. The wood-carver of Salem; Samuel McIntire, his life and work . ll of theCook-Oliver house, or in groups of seven or so withsections of plain fascia between them, as in theClifford Crowninshield house. Again, the surbasemay be still further enriched by a circular or ovalfloret, carved or in composition, applied in alterna-tion with the reeded groups, as in the Derby-Crown-inshield-Rogers house. Number 202| Essex Street,and the east front chamber of the Pierce-Johonnot-Nichols house. As seen in the east parlor of thelatter delightful old mansion, Mclntire sometimesused vertical fluted instead
. The wood-carver of Salem; Samuel McIntire, his life and work . ll of theCook-Oliver house, or in groups of seven or so withsections of plain fascia between them, as in theClifford Crowninshield house. Again, the surbasemay be still further enriched by a circular or ovalfloret, carved or in composition, applied in alterna-tion with the reeded groups, as in the Derby-Crown-inshield-Rogers house. Number 202| Essex Street,and the east front chamber of the Pierce-Johonnot-Nichols house. As seen in the east parlor of thelatter delightful old mansion, Mclntire sometimesused vertical fluted instead of reeded groups to or-nament the surbase, while in several rooms of theold house at Number 202^ Essex Street and also inthe drawing-room at Oak Hill the well-knownand always welcome Grecian fret, that favorite mo-tive that so often replaces the dentil course of hiscornices, lends distinction to the surbase. The histories of the two houses last mentioned areso closely interwoven that it seems well to digressmomentarily in order to recount them in a single [70]. Plate XXX\I.—Drawing-Room Doorway, Oak Hill.
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectarchitecturedomestic
