Adjoining the house, and connected with it by a shed, was a large barn with sagging roof and so dilapidated that it seemed past restoring.

Across the front, defining the estate, was once a neat paling fence that had been torn down until only a small portion remained.

Many acres of the estate were meadow-land which swept to the horizon of trees, yet the once fine apple orchard, though sadly in need of pruning, showed promise, and there were possibilities in the whole estate that needed only attention and development to make them profitable. There had been no one to care for the old house, and it stood discouraged by the roadside awaiting a sympathetic owner.

[Ill.u.s.tration: Before Remodeling]

It was in this condition when first seen by Mr. Charles Martin Loeffler, whose experienced eye discerned its possibilities. It is the wise man who fits his house to his grounds and who in the general scheme considers its surroundings. The gra.s.s land, the garden, the orchards, the fencing of the estate, each one of which demands separate treatment, should be so arranged that they will be profitable in the end. The new owner realized this and also that he could not be too careful in combining house and garden so that they would make a harmonious whole.

The location was ideal, quiet and retired and exactly what had been most desired, so the remodeling was placed in the hands of a careful architect, who, after thoroughly considering the situation, decided it could not be done. It was then that Mr. Loeffler took the matter into his own hands, drawing exact plans of what was necessary to achieve the desired result, and it was under his personal direction that the workmen began to remodel the unattractive little cottage. It was borne in mind that even the addition of a porch or veranda must be carefully considered to avoid confusion of architecture so that the house itself, when finished, should follow a single idea and not a composite ma.s.s of details that were entirely out of place and in bad taste. It was realized that no house, no matter how situated, should have discordant surroundings. Out-buildings should not be allowed to mar the symmetry of the house and should be removed so that they would not be an eyesore but in keeping with the general plan.

The house itself, however, demanded attention first; it was very small, with a pitched roof in the upper story and a long ell connecting it with the farm buildings. The exterior was left practically as when first purchased, with the exception of a small and well-planned porch at the front, a long ell for servants' quarters, and a wide veranda at the rear that extended the entire length of the house. In the porch settles were added on either side which help to give the house an air of dignity and invite the guest to rest and enjoy the beautiful scenery.

[Ill.u.s.tration: As Remodeled]

The screened-in veranda at the back is used as an out-of-doors living-room. It is wide, carpeted with rugs, and furnished with simple but substantial pieces. It is a most comfortable place, where charming views and wonderful vistas can be enjoyed, for beyond lie the old orchard with the meadows between and a background of finger-pointed pines that seemingly melt into the blue of the sky. Trellises were built on the garden side of the house to carry vines, but this was after the house had been given a coat of white paint and the blinds painted green.

Over the veranda a balcony was built which can be used for outdoor sleeping purposes if desired. The picket fence was restored and painted white to match the coloring of the house, and a stone wall was built at the farther end to enclose the garden; on the outside wild shrubs were planted to give a note of color to the gray stone. The old trees, pruned, took on a new life and are now in a most nourishing condition; across the entire front, as a partial screening, silver-leafed poplars were planted. The farm lands were reclaimed, new trees planted in the old apple orchard, and at the side of the house an attractive garden was laid out with a background of apple-trees. It was a small garden, only about an eighth of an acre in size, and filled with old-fashioned flowers to make it harmonize with the period in which the house was built. A single path divides it in two, and its color schemes have been given careful study.

At one side of the garden a rustic pergola has been built with a central path of gra.s.s, and over this a grapevine has been trained which makes it a restful, shady place in summer, while in early fall the vines are loaded with great cl.u.s.ters of purple grapes. Everywhere surrounding the garden are stretches of green lawns that prove a fitting setting to the bright blossoms in the trim and well-kept beds. The fields beyond have been brought back to a good state of cultivation and present a beautiful green tract beyond which stretch rich meadows with waving gra.s.s where flit the bobolink and the red-winged blackbird. In the trees around the house orioles and robins nest, while everywhere the old apple-trees grow, many of them gnarled and twisted with age. In the early fall, loaded with fruit, they form an attractive color note of red and yellow in the landscape. Great care has been taken to remove the branches of the old trees in order to afford attractive vistas. This gives a landscape picture carefully planned and creates a delightful feeling of restfulness and a sense of relief from the bustle of city life.

Over the porch has been built a lattice to be covered eventually with rambler roses, and in order to obtain more light, cl.u.s.ters of windows have been let in on either side of the front door.

The interior as well as the exterior has been carefully planned with a regard to light and views. One enters the house through the little porch and finds himself in a s.p.a.cious hallway which extends to the living-room. The staircase is at the right of the' entrance. It is not a primitive affair of the ladder type which is the earliest on record; neither is it steep with flat treads, high risers and molded box stringers, but the kind that shows simple posts and rail with plain bal.u.s.ters. It is of the box stringer type and has no carving in either post or bal.u.s.ters; it is perfectly straight and leads by easy treads to the second-story floor.

[Ill.u.s.tration: The Dining Room]

The dining-room is at the left of the hallway and is a room built for comfort and for everyday life, showing plenty of windows. A feature is the great, open fireplace and the bricked chimney-breast, with small closets at one side. The woodwork in this room is the same that was in the house when it was discovered by Mr. Loeffler and, cleaned and treated to a coat of paint, is most attractive. The wide board floor has been retained and stained dark to bring out the color schemes of the rugs.

[Ill.u.s.tration]

[Ill.u.s.tration: Two Views of the Living Room]

This room leads directly into the living-room which extends entirely across the house and is also entered from the hallway. Its windows face the green fields studded with trees and also overlook the old-fashioned garden which is near enough to the house so that every summer breeze wafts the perfume of its flowers to the occupants. A central feature is a bricked-in fireplace that has been built into the room. Instead of plastering, the old oaken cross-beams have been left in their original state, and the room is finished with a wainscot painted white, above which is a wall covering of j.a.panese gra.s.s-cloth. Bookcases form an important furnishing of this room which also contains many pieces of antique furniture. It is a cheerful, homelike apartment, into which the sun shines practically all day long. Through large French windows one steps from the living-room on to the veranda. The second story is devoted to chambers and bath.

Its location has a distinctive charm, as it is not too near the city or too far away from neighbors. It is well adapted for outdoor living, with its wide, inviting veranda and the side garden where bloom the stately phlox, the gaudy poppies, and the bright-hued marigold.

[Ill.u.s.tration: THE STUDIO OPPOSITE THE CHARLES M. LOEFFLER HOUSE]

[Ill.u.s.tration: The Music Room in the Studio Building]

As time went on, the house grew too small for the owner's needs, and so another house just across the way that had pa.s.sed its prime and stood desolate and deserted was also purchased and remodeled into a studio, one room expressly designed for Mr. Loeffler's work,--large and commodious with high, vaulted ceiling. Here, too, a veranda was built across one end that can be used if need be for an outdoor living-room.

It is shaded by many trees, more especially some fine old elms whose graceful branches shadow the house, while a stretch of lawn extends to the street. Across the front a paling fence corresponding in style to that across the street was built, entrance being through a swinging gate that leads directly to the outside porch. This house shows less remodeling than the first one; it is princ.i.p.ally in the interior that changes have been made. The whole front of the house is made into a music-room of unusual type, being hung with pictures of the old masters.

Here the second-story flooring has been removed, and the ceiling vaulted and sheathed, in order to secure acoustic properties.

A large chimney has been introduced into the inner wall, with brick mantel and chimney breast, and big enough to hold a six-foot log. The floors are of polished hardwood, and the ornamentation shows Chinese ships hung upon the walls,--an interesting feature for interior decoration. The room is entered through French windows that lead on to the outside porch.

In addition to the music-room, this house is also used for the caretaker and week-end guests. The long ell at one side is used for the former, while at the back of the music-room several rooms are fitted up for the use of guests, thus solving a problem that is to-day vexing the minds of many a house owner, more especially in suburban towns.

There is about the whole place a restfulness that has been achieved by careful planning and attention to details. There is no part of the estate where one may wander without coming upon picturesque bits of landscape, that while apparently in their natural state, yet are restored and preserved with a true appreciation of nature. This estate is a lesson in reclaiming and remodeling that cannot fail to be instructive to all home builders. It goes to show that forethought and ingenuity can create a comfortable and inviting home in the midst of desolation, and transform an old dilapidated cottage into a charming and picturesque abode.

CHAPTER XIII

LITTLE ORCHARD

The old farmhouse can well be copied as a type for the modern summer home, for its lines are excellent, and its design is often so striking that it lends itself to easy reproduction. To the house owner of to-day it may seem a little strange that, with the trend of modern improvements, the old houses should be used for this purpose, and the architecture of the master builders of long ago shown preference over that of modern architects who have given their life to this subject.

The builders and designers of old houses had to depend on their own ideas or possibly on a few designs that were sent over in the c.u.mbersome ships that plied between England and the new country,--the work of Sir Christopher Wren, one of the most celebrated architects of his day.

There are no more satisfactory details of house construction than we find in these old houses, where fireplaces, doors, porches, and carving show individuality. These ideas, modified and improved upon, are found in many a twentieth-century home, lending a dignity and charm that would otherwise be lacking.

If you are remodeling an old house and wish to change a fireplace that is unsatisfactory or a stairway that is not artistic in design, do not introduce modern ideas, but rather seek for an old house that is being torn down and from it take bits that will satisfactorily fit into the work of remodeling. It is not a hard matter to find details of this kind, for many an old farmhouse has been neglected so long that it is past redemption, and it is the blending of the old with the old that does much to keep distinctive the period that you are seeking to preserve.

Sometimes the house has been badly mutilated, often to such an extent that its best features are disguised, and it is a serious problem to eliminate the wrong ideas and duplicate the original. The old craftsmen before Colonial times were apt to build houses along certain lines which often failed to bring proper results; details varied and sometimes were incongruous with the type of the house. The first houses were generally one-roomed; later, other rooms like units were gathered around it, and the result in some cases was the appearance of a lean-to. Later on came the ell, and, to save steps, chambers were designed on the lower floor, leading off the main rooms of the houses. Naturally in houses of this kind the largest room was the kitchen, for this was the family-living-room, more especially during the cold weather.

We will find as we examine an old farmhouse that the dominant portion of the building was the first floor, and that the chambers were adapted to the lower-story plan. These were not always satisfactory, as little or no care was given to the arrangement of the rooms, and in many houses closets were little considered. The part.i.tions between these rooms were not double, like those found to-day, but were made of matched board and accommodated themselves to the framework. Later on plastering came into vogue and this made the rooms warmer and much more habitable.

The windows were generally s.p.a.ced carefully and were in harmony with the front door, making an attractive exterior. The walls were of wood, often with a layer of brick to keep out the cold and also to form a better protection. The roofs, more especially in the early houses, were very steep, since they were planned for thatching; later on, when shingles came into use, they grew lower and wider. It was not until 1700 that the gambrel roof came into style. In considering the evolution of the house we must look backward, and thus we come to realize the progression of architecture. We then discover that every old house shows interesting features, and it is the house with a history that makes its greatest appeal to the antiquarian; while the revival of Colonial architecture brings a renewed interest in the history of that period.

There is no more attractive remodeled farmhouse than that of Mr. Roland C. Lincoln, which is a charming, rambling, summer home situated on the Gloucester road half way between Manchester-by-the-Sea and Magnolia. It is a low, yellow cottage, picturesquely placed against a background of trees and nestled on the side of a hill seemingly as if it had been there for centuries. At the front is the ocean, while surrounding it is well-placed shrubbery and artistically trained vines.

[Ill.u.s.tration: The House from the Driveway]

The grounds are just at the left of the main road and separated from it by a low stone wall; the entrance is by a driveway at one side that winds to an entrance porch. All around the house are carefully trimmed lawns and gardens gay with flowers, while the soft expanse of green sward extends to the shadowing trees and the background of forest and rock. The house was built two hundred and fifteen years ago. At that time it stood on the road and was overshadowed by the very oldest house there was in the town, which stood on the crest of an adjoining hill. It then contained four rooms only, each one of which was thirteen and a half feet square. Surrounding the old farmhouse was an orchard of apple-trees that even in the early days gave to it its present name of Little Orchard.

[Ill.u.s.tration: The Angle of the Ell]

The possibilities of the little cottage, as it stood forlorn by the side of the road, attracted the attention of the present owner, who purchased it, moved it back from the road to its present location, and remodeled it, adding a wing at the left. The old front door was improved by the addition of a semicircular porch which is an exact reproduction of the porch on the White house at Salem, Ma.s.sachusetts. The side porch was unique and most picturesque in its design. Ivy has been trained to cover the veranda and outline many of the windows.

At the rear, facing the garden with its frontage of gnarled apple-trees, we find the veranda or out-of-doors living-room. This is used during the summer months and commands one of the most picturesque views on the estate, overlooking lawns and forest.

[Ill.u.s.tration: The Entrance Porch]

[Ill.u.s.tration: The Stairway]

Entrance to the old house is through the porch, and one finds himself in a most charming hallway, at one side of which is an alcoved recess. This is hung in blue and white Morris paper. Near the front door at the right is the staircase which leads with low treads and broad landing to the second-story floor; it has a hand-carved bal.u.s.trade with a mahogany rail, while its newel post shows fine carving. Half way up between two huge beams have been placed some wonderful old pieces of china of the Colonial period, and under them is the quaint inscription, a welcome to the home, "In G.o.d's hands stands this house, may good luck come to it and bad luck go out of it." The staircase is reproduced from a particularly fine model found in a house in Boston that was originally the home of one of America's greatest statesmen, Edward Everett. It fits into its new surroundings as if it had always been there and is exactly the type one would expect to find in such a house as this. There is a fine old cabinet near the staircase that is considered one of the best pieces in the country. Inside is an entire tea-set of Lowestoft originally brought to Manchester by one of the old sea captains as a commercial venture and placed on sale. It was purchased by the present owner and holds a prominent place in her collection.

At the foot of the stairs, inside the front door, the name of the house has been done in burnt wood. Mrs. Lincoln arranged to have this executed while she was traveling abroad and when talking with the workman she told him the story of her remodeled farmhouse and why it was named Little Orchard. He was very much interested in her description, and when the inscription was finished, it bore not only the name, but decorations in each corner of tiny little apples.

[Ill.u.s.tration: The Dining Room]

At the end of the entrance hall is the dining-room which is long and well lighted by many windows on two sides. This was a part of the original house, enlarged and added to. Here we find the low stud and the beamed ceiling so prevalent in houses of that day. It is hung with a most interesting Morris paper done in pink and blue, and at one end is a recessed sideboard. The upper part of this is used as a china cupboard, while on either side bookcases have been inserted. The furnishing of this room is all of the Colonial period; the chairs are Sheraton, as is also the sideboard. The fireplace is unusually good, being handsomely carved with a basket of fruit as the central decoration.

Opening from the dining-room is the living-room, a large, square room with beamed ceiling, a feature being a built-in bookcase at the farther end. On the walls are many original paintings including one by the late William H. Hunt, "Tired of Work." An interesting inglenook is a s.p.a.ce-saving device that has been introduced. Underneath the window-seat, studded in bra.s.s nails, is the name of the house again, Little Orchard.

The reception-room is back of the living-room and shows the staircase of old Colonial design at the farther end. The fireplace was taken from a house which once sheltered General Lafayette. When the house was torn down, the beauty of the carving and the graceful design attracted the attention of the present owner, who purchased it for his remodeled house. When it was brought home, it was found to be almost impracticable, through being so badly worm-eaten; under the hands of skilful workmen, however, it has been thoroughly renovated and is now a prominent feature of the room. The apartment is well lighted by many windows, each one of which is of a different design. These have been perfectly planned, and there is no discordant note.