooms behind these. The second-floor chambers (bedrooms) were similar in size and shape to the rooms bdow. The house was supported on large stones situated under each post. The stones were of glacial origin, found locally. They were nesded in the soil with their tops set to the common height of the frame of the house. The cellar, if included under the house, was small, stone lined, and not an integral part of the foundation. The heavy oak frame, hewn rather than sawn, had interlocking joints secured with pegs, and was exposed inside the rooms. Summer beams wee used in the ceilings of the main rooms to shorten and stiffen the joists of the second floor. The edges of the summer beams and joists were sometimes decorated with chamfers. The floor joists, and the floor boards fastened to them, were exposed in these houses. Plaster was not available until the end of the 17th centuty. A large fireplace served each principal room, with all feeding a common flue in the central chimney. The kitchen fireplace was the largest, perhaps as much as 8 feet wide with a bake oven situated in the back wall. Finished detail in the house was sparse. Only the Window and door facings were trimmed. Interior walls were panelled with planks, horizontal on the main walls of the house and vertical on the walls that separat- ed the rooms. The characteristic placement of doors, windows and chimneys, mark these houses as belonging to the 17th-century. The pat- tern is of three elements, for example, the three upstairs windows that balance the facade. In the next century, the Georgian style predominated. The pattern changed to five elements, again balanced across the facade. Large three bay houses were relatively common in New England in the 17th-cen- tury, but on Long Island, are found only in the eastern towns. In Long Island's central towns, much smaller houses predominated. Southold's houses followed the small-house trend. It has been surmised that the large, almost manorial, two-story houses of the 17th-century were too costly to build, heat and maintain and consequendy did not fit into Long Island's early agricultural econo- my. The Old House before 1649 perhaps the oldest building of English heritage, still standing in the State of New York, The Old Horue, restored to its original appearance in 1940, is one of America's best 17th-century houses. Its important period characteristics include its high, rectangular mass, surmounted by the pilastered chimney, its clapboarded walls and its restored doors and windows. The house has only four rooms, two up and two down, but they are of generous proportions. Before the restoration, there had been a lean-to on the back (north) side, built slightly later than the main structure. When the lean-to was removed to restore the building to its first-period form, an original casement window was discovered. This window was duplicated m make the restoration authentic. The old window is encased and kept on display in the parlor. The small window above the door is of the same time and style as the large windows, but is a restoration. Its purpose was to admit light to the landing on the stairs to the second floor. The placement of this window was determined by its purpose rather than the arrangement of the facade. The roof of The Old House was very steep, in part because construction using heavy rafters and thatch required good runoff for rain and melting snow, but also because the enclosed space provided sleeping spa~e for a large family. The rafters were joined to the upper plate to prevent spreading and the shingles or other roof covering were terminated at the house line with almost no overhang. Terry-Mulford House before 1672 This house, referred in some older his- tories as Peakin's Tavern, is similar in form and plan to The Old Home, but there are important differences. First, the slightly later lean-to wing has been preserved, giving the house the typical "salt-box" profile asso- ciated with houses of this age, particularly in New England. Second, the windows are not restored to their earliest appearance; the 18th-century sash remain but their irregular placement, roughly where the original casements were, indicates the 17th-century. Third, this house was constructed in an unusual way. While it has a heavy oak tim- ber frame with precisely cut interlocking joints, as do all buildings of its age, the walls were not studded. Instead of studs to carry clapboards (or shingles) on the outside and lath and plaster on the inside, leaving a hollow core, heavy planks formed the walls. They were placed vertically from the sill (the beam resting on the foundation) to the girt (the beam that carries the second floor joists) and from the girt to the upper plate (the beam upon which the roof rafters rest). The planks that made the walls were nailed to the frame, and the exterior and interior wall claddings were attached to them. Because the walls were thinner than those built with studs, the window frames project out from the walls. Otherwise, there is no apparent indication of plank walls. Doctor's House c. 1700 This house began with a two-room plan, parlor and hall, separated by a massive center chimney. The chimney bay was fronted with a steep staircase which rose m the attic sleeping loft. At some later time, the present second floor was added, replac- ing the original attic and roof. This new liv- ing area was used as a school in the early 1800s. The present windows on the first floor are probably 18th-century replacements of orig- inal smaller sash. To the right of the front door the windows are paired. The stud pat- tern oftbe front wall suggests that the origi- nal home had only a single window on that side. It corresponded with the single win- dow m the left of the door. The windows on the second-floor date from the 19th century. The house is nesded into the south face of a small hill. The ground level on the north side of the house is nearly up to the second floor. The first floor wall on this side is made of stone in the technique typical of cellar walls. An explanation for the incom- plete wooden construction is that the house took advantage of the protection offered by the hill against the winter winds. These fea- tures provided security and convenience to a pioneer family of the very early eighteenth century. A fresh water creek originally ran dose to the east side of the house. The con- struction of the first floor, together with a broad space to the east, and the path of the stream suggest another explanation for the first function of the building. Perhaps, its original purpose was to function as a mill and, at the same time, to provide a home for the miller and his family. The site of the house is another indication of its great age. It faces an open area at what was once a major crossroads. The open area may have been a common at the western edge of Southold. A mill at this location would have been a center of early commerce. Easy access to the water by way of Jockey Creek would have broadened the utility of the mill by enabling it to serve more than its local area. Archeological investigation of the underpinnings of the house and of the surrounding area should help to resolve the first function of this building. Revolutionary Cottage is a two-story center-entrance, center-chimney house. Its style is of the 17th-century rather than later became it has only one window on each side of the front door, instead of the paired windows typical of the 18th-century style, and only three second-story windows. This facade pattern is termed "three-bay", although, in this period "five-bay" indicat- ing five upstairs windows, would be more typical. The height of the frame and its one- and-a-half-room depth are carryovers from the 17th-century. The present center chimney is a recent restoration. An earlier chimney was removed in 1917 when the house was modified to make seashore apartments. Old photographs show the earlier chimney, which has now been nicely reproduced. Other careful preservation includes saving the marks on the main girts and leaving the beaded chamfers exposed on the ceiling joists. The home was built by Richard Shaw as part of the marine devdopment of the har- bor at Oysterponds. It passed to James Griffin, the father of Orient's historian, Augustus Griffin. Revolutionary Cottage c. 1730 Houses of the Eighteenth Century The 18th-centuty witnessed a surge of real growth and prosperity in the American Colonies, especially in the sea- port cities of Boston, Newport, New York and Philadelphia. The new architecture to accompany this wealth and urbanism came from the Italian renaissance through England to the colonies. English architects came here, but more important, were the builder's guides and handbooks. The new style was termed Georgian. Public buildings - often of brick or stone - showed the new designs to best advantage. In those build- ings, dassical details were the key features. These included doors and their strongly molded facings, larger windows and frames, cornices, and rigidly symmetrical facade composition. Correct proportions in both devation and floor plan were paramount. Southold Town, during this period, remained a largely agricultural and fishing community and had little need for the large public buildings that were appearing in the cities. There was neither an abundant source of stone nor a well devdoped brick- making industry to provide basic structural materials other than wood. Moreover, mor- tar could only be made by the laborious and fuel-intensive process of crushing and burning oyster shells to produce lime. Although the resulting product was satisfactory for plastering interiors, it was not durable enough to withstand severe weathering when used as the mortar in exterior walls. Therefore, wood frame construction continued through the 18th- century and beyond. The Georgian style was formal, and designs were drawn according to rules of correct proportion, quite a contrast to the rugged informality of 17th-century buildings. While the high styles of London, colonial seaport cities, or even the Connecticut valley did not directly appear in Southold, local builders did feel their influence. They gave greater emphasis to symmetrical and balanced facades, larger double-hung sash windows with squared panes, panelled doors (rather than battened vertical boards) and often added a row of glass lights above the main entrance door. In the early 18th-century, two major house forms appeared. These are the single- story house and the full two-story classic form. The single-story house was varied in form depending on how the attic was to be used. If more attic head room was needed a knee-wall was incorporated in the front and back walls of the house. This could increase the roof height as much as three feet. Sometimes small windows pierced the knee- wal' The early single-story Georgian was a building, two rooms wide separated by a large chimney located directly behind the centered entrance. The larger houses of this style had either one long room or two smaller areas across the rear. The second 18th-century form of the Georgian shared the same floor plan as the single-story house but was two full stories high. It was very dose, in appearance, to the New England Georgian houses built between 1720 and 1820. The differences included the use of shingling instead of clapboards, subordinate wings at the ends instead of the rear, and only a little decorative trim on the door and window frames, The two-story Georgian became such an architectural classic that it has been reproduced from its inception in the 18th- century to the present. Long ago the Georgian was termed a "whole house" because the "half-house", just one front mom along side the entrance and two rooms deep, was at least as popular, Their one-story, three-bay form is actually a single-story Georgian five-bay, with the chimney set immediately behind the main entrance, and built without two of the bays. The facade presents an ornate door to one side with a pair of windows filling the remaining space. In about 1760, another colonial house form came to Southold. This was the two- story "side-hall" house. It was built in all parts of Long Island until the 1840s. It came from New York and the northern pan of New Jersey. Its coming to Southold suggests that economic and cultural ties with the west were strengthening while the traffic with New England were declining. The side-hall house, a variant of the half- house, typically had large windows very evenly spaced, an entrance often decorated with top and side lights, and a larger cornice at the roof line than was found on earlier houses. Taller than the first of the half- houses, these narrow buildings were frequently built as additions to smaller, earlier houses by extended families whose need had far outgrown their previous home. One-Story Houses HALF HO USE THOMAS MOORE HOUSE MOSES CASE HOUSE P Parlor All along the north shore of Long Island, lSth-century house building was characterized by the vernacular Georgian form: a single full-story with a sharply peaked roof whose ridge ran parallel to the street, a center entrance with two windows on each side of the entrance, and a center chimney. The predominant internal arrangement of rooms was a parlor and a chamber in the front and a long narrow kitchen across the rear. The local form was developed in southern Massachussets where it is called by the familiar term "Cape Cod". It moved with the culture eastward on the Cape, and westward to Rhode Island and Connecticut, and to the eastern end of Long Island. This form of dwelling was among the most efficient house types to build and maintain, as its continued popularity proves. The rather large attic provided for early or later expansion since it could easily accommodate several small sleeping cham- bers. Early vernacular Georgian houses in the Town of Southold ranged from the very large to the very small. The smaller of the surviving houses, the half-house, was even more economical than the full-house. From their size, half-houses indicate that wealth for constructing large houses was not uni- venally available in the middle of the 18th- century in $outhold. Frequently, the half- house was built in stages, as the needs and the prosperity of the family grew. Initially, one half, including the entry and the chim- ney, was constructed. Later, another room was added on the other side of the chimney, often with another entrance. The custom in expanding the house was to repeat the three-bay facade arrangement for additions made to the left or to the right of the main building. An addition to the rear was usual- ly a lean-to. Three chimney arrangements were used in early Southold architecture: the center chimney, the mid-bay chimney pair, and the gable-end chimneys. The changes in chimney arrangement present a page of liv- ing history. Massive chimneys were required in the first houses to provide for safe cooking while protecting the building from the rav- ages of uncontrolled fire. The heat not used for cooking was conserved by building the house around the central chimney. The Thomas Moore House has such an arrange- ment. With the development of brick making, multiple fireplaces were built into the increasingly efficient chimney stacks. The increased availability of iron, and the improvements in masonry techniques, meant that fireplaces could be made smaller and moved to more efficient locations, i.e., parlors and chambers. Equally important, the center hall could be used to increase the living space and provide significantly better traffic patterns. Access to the second floor was no longer limited by a ladder or a small, narrow stairway. The chimneys in the Moses Case House exemplify the construc- tion of the distributed fireplace arrange- ment. The houses in this section span the 18th- century and were selected, not only because they share many details of form, construc- tion, floor plan and decoration, but also became each has been changed in the inter- vening centuries. The alterations are sig- nificnt because they are common to other styles and, in giving their own dating evi- dence, they help to understand the evolu- tion of Southold's architectural history. The Wickham Farmhouse c. 74o The Wickhanl Farmhouse, now situated on the Village Green in Cutchogue, is perhaps the most typical structure of its type. Its balanced facade and centered entrance with a simple row of transom win- dows over the door are marks not only of Georgian formality but also are unmistak- able evidence of 18th-century construction. The roofline is unaltered and the eaves come right to the top of the main entrance facing. The floor plan is two rooms deep and the attic floor contains several sleeping cham- bers. The six-over-six light windows, the long-exposure wall shingles and the unbro- ken roof planes topped by the massive chimney present an accurate picture of colonial simplicity on Long Island. The Thomas Moore House 1658-1750 -,"BI Local tradition suggests that the Thomas Moore house was standing in the mid- 17th-centuty, but no evidence of the early work is seen today. Over the course of time, all of the early houses in Southold have been modified, expanded or othenvise substan- tially changed. Although an earlier house or an earlier version of this house may have existed, this structure is of great interest in its own right. As in the Wickham Farmhouse, the fine arrangement of doors and windows reveals a clear local understanding of Georgian design principles. The Moore house stands a bit taller than the Wickham Farmhouse, albeit with the same roof angle, typical of this style. The front of the roof joins the house at a higher point, well above the door and window times. This extra height indi- cates a higher ceiling in the first-floor rooms. As a rule, the higher eaves tend to represent later 18th-centuty work The Southold Historical Society has restored this house to irs late 18th-century appearance, with the exception of the door, which dates from the 1830s. Neither this house nor the Wickham Farmhouse has an exact construction date. 12. David Tuthill Farmstead 1730- 1798 This one-story Georgian-style house has been dated at 1730 and also at 1798. The basic design was so commonly used in 18th-century Southold that these dates can easily describe two stages in the home's life. Only a detailed documentary and archeo- architectural study will tell its story more accurately than it is told by tradition. This example of the locally interpreted Georgian style is of interest became, while it resembles the Wickham Farmhouse particu- larly, it is clapboarded and has a more elabo- rate interior. It is another very informative picturization of the changes that prosperity wrought on the dwellings of the families who lived and farmed in Southold. When, toward the end of the 19th-centu- ry, the house with all of its interior rear- rangements proved too small for its family, another two-story structure was added to the north. This building may have accom- modated a part of the family, for example, the next generation, or it may have been used to house farm help. The style of the addition differs from the original building, particularly in the details of the roof, but it does not detract from the overall appear- ance of the house. Several interesting farm buildings are preserved to the rear of the main building. Fregift Wells House 753 Local history indicates that the Fregift , Wells House was first occupied in 1753. It is remarkably similar to the Thomas Moore House in its proportions and in its time. An interesting distinction is the handsome entrance with six-pane side- lights on either side of the door and the large dassically inspired entablature above. This and the white-painted cornice board at the roofline probably were added in the early-middle 18th-century, based on their stylistic evidence. The chimney, as it is seen from the out- side, is another example of the changes that were made to old homes as they housed many generations of their families. The original fireplaces were used for cooking and heating and were burned out after, per- haps, a century of use. In many houses, a new chimney was built in the same location but to a design that was current at the time of the reconstruction. This usually resulted in a smaller top stack and a change in its proportions, as may be seen in this house. Moses Case House 1747 The Moses Case House is literally a traveller in Southold Town. It has been situated in three different communi- ties within the town limits. Along with sev- eral relocations, extensive changes to the exterior appearance and the interior layout have been made to the house. The exterior changes began c. 1840, when the front door was replaced with a then- fashionable sidelighted entrance, decorated with delicate tracery over the panes. A porch with a hipped roof and benches were added to enhance and protect the new front entrance. The roof cornice was widened in a manner similar to the treatment of the eaves on the Fregift-Wells house, and the end gables were modified. The major changes that were made to the interior of the house were probably concur- rent with adding the new entrance. The original massive center chimney and its fire- places were removed, along with the steep front stairs. The chimney was replaced by two lesser chimneys set in the right and left bays, each fitted with two Rumford fire- places, one facing front and one facing to the rear. Each of the new front fireplaces was cen- tered in the rear wall of a front parlor. Each of the rear fireplaces added heat and decora- tion to the rear rooms, one on the west, the other on the east where it was also used for cooking and later to vent a stove. Removing the original chimney and the early stairs opened the middle of the house for a center hallway that ran from the new front entrance to the rear rooms. A gra- cious, balustraded stairway was installed on the east side of the hall to complement the new entrance. Because of the extensive chimney alterations, interior walls were removed and much of the woodwork was changed and updated to the then-current Greek Revival style. Joseph Horton House c. 1750 The Joseph Horton House looks rela- tively undisturbed in its location on the Main Road in Southold. Many genera- tions of this family have lived on this site since 1653. This traditional one-story Georgian, however, dates from the middle 18thcentury, when it replaced a much smaller, simpler farm dwelling. The present house was built around a large cen- ter chimney. The early chimney was removed about 1840 and replaced with end chimneys. This opened the center hall so that an up-to-date single-run stair could be installed. Very likely, the woodwork in the hall and the dressed front door with its side- lights were added when the hall was changed. All of the changes are consistent with the mid-19th-century date. The moms in the back half of the house were enlarged in the 1920s and a new (pre- sent) chimney was built a little to the left of the place where the original chimney had been. This chimney extends through the roof, but the two end chimneys no longer appear in the roofline. The front porch and its side benches are difficult to date because of weathering and repair, but probably they were added in the early 19th-century. Some of the exterior shingles are typically long and may have been original. Shingles that have been painted or otherwise protected sometimes last for more than two centuries. If shingles are exposed directly to the elements, howev- er, their life seldom exceeds 75 years. Dating Southold houses by their shingles, with no detailed examination of the under layers of the structure, usually is misleading. The present front windows in the the Joseph Horton house were changed to two- over-two lights in the late 19th-century, but the fi'ames are typical in size and position of the mid-18th-century date of construction. Brown-Dean House c. 17G0 The Brown-Dean House has seen many changes since it was built in the 18th- century. There is internal evidence in the house that indicates this building was to have been expanded to the whole-house form. The chimney was originally situated directly behind the front door, with a nar- row staircase set against it. The parlor to the right of the main entrance classifies this half-house as right- handed. With the large front windows and the southern exposure, the parlor must have been a very comfortable room in the winter. The kitchen occupied the entire width of the house behind the parlor and the chim- ney, where the cooking fireplace faced into the cooking area. The narrow staircase gave access to the attic which was probably used as a single, large sleeping chamber. The exterior was altered to its present appearance about 1850 when the idea of expanding the house to the whole-home form was no longer in fashion. Instead, a smaller wing and porch were added on the left side. The original section was given a new front door with Greek Revival side- lights, the window sashes updated to four- over-four-lights (popular in the 1850s) and the front eaves raised about two and a half feet and given a new cornice. The chimney was replaced at the same time. Aside from these changes, the overall appearance of the Brown-Dean Home sur- vives and shows what the very popular half- house looked like in the late colonial peri- od. Although this form was built as early as 1650 and as late as 1850, unaltered exam- Harmon-Tuthill c. 1800 The Harmon-Tuthill House, another of the many half-houses in Southoid was built near 1800. Its appearance is similar to the Kane-Schneider and the Brown-Dean houses but the arrangement of its facade is left handed. The front windows are to the left of the main entrance. In about 1835, a small three bay wing was added to the west (left) end by Amon Tabor, who undertook a substantial redeco- ration of the older section at that time, especially focussing on the fine main entrance. The single-panel door with egg-and-dart molding, taken from Greek Revival pattern books, is framed by two prominent Ionic columns. On the door jambs are two verti- cal rows of carved rosettes. Above is a dou- ble frieze with a leaded, cobalt-blue-colored, glass transom, inside an entablature sup- ported on two Doric pilasters. The facade is finished with a denticulared cornice, two nine-over-six light windows, and clapboarding. The other sides of the main building were shingled as in the Kane- Schneider House. Tabor also endowed the interior with new style trim and an excep- tional fireplace mantd with Doric columns and Greek key motiti. 18. Two Story Houses K 1~.~ D Dininff P P~lor WEBB HOUSE P wrhile Southold's favorite colonial style seems to have been the one° story Georgian house, two-story houses, ini- tially modelled after New England types, were also built. These show many of the same features that were used in the one- story houses: well-proportioned facades, good-sized windows with small panes, and a center chimney. They also show their Long Island origins: long-exposure shingles, plain exteriors, and many additions over time. In the interior, framing timbers were visible, including the summer beam running from fireplace to end wall in the principal rooms. In many examples, the walls were paneled below the chair rail and plastered above. Customarily, the ceilings of the front rooms were also originally plastered. By the middle of the 18th century, the center-hall house was known in all the colonies. The chimneys with their fireplaces had been moved to the ends of the house. In Southold, however, the center chimney prevailed for several decades. While simple isolation may be considered an explanation for not using the end chimney style, anoth- er reason is that the cooking area, with its central fireplace, its oven, and the custom- ary arrangement of the kitchen, took several generations to modernize. Terrywold 1684 & 1740 Terry ancestors settled in Oysterponds, the first English name of Orient, as early as 1672. In 1684, the Terry family started the farm where Terrywold is located. The farm was a strip of land that ran from the 5ound to Hallock's Bay. The farm was good, and continues so m this day. The east wing of the house was, most likely, the part that was first built, as early as 1684. It was probably only a single room of one story, expanded as the farm prospered. In the mid-eighteenth century, the main house, on the left, was constructed to pro- vide the home necessary and proper for the growing farm operations. The style and fin- ishing represent the best of second-period vernacular building. The generous size, (two rooms deep), the carefully proportioned facade, the Georgian-detailed center entrance and the original twelve-over-eight light windows made it one of Oysterponds' great colonial houses. In the nineteenth century, the large center chimney that was the typical cooking and heating means in the early house was replaced with a smaller one. The new chim- ney was moved a slightly from its original location to provide room in the chimney bay for a gracious stairway to the second floor. At the same time, the roof eaves were widened in the then prevailing fashion on both the main house and the wing. Virtually every old building in Sourhold Town reflects the prosperity that came to the area, probably stimulated by the growth of maritime and agricultural commerce and the arrival of the railroad in the mid- nineteenth century. Stylish alterations and fix-ups were undertaken everywhere, and the changes at Tertywold were typical. Osborne-Fleet House c. 1770 At first glance, this house belongs to the nineteenth century rather than the eighteenth but, in fact, it has been much changed. All the present roof trim, front porch and doors, wall shingles and chimney date from an 1850-1860 remodeling. As built, however, this was one of the rare colonial saltbox houses found on the north shore. The earliest two-story houses were built one-room deep and had a lean-to portion added to the north side a few years later, usually to serve as a larger kitchen. At about the time of the American Revolution, salt- boxes were built with the lean-to integrated into the original structure. The Osborne- Fleet house, which was built shortly before the American R~evolution, is repre- sentative of the later type of saltbox. It was constructed with a fully incorporated lean- to, using rear rafters that ran'from the ridge to the rear cave, two floors below. Less than a century later, the second floor of this house was made two rooms deep, and a new roof, using parts of the old, was erected over the whole. The cornices reflect the new style rather than the colonial. Some of the old, long, rafters were used in the rebuilding and are still to be seen in the attic. Another change was made at about that time. The original center chimney was removed to open up the center hall. The fireplaces in the two front rooms and the kitchen were retained but they were altered substantially to reduce their depth and to provide new mid-19th-century chimney- pieces of marble in the parlors. The fire- places were moved into the walls of the hall and a new omare stairway wa~ erected in the place of the original stack. Three flues were constructed, each in line with one of the fireplaces, to pa~s through the second floor. In the attic, these three were angled toward their common center, the place where the earlier stack had passed through the roof. The Old Place 1680 & 1815 Apparently this house was first occupied ~ by Joshua Wells in 1680 and by his descendants until 1857, when it was moved to this, irs third site. Its appearance today, however, is the result of a very thorough rebuilding in 1815 by Joshua Fleet (marked by a datestone "1815" at the top of the right chimney). There is no colonial work in evidence, but the Federal-eta craftsmanship is of a very high order. The most notable exterior features of its style are the large and delicately carved front door with siddighrs and transom separated by four reeded pilasters, the large twelve- over-twelve-light windows, and three gabled dormers with round-headed upper sashes and interlocking muntins. Less obvious are the short-exposure shingles, often used in the 19th-century and up to the present time, the two separate chimneys, and the gambrel roof with its four separate pitches. The chimneys are centered in the rear walls of the front rooms, providing fire- places in both the front and the rear rooms on both sides of the central hall. This arrangement can be found in several houses in Southold since it was used in the late 18th and early 19th centuries to avoid the limitations of center chimney configura- tions. The gambrel roof, the chimneys, the win- dows and the door all go to support the 1815 dating of the changes to the house. But is it interesting to note that the basic form of the house is Georgian, the perennial favorite of the region. The interior appointments are fine. The mantels show excellent Federal-era carving with fan and elliptical motifs. The door and window frames show the best work of the draw-plane artist. The windows are panelled below the sash to the floor. The single-run staircase has a carved open stringer support- ing triple balusters on each tread. The balus- ters carry a simple rounded handrail to a heavy, turned newel post. This house is a complete reference for Federal designs, encased in a traditional, vernacular-Georgian form. Webb House c. 1750 The Webb House was built as a two- story, Georgian-style Inn about 1750. The building was five bays wide, with two ornate doors in the center of the facade, one at each story. Supported by columns, the roof extended beyond the facade m form a porch. The columns also carried a second floor, which thereby provided a two-story porch on the front of the Inn. Two princi- pal chimneys penetrated the ridge of the roof, each centered about eight feet from its side of the building. A one-story ell was built at the back of the main block to provide a summer kitchen. Cooking was done at a large fireplace, with an oven, and an embedded, open kettle, built into a chimney at the rear wall of the ell. The Webb House was originally situated on the west side of Winter Harbor (an old name for Greenport), where Sterling Creek flowed into Peconic Bay. It accommodated the maritime traffic, for which Winter Harbor was a terminus, until the early pa~ of the 19th century. By 1820, harbor activities had expanded westward, so the Inn was sold and moved, by horse-drawn equipment, to Sterling Village. There it served as a farm house until it was moved again in 1955. This time the structure, with its chimneys, was barged down Sterling Creek and across the bay, to its present location at the Oysterponds Historical Society. The internal plan of the Webb house strongly supported its early use as an Inn. On both the first- and second-floors, two rooms flanked each side of the central hall. Downstairs, the front room to the right was a parlor and and the front room to the left was a dining room. The rear rooms were kitchens. Upstairs, all four rooms were bed- chambers. Most interesting was the placement of the chimneys, between the front room and the rear room, on each side of the house, where they provided fireplaces in each room, a total of eight. Fireplaces in all the bed- chambers strongly indicated the Inn func- tion, since ordinary homes did not usually provide fireplace convenience in the lesser chambers. Houses of the Nineteenth Century After the American Revolution, the search for a new "national style," not derived from England, and particularly not Georgian, was begun by men like Jefferson, Latrobe and Bullfinch. While most of the concern was with the design of public buildings, the new ideas changed domestic architecture as well. There was a new emphasis on plainer walls, less detail, and greater use of classically inspired decoration on mantelpieces and doorways. Cornices received more trim. Most noticeable was the introduction of the arch, circular and elliptical, over doors, around windows, in arcades, in gables and for fanlights. Brick was used more than ever. 25. But not in $outhold. The tradition of wood shingles for walls and roofs continued, as did the use of natural colors, sparse decoration and relatively small size. Long Island was devastated by the Revolutionary War. Seven years of occupation had driven most of the patriots to temporary shelter in Connecticut and their farms to ruin. Victory, in turn, drove out the English. Their sympathizers, who had maintained shipping fleets and the commercial economy, were badly hurt. It was years before construction of anything but the most basic shelter could be considered. Dams had to be rebuilt so that mills could be reactivated before fine houses were affordable. When building did commence, it differed only in details from colonial work because the crafr tradition and apprentice training perpetuated the old ways. Tradition was so strong and resources so meager that no new building form or style was introduced to Southold in the first forty years after the Revolution. The changes to be noted, however, include slightly lighter frames, still of hand- hewn timber, joined and pegged. The use of the summer beam was discontinued. All studs, rafters and joists were sawn at a mill. Nails were no longer hand hammered but instead cut from flat sheets in a factory. Because the heads were hand formed after slicing the blanks, the finished nail, in place, looks like its hand-made predecessor. Lime for mortar had become generally available, plastered walls replaced pandling, and wood trim became broader and flatter than before. Factory-made butt hinges, secured with screws, replaced the common strap hinges and their nails. Fireplaces became smaller, and, responding to the influence of Count Rumford's designs, shallower. Mantels were often flanked with decorative columns. Brick was used for the visible portions of foundations, which were extended under the whole house. Dust stops, the little short strips of wood running between the joists, under the seams of the floorboards, were discontinued in favor of machine-milled tongue-and-groove flooring, which made them unnecessary. Floor joists were set on-edge for greater strength, and often in the cellar, the sleepers were left natural (neither skinned nor hewn). To level the floor, the upper surfaces of the sleepers were flatted, usually by hand with an adze. Wood lath, instead of being split, was now made up at a mill in strips, or sold in flat thin sheets, which were split with the grain by the carpenter during installation to create the gaps necessary for plaster adhesion. 26. Georgian SIDE HALL HOUSE K l~tchtn So successful was the Georgian house during Southold's 18th century that it was still a strong influence in the 19th cen- tun/. The influence was so strong, in fact, that even today one can see Georgian-style houses being built in Southold. With varia- tions, it continues to be popular, efficient and gracious. Georgian-style houses were built in the 18th century in several popular variations. These included one- and two-story whole- and half-houses. All the variations were con- tinued in the 19th century. Two of these variations are the Kane-Schneider House, whose form is a one-story half-house, and the Prelwitz House, a two-story side-hall- house. Over the years, the long-lived Georgian house was adaptable to the influences of the times and changing ideas. The basic plan provided all the living space needed by the average family in an efficient and pleasing arrangement. When a new house style came into vogue, the earlier, basic house was read- ily adaptable to ornamentation in the new style. Today in Southold, many Georgian houses are garbed in later styles. Two houses that illustrate Greek and Gothic Revival influ- ences on the vernacular Georgian style are the Howell-Kujawski-House and the Aldrich House. Were one to look carefully at many Southold houses, the basic elements of a Georgian house might be discovered clothed in later dress and hiding behind cherished embdlishments. Kane-Schneider House 1BIO The Kane-Schneider House is one of several in $outhold Town that date from the federal era. In plan this house resembles the Brown-Dean House. The east wing (left) of the Kane-Schneider house was added in 1850, when an expansion was needed. Many other half-houses were modi- fied in similar fashion as the needs of their occupants grew. The Kane-Schneider House possesses great integrity; the changes over the years have been few. The windows, the splendid door, the chimney with its two fireplaces and oven, and the floor plan are all original. The main entrance, with sidelights and transom lights, is the most dramatic evi- dence that this is a house from the Federal period, but more subtle is the presence of higher eaves and the dapboard cladding in the front. The back of the house and the sides were shingled in the fashion of the times. The purpose was to emphasize the best features, which meant dressing-up the facade, while making the unseen elements utilitarian. Interior woodwork is typical of the early 19th century, with a fine chimney-piece with mantle surrounding the shallow fire- place. The interior window treatment indudes panels beneath the windows that go to the baseboard, a high-style federal fea- ture used only in the principal rooms. Prelwitz House c. 1814 High House Josh, named for its builder, Joshua Livingston Wells is an example of the two-story, three-bay, side- hall home. Throughout this home, the style is of the Federal era. As with the Old Place and the Kane- Schneider houses, a pre-Revolutionary house-form was made contemporary by the application of details that were current at the time of construction. On Long Island, the early decades of the 19th century were the heyday of the three-bay, side-hall home. This form was built in every hamlet from east to west, but it is virtually unknown in New England. The Prelwitz House was a model of its type, including the gambrel roof and the subordinate wing to the right, which was also given a gambrel roof. The portico sup- ported by Roman columns, covered a wide entrance with side lights. Its size required the off-setting of the center bay to preserve visual balance. The house was moved to its present loca- tion in 1912, at which time the present chimneys were built on the outsides of the end walls. The original chimney may have been situated on the inside of the far wall, or between the hall and parlor. Charles Aldrich House c. 1830 The Aldrich House presents a fairly typ- ical appearance in rural Southold although, at first look, it doesn't seem to represent any clear style. It is not without definite characteristics, however, and its sequence of changes through the genera- tions is instructive. The basic form of the house is that of a single-story Georgian, a style that could have been built any time from the mid- 18th to the mid-19th centuries. The six- over-six light windows on the right appear to be original. The very high front eaves suggest that it may have been a story-and-a- half building rather than the more obvious single-story form it presents. There may have once been small second-floor windows in a wide frieze directly above four first- floor windows and the door. The front door with its sidelights indicates the c. 1830 date. Around the Civil War, the house was stylistically updated by the addition of a high gable placed over the front door, which created a cross-gabled roof. The wide eaves on either end of the building suggest that the roof design was substantially changed when the gable was added, perhaps to effect better control of the roof drainage by the use of the then-popular extended eave style. Toward the end of the 19th century, the two windows to the left of the front door were replaced with a large bay window topped by a hipped roof. The two-over-two light sashes in the bay window point to a date near the turn of the century. These changes established a reduction in symme- try and gave exterior evidence of the most prominent room in the house, the parlor. The house, with its changes, illustrates an objective of Gothic and Victorian design, to make the exterior details of a building reflect its interior functions. In the 1920s, the front porch with its flut- ed, Doric columns was added. This occurred in the Colonial Revival period, when such posts were popular and therefore easy to obtain. While the porch goes well with the original front door, it is less com- patible, artistically, with the Gothic updat- ing applied in the middle of the last centu- ty. Greek Revival K lqtch~ P Parlor C Chamber P HOLMES HOUSE Broken llne encloses O.__Q_~lnal House The Greek Revival was the first of a series of romantic styles based on the historical architecture of distant cultures. The discovery, illustration and measure- ment of Greek ruins in the late 18th centu- ry excited the Western imagination. Coupled with national sympathy and enthusiasm for the Greek wars of in&pen- dence against the Turks, Greek architecture was seen to meet the need for an indepen- dent American style. The Greek temple form, a stone building encircled with columns supporting a low roof, would appear to be diffcult to adapt to a cold dimate with a wood building tra- dition that included few porches and many windows. However, in areas of rapid expan- sion such as New York State and the mid- west, the Greek temple front, rendered in wood and painted white, was built in large numbers. The three-bay, side-hall house plan was used with a gable placed over the front facade. In the more classic representa- tion, the roof was carried on freestanding columns to form a portico. With the growth of Long Island's villages during this period, buildings of the Greek Revival style appeared in such places as Greenport and Sag Harbor where whaling stimulated the economy and enriched the culture. But, the more isolated areas also were affected by the Greek influence. Doorways, moldings, mantels and friezes were ornamented in the new style. These variations were learned from carpenters' handbooks which were, in turn, copied from expensive folios of measured drawings. Construction techniques changed only slowly during this period. Heavy timbers were still hewn; only the lighter members such as rafters, joists and lath were sawed at a mill. The finishing of the wood used to dress a house was also considered millwork and became commercially available. No longer did elements such as moldings, base- boards, sashes, doors, and flooring have to be hand made at the site of a house con- struction. Square nails were factory made and purchased by the barrel. Nevertheless, erecting a house was very labor intensive and required a housewright. Local master builders, recognized for their design ability as well as their craftsmanship, are known to us for the first time: Amon Tabor and William Cochrane worked and built in Southold Town in 1830-1840. The number of new structures built in the Greek Revival period (and during the entire Federal period) was not large, especially away from the villages. This was not the result of a lack of attractive styles, but resulted from the generally difficult recovery from the Revolution and the slow growth of agriculture. The railroad and easier access to the major markets in the west had not yet brought new growth to rural Southold. The Holmes House 845 The plan and the elevation, of this house, taken from builders pattern books is rare on the eastern end of Long Island. The temple front, suggested by the two pilasters, the two one-story columns and the incomplete pediment were more than sufficient to convey the Greek theme. The flanking wings are original. Their wide frieze unified the composkion of the entire house. The center section of the home was fur- ther characterized by the recessed porch, the enclosed windows and the main entrance. The architectural arrangement was the same as seen in the earlier two-story side- entrance design and in the even earlier half- house. The decorative sidelights of the doorway indicate the time of the house's construction, c. 1845. The overall floor plan is unlike the tra- ditional patterns that were of the same ped- od in Southold. Earlier styles reflected the presence of the house as a protection against the difficulties of the climate and gave a feeling of dosed living. This house suggests the beginning of the era of more open liv- ing. It was the precursor of much experi- ment in the decades that followed, and illustrates the effect of new influences on Southold's traditional architecture. Gothic Revival FRAMING DIAGRAM CUTCH OG UE LIBRARY The Gothic Revival often is considered to be the first of the many 19th- century styles that are collectively called Victorian. Like the Greek Revival, Gothic was evocative of disrant places and times, in this case, medieval England. It emphasized style above function in building design, as did the Greek Revival. However, while the Greek influence reoriented the Georgian rectangle from side-to-the-street m end-to- the-street and added simple decoration, the Gothic effect was a complex design of intersecting roofs, towers, bays, porches, carv',ngs and finials. As the industrialization of the countty grew, (and our hostility toward England diminished), a yearning for an identifica- tion with history developed. The Gothic style offered another convention that was still a part of the culture but did not directly identify with the royal yoke. The Gothic style was advocated for houses and churches (centers of learning and morality) and was considered "correct" for such uses. With the Gothic style, (more accurately, during the same period) came an emphasis on landscaping and ornamental planting to enhance the exterior attractiveness of the home. Another social effect that developed during this period was the establishment of residential enclaves away from the work- place. Few of these influences spoke to the needs of the farmers and baymen of Eastetn Long Island. Consequently, only touches of the Gothic influence are found in Southold Town. While the Gothic influence usually is considered as a style change, the improve- ments in construction techniques that developed during that time helped to make its influence practical. The most important of these improvements was the invention of balloon framing. The new technique was the use of light, sawed lumber assembled into buildings without the use of the heavy timbers needed in post-and-beam construc- tion. The lighter, easily assembled framing eliminated the need for housewrighrs and the "raising" of main house frames, permit- ting buildings m be effectively and quickly constructed by less-skilled carpenters. The absence of the heavy frame freed the house from its need for a boxy shape, making irregular arrangements of many wings and levels possible. More important, the lighter framing and the the less rigid construction methods made it practical for local carpenters to interpret the style by following architec- rurally accurate plans that were available in builders' books. Another change that helped to make the new style practical was the introduction of the band saw. This made cut-out' decorations inexpensive replace- ments for the hand-carved pieces that had been required earlier. Porches, fences, barge-boards and trim were easily trans- formed into stylized shapes based on the patterns included in the latest builders' manuals. The use of shingles for dadding exterior walls, remained an unshakeable Long Island tradition, but the Gothic style was best ren- dered in vertical board-and batten siding (when it was impossible to use somber stone). Sometimes dark-color shingles were used, thereby producing a vernacular modi- fication of the basic style. The white paint- ed shingles and trim that were acceptable in the Greek Revival style were replaced by a varied palette of yellows, browns, greens and reds that helped build the Gothic mood. Even roofs carried out the color ide- als with the introduction of slate, which was shipped from Vermont on the new railroad. The destructive effects of wind, water and sun, as well as the repairs that were made over the cenrury-and-a-half since the height of the Gothic style, have softened the remaining examples in Southold. Most of the Gothic style trim has been replaced by more traditional elements so the style is a linle harder to observe today. 38. First Universalist Church 1837 Wrilliam D. Cochrane came to Southold in 1834 from New York City to build the Cleveland-Charnews House and stayed for many years. He designed the First Universalist Church which was completed in 1837. This land- mark is an original blend of Greek Revival and Gothic Revival and could be accurately called Southold's first classically inspired building. 'The shape of the structure, the pitch of the roof, the corner pilasters and the color are Greek Revival. But the building is also the tint Gothic building because of its great windows and many interior details. A major emphasis in the Gothic Style was a feeling of "up". This is sometimes described as pointedness in the vertical sense, and the windows in this church dearly illustrate this effect. They carry the eye upward to the interlaced muntin bars and the high cor- nice. The front center window is notewor- thy for its mixture of Gothic and Palladian designs. The tower of the church further empha- sizes the Gothic influence in its design. It offen an impression of medieval castle con- struction with a suggestion of parapets and flying banners. This building is noteworthy for its condition. It has remained nearly unaltered since its construction. Sacred Heart Church 1878 ' The Church of the Sacred Heart is a country chapel, constructed in the Stick style, a loose rendering of the medieval English building tradition. The Stick style is characterized by patterned wall surfaces (although not in this example) and stickwork in the gables that suggests structural elements. The six purlin ends projecting through the front wall to support the eaves emphasize the Gothic-style concept of exposing the evidences of structural support. The walls of the church are dad in natural wood shingles which blend nicely with the streetscape while offering a suggestion of the stone that was used in the medieval construction. The pointed Gothic windows and door, also early English elements, reinforce the medieval character. The use of the Stick style for the small country church was promoted initially in the 1850s by the Episcopalians, who based their views on the rural English parish church with its stone construction and steep thatched roof. American congregations of other faiths later adopted the style for country churches because of its traditional appeal. Cox-Forman Carriage House c. 1880 This building, originally erected as a carriage house a little more than 100 years ago, was converted to a residence in 1982. Although changes to the interior were necessary to provide the conveniences of modern living, the exterior detail was wall restored and preserved. The building is probably the best example of the Gothic (Stick) style in Southold Town. Originally, the large section contained stables and a space for housing carriages. The far wing was used as a residence for the driver. Appropriate to a style with long English roots, the wing is cross-gabled. Several double, round-headed windows, in individual dormers, bring light to the second floor. Brackets support a wide overhang with exposed stickwork over vertical boarding. The designer also gave the building a lofty spire to complete its highly original design. These elements, together with the dormers, offer a visible suggestion of the structure of a building in the best tradition of the Gothic style. Cutchogue Library 1862 The Cutchogue Library is an excellent example of how constructive reuse can provide an active capability in a community while preserving its architectural heritage. The main building was originally erected and used as a church. In 1987, it was exren- sively modified to enchance its function as a library. The history of the building illus- trates the concepts of preservation and building reuse. At the time of the Civil War, the Abolitionist members of the Cutchogue Presbyterian Church were asked to leave. They were offered land for a new church if they could get it ready in one year. Construction started in May of 1862 and the church was dedicated that October. The style of the building was typical of churches in Southold in the middle of the 19th century. The Gothic influence is seen in the windows and the spire, with the main body of the church reflecting the earlier Georgian tradition of the community. The tower was built in three, nearly inde- pendent stages. The lowest section was par- tially supported on one of the roof trusses of the main building (rear legs) and partially by legs that went directly to the foundation (front). The middle section was telescoped into the bottom section and the spire was telescoped into the middle section. Each section could have been built much later than the section on which it was carried with no change to the earlier structure and only minor modification of the exterior detail. In 1887, the congregation went back to the first church. Although this building was no longer used, it was maintained. In 1913, the Society made the building available to the Cutchogue Library Association who turned it into a libra. Several yeah ago the Association bought the building and designed an extension. The compatible architecture, the extended useful space, and the protected early structure including the tower show how the entire community ben- efits from creative conservation. Italianate CUPOLA HOUSE As the Greek-Revival style passed from fashion the of during decade the 1840s, it was not entirely supplanted by the Gothic-Revival style. Another style, based on the architecture of the Italian country villa came into vogue. The houses, which clearly reflect the Italianate style, were characterized by a basically cubic shape, covered by a nearly flat roof. Vernacular Italianate houses had wide overhanging eaves supported by carved brackets, unadorned walls and large windows with two-light, double-hung sashes. Verandas ranged across the front, with decorated, square posts, flat roofs and bracketed cornices. The Italianate was used for larger homes, often with bays, a tower, paired windows and twinned chimneys. On rural Long Island, and particularly in Southold Town, the traditional heavy frame continued to be used for houses and barns well after the Civil War, but this did not hinder the introduction of the Italianate house. The new style called for a building that was nearly square, and this was familiar to local carpenters and housewrights from their experience with the side-hall house that had become traditional by the middle of the 19th century. During the period when the Italianate became popular, stoves (and later, basement furnaces) made fireplaces obsolete for general home heating. This change in utility contributed to irregular and expanded floor plans and made the chimney an dement to be hidden, rather than a major part of the internal domestic design. It also freed the siting of homes from the custom of using southern exposure as a supplemental means of heating in the winter. The new interest in the Italianate style coincided with agricultural prosperity on the North Fork and with the increase in commercial activity stimulated by the arrival of the railroad through the Town to Greenport. A substantial number of Italianate dwellings were built both in the hamlets and throughout the countryside. 44. Ellsworth-Bond House c. 1850 The Ellsworth-Bond House is a picture of 19th-century agricultural prosperi- ty. Set in a vast lawn and surrounded by fields, its Italianate propriety is obvious. The home was built high and square, with the fiat roof carried on heavy brackets. The pattern of the brackets and the eaves on the main house was repeated in the right (west) wing and on the porches that cov- ered the first floor of each section. Between the brackets, can still be seen, ornate, molded panels, which are the best examples of this art form in Southold Town. Both parts of the home were three bays wide. In the main block, the second-story windows were predominant. They were hooded and flanked with shutters, while the windows of the wing's second-story were set discretely between the roof brack- ets, as if to conceal them. This was the ser- vants' wing, with the kitchen and pantry on the first floor. The Ellsworth-Bond Home, and others of this period placed greater emphasis on setting and view than those of the previous century when the sun, wind and general cast of weather were the major determi- nants for house positioning. This house faces north for the view rather than south to take advantage of the winter sun. The Jefferson House c. 1850 The Jefferson House was a three-bay Italianate house with a subordinate wing. It was a slightly smaller version of the Ellsworth-Bond House but had its wing m the left of the main block. The plan was, othenvise, nearly the same. The windows, though hooded, were the traditional six- over-six light double-hung sash. The entrance was well executed and traditional for Southold Town. Most interesting was the use of the slight- ly gabled roof instead of the very flat hipped roof that was characteristic of the classic Italianate. The roof was set in the manner of the late Georgian local style as it was exemplified by the three-bay side-hall house. Perhaps, to the builder of this house, the new idea of the flat Italianate roof, used only for the sake of style, seemed to be inviting unnecessary difficulty. He there- fore, may have compromised by building the low-pitch gables and adding plenty of brackets. The result does not detract from the overall Italianate effect. Cupola House 18 2 ~~~ pogh Tri~ Detail This example of the two-section, flat- roofed, Italianate house was built by the Vails, a fishing family in Orient. It was added to the village street as the community grew from the wharf toward King's Highway in the middle of the 19th century. The style was very similar to the other Italianates built on large farm acreages in Southold Town. Here, however, the detail on the porch and the paired eaves-brackets were made of very fine scroll-saw work instead of the plainer decorations on other Italianates. The window sashes were four-over-four lights with heavy vertical mundns, a design frequently used in the 1860s for new and remodelling work on Long Island. The cupola was of the same style and construc- tion often seen in Italianate houses. A story sometimes given to explain the cupola is that it was a wife's walk used to scan the sea for her returning, mariner husband. In the case of this house, the explanation could be true, but in other examples, both in Southold and in upper New York State, the explanation fails since the water was obscured by distance or intervening wood- lands. A more likely explanation is the use of the cupola for ventilation, particularly in the summer when the sun-heated flat roof made the ceilings of the upstairs rooms uncomfortably warm. It is said that Cupola House was original- ly heated with seven stoves and that the only fireplace was in the kitchen. This is consistent with the progress in home heat- ing made in the mid-19th century when cast iron stoves became commonly avail- able. The fencing and the landscaped yards have been maintained by the succeeding generations of the family m set the house in its original style and beauty. Brecknock Hall 1857 Built by David G. Floyd in 1857, this mansion is remarkable for several reasons. The sheer size of the structure and its stone construction are unusual for Southold Town in the 19th century, and the style, while basically Italianate, is more accurately eclectic. Floyd was a wealthy whaling merchant whose business was based in Mystic, Connecticut. His roots, however, were on Long Island and he determined to have a stone house where none had ever been built. Using Scottish stone curers to dress the glacial rocks found on the large pmperry, he built his stone house and had it trimmed with sandstone from Connecticut. The design of the house incorporated the bracketed eaves, cupola and porch that are associated with the Italianate style. The massing of the sections of the house, together with the symmetry and the stonework itsdf are elements of the French Second-Empire style. The windows of the center section are Romanesque. This great house has been called "probably the most splendid Italianare house of the period in the county." There is no other like it in Southold Town. Interest in Gothic Revival never entirely disappeared when the Italian and French styles flourished in the middle of the 19th century, but the British exhibit at the American Centennial Fair in Philadelphia in 1876 redirected architectural efforts toward historic designs. The result was a period of mixed styles, often in the same building, termed eclectic. The principal English-derived styles of the eclectic period in the late 19th century were the high Victorian Gothic, the Stick and the Queen Anne. The general interest in architectural styles expanded from concern for buildings alone to include their settings, with emphasis on gardens and horticulture. From1870 tolg00 there were changes in construction as wall as appearance. Balloon framing was universally applied and a variant, platform framing, replaced the older post-and-beam techniques. The availability of virtually every building material in lumber yards removed the necessity of timber shaping as part of the construction of a building. The house- wright disappeared, to be replaced by the carpenter who often worked from plans prepared by an architect. Exotic materials, e.g., marble and tile for fireplace openings and mantels, slate for roofs, rare woods for floors, colored and stained glass, plated metals for roofing, gas light fixtures, porcelain plumbing £nctures and all manner of hardware, were available from specialized suppliers and were shipped all over the country by railroad. These new ways of implementing old needs freed Victorian ,xrchirecture from the constraints of utilitarian construction. No longer were the finished houses the characteristic signatures of their builders and the traditional community. Instead they could be shaped and finished as complex artistic artifacts. The major change for Southold in this period was the arrival of the summer residents from the New York City region by way of the Long Island Rail Road. Initially they vacationed in hotels or rented houses, but soon began to build large estates for summer occupancy. Often the estates were given romantic or country names or reflected their nearness to the local shores. Some of these estate-owners practiced farming but this activity was largely conducted by regularly employed local managers and workers who also provided the necessary year-round maintenance of buildings and grounds. The newcomers brought the new, fashionable building styles to Southold. Because of their interest in scenic and marine sites, they built their large summer estates along the shorelines, especially on the bluffs at Martituck. The presence of the new styles had little impact on the villages and farms on the east end of the North Fork although they did influence the architecture of the easternmost part of the town, Fisher's Island. 50. Glenwood Hotel c. 1865 The Glenwood Hotel is one of the few examples of French Second-Empire architecture to be seen in Southold Town. The Second-Empire style is recognized by its mansard roof, which is really a steep- sided attic or upper story, set above a heavily bracketed cornice, covered with roof cladding, and penetrated, in this house, by three donners on the front and two on each side. A comparison with the roof treatment of the Italianate style is interesting because the ancestry of each style is epitomized in the roofline. The Second-Empire suggests its home to have been a French city in which housing was costly. Because attics were used as living rooms, the roof slopes were forced into an extreme gambrel to provide more space. The Italianate style suggests open country where the summer sun provided too much heat and had to be barred by large eaves at the top of the second story. The house was expanded horizontally by adding wings and dis. Second-Empire buildings were sym- metrical in form and trim, usually suggesting vertical alignment of windows and dormers as well as an almost Georgian horizontal arrangement of windows around an ornate main entrance. The Second- Empire style did not attain the popularity of the Italianate style in Southold, perhaps because it came late in the sweep of time, bus more likely because it spoke of the city and did not comfortably fit into the local tradition. The plan of the Glenwood Hotel includes first-floor bay-windows, one on each side of the building to insure balance, and a long porch across the front. The roof is still covered with the original slate, bus the early wall cladding has been covered with asbestos shingles, a product of the 20th centu~, that traded low-cost maintenance for style and was very popular for replacement siding. 51. Ellsworth-Tuthill House c. 1865 This large, rambling house, set on a hill overlooking Wolf Pit Lake, was originally a smaller two-story house. Under Tuthill's ownership, it was used as a cattle farm. The early house was built about 1865. In 1890 it was greatly expanded and brought up to the standards of that time. The style is Queen Anne, an asymmetrical design that often incorporated a round tower, several porches, bay windows, largeintersecting gables, and several different types of wall surfaces, e.g., shingles, clapboards and decorative panels. In the Queen Anne style, and especially in this house, the carved detail was less used than in the Gothic, Italianate, or Stick styles. Usually, there were no highly decorative roof brackets or sawn-out scroll work. Details, especially in the later examples of the Queen Anne style, show revived colonial designs such as sidelights at the main entrance, pediments over windows, colonial balustrades on porches, and six- over-six light double-hung sashes. In the Ellsworth-Tuthill House, the tower is the dominant feature with a highly irregular and unbalanced floor plan. The porches add to the general impression of the Queen Anne style but the siding does not show the extensive artistic use of decorative siding that other examples of this style portray. As is often the case in the vernacular interpretation of classic styles, the features that appeal to the building's owners are emphasized. In this house, a long wing runs to the north (not visible in the illustration) and terminates in another tower. MooMo-Weta c. 1886 In the late part of the 19th century many "summer cottages" were built on Long Island by people whose main homes and occupations were in New York City. Southold and other east-end towns were very desirable locations from the standpoints of their beaches and their climates but were less accessable than beach communities in western Suffolk County. Not many families were willing to travd the 100 miles from the city by train or boat before the automobile made the trip commonplace. Some people, especially those who had roots on the East End, became city-people but never lost their home ties. Mo-Mo-Weta was built by Frank Lupton, a native of this end of the Island, who had amassed a fortune in New York City Publishing. It commands a fine view of Peconic Bay. The house illustrates a variation of the Queen Anne style, called Early Tudor revival, which became popular for suburban houses in the early 20th century. Like the earlier Stick style, the purpose of the vertical, horizontal and diagonal "beams" was to reveal the structural frame of the house. Unlike the framing of the early Tudor originals of the 15th century, these dements are merely wood designs set in stucco, instead of massive timbers infilled with plaster. Mo-Mo-Weta was designed as a group of irregular blocks combined with many porches and dormers to maximize its view. Its asymmetry is emphasized by the gable within a larger gable (on the right) and the large bay window set in the middle of the north wall that lights the main stair landing· The house presents an irregular and picturesque profile when viewed from any angle, and thereby successfully achieves one of the primary aesthetic objectives of the Queen Anne style. It is a fine example of Southold's architectural heritage. Dart House c. 1870 This house was built by J. G. Case, a lawyer and Justice of the Peace. The exterior is unaltered and well preserved. The style is one of the variations of the later Italianate, in that the roof brackets with dentils and the cupola are incorporated in the design. The roof is gabled and has a low pitch reminiscent of the Greek Revival style, from which this particular form derives. The plan is that of a side-hall house which was used in both the Greek and Italianate styles. The large side wings, which carry intersecting gables, were seen originally in the Gothic Revival style. The porch, a skillful product of the scroll saw and the turner's lathe, wraps around three sides of the house. It is highly decorated, having a pierced frieze, square chamfered columns, pierced balustrades, and drops centered in the shallow arches between the posts. Such design suggests the incorporation of dements from many styles because of their individual appeal to the family who built and lived in the house. Recent restoration, particularly the painting, offers a strong suggestion of the original house as it appeared to the viewers of a century ago. Houses of the Twentieth Century Rld~e Line K K~h~a D D~i~g P P~I~, C Chamber CROSS GABLE Line SUMMER BUNGALOW D BURT HOUSE The continuing growth and devdopment of Southold in the 20th century demanded both replacement housing and new construction. The development of 20th century technology gready altered and expanded the selection of styles that could be incorporated in new houses. Where styles based on European influence had served to enlarge the architecture of 19th century Southold, technical advances in design and materials became the controlling influences of the 20th century. The palette of additional materials, advanced building techniques and unprecedented utilities made new styles popular. These new styles were based on domestic convenience. While the new styles were not traditional, they did reflect the social and economic condition of the Town and the tastes and feelings of its citizens. The new styles made efficient use of the new building technologies: concrete blocks for foundations, wide exterior sheathing boards laid diagonally over the studs for stiffer structuring and better insulation, and in later houses, rocldath instead of wood lath for the interior plaster wall construction. Millwork for finishing was specified from a catalogue. Standardized plans for houses of the Four- Square, Cross-Gable and other styles could be obtained for a few dollars from magazines that published them. Local lumber yards could provide all the building materials, cut-to-size and ready to erect. E.W. Howell's lumber company in Brentwood provided this service all over Long Island. These houses, commodious and relatively inexpensive because of the economies of standardization, were often chosen when additional or replacement housing was needed on Southold's farms. They are easy to see on the main roads, standing alone and surrounded by fidds. They are also to be found in the several Southold villages where they stand with contemporary styles in the parts of the communities that were built between the turn of the century and 1920. Monroe S. Burt House 1906 The style of the Monroe S. Butt home is called four-square. It is one of the very few styles that are distinctly American in origin. The vernacular forms seen in Southold and many other areas were derived from the highly original work of Frank Lloyd Wright in Chicago beginning in the 1890s. They were popularized throughout the country by pattern books and builders magazines. Most of the houses of this style were built between 1905 and 1915. The four-square faded from fashion shortly after World War I. These houses were characterized by a dis- tinctly cubical shape, capped by a low- pitched, hipped roof with wide over-hang- ing eaves. They were usually two-story buildings with one-story wings or porches supported on heavy posts. The windows were symmetrically placed and usually made up of square single-light sashes. Sometimes dormers, also hipped, projected from the main roof. The front door was often elaborated but not to the degree of having side-lights. It was usually placed to one side in an arrangement similar to that of the side-hall house and opened into an undifferentiated hall that formed one end of the living room. Directly behind the door, a stairway landing formed an entry with the hall. In the rear of the house, usually directly back from the front door, was the kitchen. On the other side of the rear section, most houses of this style offered a dining room that could also be entered from the living room. The construction of the Burr House tells much about house-building at the begin- ning of the 20th century. The availability of sized lumber and millwork, improved masonry, fasteners, finishing and utilities (plumbing, heating and in some parts of the Town, electricity) made it practical for a builder to sit down with a potential owner and design a practical, up-to-date, hand- some house. Ruch House before 1897 The Ruch House was originally built just before the turn of 20th century. It was remodelled to its present form in the early 1920s, when it was given the character of a four-square. At that time, the low hip roof was built and the entire house was shingled. A wrap-around porch on the front of the house was replaced by the present The four-square style usually is cubic in form but this house is more rectangular. The porches on either end emphasize the horizontal effect. The interesting feature that this house illustrates, is the change from the Georgian style, characterized by the five-bay symmetry and the heavy horizontal feeling, into the four-square impression, given by the hip roof and the shingles. The Ruch House has not been further altered, except for convenience modernizations, since the 1920s. It enhances the dignified heritage of Southold Town. 58. Townsend House 1905 The Townsend House is a fine example of a style, called Cross-Gable, that developed in Southold Town at the begin- ning of the 20th Century. Its form tells an interesting story of its architectural history. The main block is a three-bay side-hall house whose beginnings date to the late 18th century. The roof pitch echoes mid- 19th century Gothic influence while the cross-gables (for which the style is named) reflect the vernacular Queen Anne style of the late 19th century. The form of the Townsend House also tells about the history of domestic life in Southold in the 19th century. Because fire- place cooking and heating were made obso- lete by cast-iron stoves, and plumbing brought running water indoors, the form of the kitchen changed. In the Cross-Gable style, a whole section of the house was pro- vided for household services. Its form was similar m the main block but it was a little smaller in width, length and height. Upstairs in the service block, rooms were provided for domestic servants. Bed chambers occupied the second story of the main block of the house. When additional chambers were required by the family who was having a Cross -Gable house constructed, the wings were designed to accomodate the requirements. The choices were almost modular.' one wing or two, large wings (12 feet), or small (4 feet), bay-windows in the ends or not, one- or two-story, cellars and attics or not. The enclosed space was flexible so the house appealed strongly to a wide segment of Southold's families. The basic house was standard, and was pictured and drawn in a builder's design book. The variations were easy to visualize and select, The costs for basic choices and for the variations that individualized the house, could be quickly evaluated from the accompanying material lists. Local lumber yards, or the builders themselves kept the structural materials and millwork in stock. In looking for the the Cross-Gable house style in Southold Town, the observer may find it interesting to count the number of variations that survive to enrich the heritage of our Town. Summer Bungalow By the beginning of the 20th century, Long Island had become a popular summer resort for New York. Peconic Bay was an excellent place for summer vacation, especially for city families with several chil- dren. Families came to their summer homes as soon as school was out. Usually, father established the family and enjoyed a short vacation at the beginning of the season. He then returned to the city and commuted by train on weekends. After the first World War, the motor car grew in popularity. With the family car available at the summer home, the family was no longer limited by proximity to stores. Summer families soon outnnum- bered the winter population. New summer residents called for new con- struction, and a new house style. The new style was the Bungalow. It was a particular example of the Craftsman style that emerged at the turn of the 20th century. Although the Bungalow was first built in California, it rapidly swept across the coun- try, popularized by architectural journals and home magazines. The Summer Bungalow was front-gabled, or more commonly, side-gabled. It usually had only one-story but used a large dormer to add the upstairs sleeping accommoda- tions. There was always a large screened porch and sometimes a fireplace for the cool days of early and late summer. The early Bungalows were built in Southold before commercial electric service was available. Water was pumped by hand and cooking was done on kerosene or coal stoves. As electricity and gas became avail- able, summer living could be as convenient and comfortable as life in the city. Many Summer Bungalows have been win- terized. Set on foundations or cellars and insulated they became year-round homes. Often the improvements were made by sec- ond generation owners who retired to Southold, thereby recapturing the fond memories of their early summers. Epilogue As the Commission tried to understand Southold's houses and how they fit in the flow of time, we sometimes ran into more questions than answers about tradi- tional local history, and the details of early house construction. Nevertheless, we start- ed our studies of Southold houses using the history as our guide. Usually, but not always, the houses mirrored the traditional stories. Generally, the early houses were small, one-story structures, expanded in succeed- ing generations to evolve into the houses that are standing today. While earlier houses tended to be small, not every examination of the older buildings revealed this tradi- tional pattern. The two houses in the town that appear to be the oldest: the Terry- Mulford House in Orient, and The Old House in Cutchogue, are large, two-story, center-chimney, Medieval-Colonial style structures with no evidence of a smaller unit to be found within either building, despite extensive physical examinations. We could not illuminate these first-period buildings with the light of traditional history. The traditional picture offered by Southold Town history is that in September, 1640, Pastor Youngs came to Southold with his group of settlers. They crossed the Sound from New Haven to start a church-oriented colony. Regrettably, no historical information that indicates the economic situation of the first decade of the colony, is available to answer the questions that these two early houses ask. Did this small group have the manpower necessary to fell and saw the timber, complete the joinery, and then erect these unusually large buildings, one documented to have existed less than 10 years after the original landing? Or did they bring with them the wealth that paid for these constructions? The histories of contemporary colonies show that survival was the primary concern during the first years of settlement. The needs were for immediate food production and for minimal, rapidly erected, shelter. Aside from the two structures here identi- fied, the local architectural evidence indi- cates that Southold's development was entirely traditional. A further question arises: Why would the first settlers arrive in September, thereby facing a hostile fall and winter at the very start of their settlement? Could it be that in the previous year or two they had come over from New Haven, a trip of only 40 miles by way of the Sound, to lay the groundwork for their setdement, induding erecting permanent shelters and planting crops? In that way, they could have harvest- ed a crop for that first fall and would have been prepared to face the winter. The available history of the town does not indicate hardship that first winter, per- haps showing the effectiveness of their plan- ning. Other history indicates that early peo- ple, perhaps traders, were familiar with the North Fork well before 1640, for instance, at Arshmomoque. The area would have been known to potential settlers. However, neither pre-settlement preparation nor trad- ing offers a direct reason for the two very large first-period buildings. Research into another aspect of Long Island history has offered a possible expla- nation. Studies of the forestation of the east coast of North America show that before the discovery of the new world, Eastern Long Island was covered by a forest of mature white oak. This is reflected in the construction of these two early buildings. White oak was their predominant struc- tural material. Extensive investigation of Southold's still-standing houses reveals that early in the 18th-century red oak and chest- nut replaced white oak for use in the major structural members e.g., girts and summer beams. Posts appear to be the last members in which red replaced white oak. The use of red oak, although white would have been the preferred building material, suggests deforestation of the white oak. Since mature red oak was used for major structural timbers early in the 18th-century, the white oak must have been well on the way to depletion in the 17th-century. The first several generations of early settlers could not have depleted the mature white oak before 1700; not nearly enough early houses were built in the colony to have used even a minor portion of the total forest. Other uses are indicated but traditional his- tory stands silent on what happened to the oak. White oak was the best American timber for building ships. However, the depletion of the white oak cannot be easily attributed to its use in local shipbuilding, since that industry did not develop in Southold until the middle ofthelSth century. Could the oak have been felled, sawed and transported back to England for use in shipyards strug- gling to build the vessels for England's furl- ous trade expansion? If so, the timber might well have been harvested early in the 17th century (or even in the late 16th-century), well before or independent of the colonial set-dement. While Southold's history does not speak of very early commerce, other colonies established a thriving trade in the manufac- ture and shipment of pipe staves to make barrels in the West Indies in the period shortly before the time of Southold's settle- ment. The best barrel material for sugar, molasses, and rum was white oak. The first American forests to be harvested were those with easiest access to water transport. Southold's forests were no farther than four miles from the shore of the Sound where large vessels could find convenient anchorage. Were our forests taken for ships and barrels? Pethaps the two apparently old- est buildings were erected for, and first used as, shelters for the crews that felled and pre- pared the oak for shipment. The questions that have been raised here are not answered in the recorded history of the Town, nor in the survey of existing houses portrayed in this book. Pursuing answers to these questions is the mandate that we, the members of the Landmark Preservation Commission will continue to follow as we search out and document the architeerural history of Southold. Locations 1. The Old House Cutchogue Village Green 2. Terry - Mulford House Orient, N side, Rt.25 1.6 mi E of Monument 3. Doctor's House Southold, E Side, Akerly Pond Lane 0.1 mi. N of Rt. 25 4. Revolutionary Cottage Orient, W side, Village Lane 0.4 mi. S of Monument 5. Wickham Farm House Cutchogue Village Green 6. Thomas Moore House Southold, Southold Historical Society 7. David Tuthill Farmstead Cutchogue, E side, New Suffolk Lane 0.3 mi. S of Rt. 25 Fregiff Wells House Southold, E side, Main Bay View opposite Grange Rd. 9. Moses Case House Southold, S. side, Rt. 48 0.2 mi. E ofyoungs Ave. 10. Joseph Horton House Southold, N side, Rt. 25 0.3 mi. E of Akerly Pond Lane 11. Kane - Schneider House East Marion S E corner, Rt. 25 & Gillete Dr. 12. Brown - Dean House East Marion, N side, Rt. 25 0.2 mi. E of Rocky Pt. Rd. 13. Harmon - Tuthill Home East Marion, N side, Rt. 25 0.3 mi. E of Prat Office 14. Terrywold Orient, N side, Rt.. 25 2.65 mi. E of Monument 15. Osborne - Fleet House Cutchogue NW corner, Rt. 25 & Highland Rd. 16. The Old Place Cutchogue, E side, New Suffolk Lane 0.1 mi. S of Rt. 25 17. Webb House Orient, Oystetponds Historical Society 18. Prelwitz House Peconic, W side, Indian Neck Lane opposite Spring Lane 19. Howell - Kujawski House Mattituck, N side, Sound Ave. First house E of Town line 20. Aldrich House Mattituck, N side, Sound Ave. opposite Aldrich Lane 21. Holmes House Orient, E side, Village Lane opposke Post Office 22. Townsend Manor Grecnport, E side, Main St, 23. Universalist Church Southold, S side, Rt. 25 opposke Tucker's Lane 24. Sacred Heart Church Cutchogue, NW corner Rt. 25 & GrifFin Lane 25. Cutchogue Library Cutchogue Village Green 26. Cox - Forman Carriage House Mattituck, Breakwater Rd. 0.05 mi N of Cox Lane 27. Ellsworth - Bond House Mattituck, S side, Oregon Rd. 0.3 mi E of Mill Lane 28. Jefferson House Peconic, W side, Peconic Lane opposite Carroll Ave. 29. Cupola House Orient, E side, Village Lane Next N of Historical Society 30. Brecknock Hall Greenport, N side, Rt. 25 0.2 mi E of Bailey Ave. 31. Glenwood Hotd Mattituck, N side, Rt. 25 4th building E of Love Lane 32. Ellsworth ~ Tuthill House Mattituck, N side, Wickham Ave. at Wolf Pit Lake 33. Mo - Mo - Weta Mattituck Private Rd. W of airport Dart Home Peconic, E side, Peconic Lane 0.05 mi S of Rt. 48 35. Monroe S. Burr House Greenport, N side, Rt. 48 0.15 mi E of Moore's Lane 36. Ruch House Southold, Corner Rt. 48 & Ruch Lane 37. Townsend House Grecnport, NE corner Main St. & Monsell 38. Summer Bungalow Laurel, S side Peconic Bay Blvd. · 1 mi W of Bray Ave. Glossary covering outer walls, laid horizontally, over- lapping. eui~..a~ light structure on a roof. darn~r...A vertical window in a projection built out from a sloping roof. draft s~o/~...A short flat piece of wood set in from joist to joist forming a seal where floor board sides join. d~t sto/z..See draft stop. entab/at~ere...The superstructure carried by the columns or pilasters of a door. bay...Any of a number of similar major vertical divisions of a building containing a door or window. (ex. A 5 bay may consist of a center door with two discrete windows on each side.) gadding... Exterior covering of a building. (ex. shingle, brick) elapboan[.. A long thin board thicker along one edge than along the other used in gabl~....The portion of the front or side of a building enclosed by masking the end of a pitched roof. garabrel..A gable roof, each side of which has a shallower slope above a steeper slope/ A Mansard roof is a particular gambrd where the upper roof appears flat when viewed from ground level. Georglan...A formal and symmetrical house constructed following strict rules of correct proportion. (ex~ A one or two story house with a center entrance and two windows balanced on each side.) ~/rt...A timber connecting main posts at a floor above the ground floor. Goth/e Re~va~..A style of architecture characterized by the use of the pointed arch in doors and windows. Gr~ek Ra~val,..A style of architecture characterized by an imitation of ancient Greek designs and ornamental motifs. ha~-homt...A three bay home with the door bay on the left or right. ltM!ana.~..ak style of architecture based on Romanesque vernacular residential architec- ture of the Italian countryside characterized by the use of the rounded arch and flat or very low slope roof. joiat...One of many parallel beams of tim- ber for supporting floors and ceilings. /ath...Thin strips of wood forming a backing for plaster or nailer for shingles. ~a~-t~..aSm extension with a single pitch roof with the higher end abutting a larger building. la'gh~..Panes of glass in a window. (mc win dow or door surround) MamanL..See gambrel. muntin...ftame member between panes of glass in window sash p/att...The mp girt which carries the com- mon r~ers. purlim..A beam framed between the princi- pal rafters on each side of a roof to carry the common rafters or simple vertical boarding. rafl~r...tmy of a series of timbers usually having measured slope, for supporting the sheathing and covering of a roof. Roma~sq~e..ast style of architecture char- acterized by heavy construction (mu,ally masonry) with narrow openings, round arches, and vaulting ceilings. Rum~r~.a~ shallow fireplace with con- verging sidewalls designed by Count Rumford (1753 - 1814). S~eond Fanpir~..A style of archchitecture of the Victorian Era characterized by a Mansard roof. ddng~...One of many thin pieces of wood laid vertically in overlapping rows to cover the sides and walls of a house. d/L.a horizontal timber serving as the foundation of a wall, window, or door. s~..A heavy horizontal timber for dis- tributing loads. Stkk Styl~..A style of architecture charac- terized by paxterned wall surfaces and stick- work in the gables. a~wiag~r..ak long horizontal timber connect- ing upright posts. mun..Any of a number of upright members of wood forming the frame of a wall or par- ration. ~m,,r &~am~.~A heavy beam crossing the ceiling of a room from girt m girt carrying the joists of the floor above. tra~m...A crosspiece separating a door from a window or fanlight above it. Viet~r/am £rat..A period of architecture characterized by the presence of ostenta- tious ornamentation.