. The wood-carver of Salem; Samuel McIntire, his life and work . Plate IV.—Detail of Mantel in the Front Chamber of MclntiresHome; Detail of Mantel in the Chamber where Mclntire o hX4 c o Salem Architecture terpret the orders with considerable freedom, vary-ing the moldings, rearranging their relation one toanother, and altering proportions for variety of ef-fect, but they neither hesitated to combine mold-ings from two orders in one entablature nor tosubstitute for any of them clever innovations of theirown, which usually preserved virtually the samescale. Cornice and frieze were often
. The wood-carver of Salem; Samuel McIntire, his life and work . Plate IV.—Detail of Mantel in the Front Chamber of MclntiresHome; Detail of Mantel in the Chamber where Mclntire o hX4 c o Salem Architecture terpret the orders with considerable freedom, vary-ing the moldings, rearranging their relation one toanother, and altering proportions for variety of ef-fect, but they neither hesitated to combine mold-ings from two orders in one entablature nor tosubstitute for any of them clever innovations of theirown, which usually preserved virtually the samescale. Cornice and frieze were often utilized withoutthe architrave, but it was chiefly in the bed-moldingor dentil course underneath the corona of the cornice,whether outdoors or inside and however employed,that the more prominent alterations were its resourceful initiative, the work of these menis more nearly creative and hence less interpretivethan that of the early craftsmen of any other lo-cality. Not subservient to the classic orders asevolved by the ancients, nor yet as modified by theleaders of the Renaissance, they dominated them,cleverly molding them anew to meet their own radi-cally difierent n
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectarchitecturedomestic
