utilitarian in purpose, and so lending itself more logically to elaboration for the sake of decorative effect, the doorway became the principal

ose who built them. They symbolize the house as a whole and usually the mien of its occupants; they create the first

d with historic interest. To appreciate more fully the important part played by Philadelphians in early102 American affairs, we study their h

ndition. Desiring to put the best foot foremost, elaboration of the doorway provided a ready means to display the self-esteem, affluence and social position of the owner. Naturally the Quaker severity of former years was reflected in many of these outward manifestations of home life, and it is a study of absorbing interest to note the proportions and re

Free Quakers' Meeting House, Fi

Quakers' Me

s being favored for the more pretentious houses, although instances are not lacking of single doors in the mansions of Colonial times. With very few exceptions molde

mbes Alley; Window and Shutters,

was reversed, and the lower pair was higher than the middle pair, the door at Number 6504 Germantown Avenue being an example. As found in the farmhouses of Germantown and thereabouts, notably Wyck, Glen Fern, the Green Tree Inn and the Johnson and Billmeyer houses, these six-panel doors were split horizontally through the lock rail, dividing them into an upper and lower part. This arrangement made it possi

d, and were little used except for a few decades after the middle of the eighteenth century. Like six-panel single doors, the upper panel was often almo

ances are to be seen at Loudoun, Chalkley Hall and the Blackwell house. The top or first and third pairs were about half as high as their width, while the second and fourth pairs were oblong and usually of the same size, their height about one and one-half times their width. The door at Upsala is a rare instance of the fourth pair of panels lower

r 39 Fisher's Lane, Wayne Junction and Number 224 South Eighth Street. The panel arrangement consisted of three pairs of nearly square pane

ly halves of the more common type of eight-panel single door. Such doors at Stenton, Cliveden and the Morris house are illustrated in detail, and similar ones gave entrance to Hope Lodge, Woodf

ver the panel arrangement of the door, a corresponding arrangement was followed in paneling the jambs and the soffit of the arch or flat lintel above. Such a distinctive and pleasing feature did this become that

Although this doorway with its molded casings, four-paned horizontal transom and single door with six molded and raised panels is of the most modest character, its simple lines and good proportions present an effect of picturesque charm. The door is divided horizontally into two parts, after the Dutch manner, like many farmhouse doors of the neighborhood.

enton; Window and Shut

Witherill House, 13

town Avenue, German

House; Dormer,

therill House; W

rmantow

wn Avenue, Germantown, erected in 1748. Here, however, the effect is slightly enriched by a nicely hand-tooled ovolo m

upported by hand-carved consoles at opposite ends, that of the Germantown Avenue doorhead by fluted pilasters. An oval shell pattern adorns the frieze of the former, while a denticulated molding enriches the latter. As contrasted with the plain cased frame of the former, the latter has paneled jambs and soffit, the spacing corresponding w

f more or less grace and beauty. By omitting the entablature of the common horizontal doorhead and breaking the base of the pediment, the round arch of the fanlight was made to fit very nicely within the sloping sides of the pediment, the keystone of the arched casing occupying the upper angle beneath the peak of the gable. Pilasters or engaged col

adth, as Philadelphia doorways go, and the fanlight is of rather too intricate pattern and heavy scale. The latter is exceptionally narrow, with pilasters in accord and a fanlight of chaste simplicity. Like many others the door itself is dark painted and in striking contrast to the other white wood t

riched by cornice moldings, hand-tooled to fine scale, the soffit of the corona being fluted, the bed-molding reeded and the dentil course being a familiar Grecian fret. Flutings also adorn the short architraves each side of the fanlight, and the abacus of the pilaster columns which is carried across a supplementary lintel in front of the lint

urse lends interest to the pedimental cornice, while the frieze portions of the entablature section of the pilasters are elaborated by flutings and drillings, the latter suggestive of a festoon. A knocker of slender grace is the best feature of the hardware. The South Seventh Street entrance, higher and narrower, presents another example of the dark-painted door rende

Cliveden; Shutter Fastener, Wyck

astener, 6043 Ge

1

he South Seventh Street doorway, with better proportion, less height of pediment and greater apparent breadth, owing to the six-panel arrangement of the door and the fact that it is wh

eaded Window, Congress Hall;

st C

Number 5200 Germantown Avenue, Germantown, and Number 4927 Frankford Avenue. Both have the familiar six-panel doors with corresponding paneled jambs and arch soffit, attractively simple fanlights and much fine-scale hand carving in the pedimental cornice and architrave casing of the keyed arch. The former displays better taste. Effective u

ive consisting of groups of five flutes in alternation with a conventionalized flower. The dentil course of the pedimental cornice takes the form of a peculiar reeded H pattern which is repeated in much finer scale on the edge of

ion the entablature is some variation of the Ionic order with denticulated bed-mold in the cornice, plain flat frieze and molded architrave, the latter sometimes enriched by incised decorative bands. The columns are Doric and smooth. They stand in front of more widely113

house, Number 244 South Third Street. The sash divisions of the fanlight are unique, suggesting both Gothic tracery and the lotus flower. The single, high eight-panel door

losely to the classic order, and the same is true of the exceptionally slender columns. An enriched ovolo suggesting a quarter section of a cylinder and two disks in alternation lends added refinem

narrower and rather lighter in scale. However, the wing flights of stone steps on the sidewalk leading to a broad landing be

lature it affords almost as much shelter as a porch. The single door next attracts attention. Of six-panel and familiar arrangement, it differs from most of this sort in having a double stile in the middle, the effect simulating double doors. A simple, hand-tooled ovolo ornaments t

, Germantown, may be regarded as one of the

ion, Chancel End,

1

f Round Headed Wind

t of continuous H pattern. An incised band of dainty grace adorns the architrave of the entablature. It consists of groups of five vertical flutes in alternation with drillings forming upward and downward arcs or double festoo

r closely, except for the tiny consoles of the dentil course and the incised decoration of the upper fascia of the architrave, consisting of a band of elongated hexagons which is repeated across the lintel of the door and the imposts of the arch. A Latin quotation, "Procuc este profans", meaning "Be far from here that which is unholy", is carved in the architrave

scan and of the utmost simplicity. Its chief distinction lies in the rustication of the casings, jambs and soffit, simulating stonework, and the heavy fanlight sash with its openings combining the keystone and arch in outline. The doorway of the east front, which is the entrance from the drive, is Doric and has the customary triglyphs, mutules and gutt?. There is the same rustication of casings and jambs up to the height of the doors, but molded spandrils occupy the spaces each side of the round a

e stone steps may still be plainly seen. This doorway is one of the finest specimens of pure mutulary Doric in America, very stately and somewhat severe. Every detail is well-nigh perfect, and the proportions could hardly be better. A similar arrangement of the high, narrow, four-panel double doors is found elsewhere in Philade

ffits of the corona and the paneled metopes in alternation with the triglyphs of the frieze. One noti

columns and voluted capitals, it pleases the eye but lacks the impressiveness of the doorway at Cliveden. The three-panel double doors are

ew particulars from others of similar character, notably in the pronounced tapering of the columns toward the top and the recessing of the entablature above the door to form pilaster projections above the columns. In other words, the recessed entablature of this doorhead replaces the fanlight of another type

ist Church; Palladian Window a

lladian Window

s that of the oldest fire insurance company in the United States, organized in 1752 under Franklin's leadership. This and other designs, such as the green tree, eagle, hand fire engine and hose and hydrant still remain on many old Philadelphia buildings, indicating in earlier years which company held the polic

rather than to residences in the city proper. The Highlands and Hope Lodge have such porches to which reference has already been made in connection with the houses themselves. Of scant architectural merit, the porch at Hope Lodge

be noticed that the motive of the cornice with its jig-sawed modillions, rope molding and enriched dentil course suggests Ionic influence; that of the architrave, with its groups of five vertical flutings in alternation with an incised conventionalized flower, Doric. The same entablature is carried about the inside of the roof, projecting over the doorway to form a much favored Philadelphia doorhead121 supported by flanking engaged columns. The doorway itself is distinctly of Philadelphia type

d appearance. Except for the Ionic capitals, the detail is rather nondescript as to its order. The round-arched, deeply recessed doorway has the usual paneled jambs and soffit, but the reeded casings and square impost blocks are of the sort that came into vogue about the beginning of the nineteenth century. The single door with its eight molded and ra

Both the porch platform and steps are of wood, but the slender, smooth columns supporting the roof, which takes the form of an entablature, stand on high stone bases. Only simple moldings have been employed, and the detail c

t in its breadth and general proportion; in the beauty of its leaded side lights and fanlight, but the broad stone steps on the sidewalk and the iron rails are typically Philadelphian. So, too, is the paneling123 of the wide single door. The ornate woodwork of the frame and casings, howeve

t Hall and Stai

ase, Whitby Hall; Detail

indows have casings, the molded frames being let into the reveals of the brickwork and the openings, as in most early Colonial structures, having relieving arches with brick cores. A six-paned, horizontal toplight above the doors corresponds in scale with the windows. This simple entrance, with its high, narrow, four-panel doors having neither knob or latch, is reached from a brick-paved walk about the house by three semicircular stone steps, such as

nly woodwork being the heavy frame let into the reveals of the brick wall. Above a horizontal lintel treated after the manner of an architrave the semicircular fanlight was set in highly ornamental lead lines forming a decorative geometrical pattern. Double doors were the rule, most of them fou

ndoubtedly among the most graceful and best preserved in the125 city. This low, broad entrance resembles Southern doorways rather than the Philadelphia type, although there are a few oth

n any way, is less attractive except in the paneling of the doors. It lacks the grace of the winding stairs and the charm of the iron bal

pattern more like that of the doorway at Eighth and Spruce streets, though differing considerably in detail. Like many others in Philadelphia this doorway is reached by four stone steps leadi

f stair rails or balustrades, fences and foot scrapers, and many are the doorways of little or no architectural merit which are rendered beautiful by the accompanying iro

Mount Pleasant; Second Floor Ha

Plea

, for Philadelphia sidewalks were very broad in order to make room for the customary stoop before the doorway and the frequent rolling way or basement entrance. These sidewalk obstructions being the rule, people formed the habit of walking near the curb, and accidents were th

Grumblethorpe and the Morris house, these broad stone steps often had no ironwork other than a foot scraper set in one end or in the sidewalk near by. Again, as at the entrance to

aircase, Cliveden; Stai

Classic detail utilized with ingenuity and good taste. Most of the earlier designs are hand wrought. Later, cast iron came into use, and much of the most interesting ironwork combines the two. The balu

oop with a hooded penthouse roof above and quaint side seats flanking the doorway. As a

224 South Eighth Street, with its effective Gothic detail, combines wrought and cast iron. Two very effective wrought-iron handrails for stoops of this type, depending almost entirely upon scroll work at the top and bottom for their elaboration, are to be seen at Number 130 Race Street and Number 216 South Ninth Street, the handsome scroll pattern of the latter being the same as at

to, they were frequently curved, as at Number 316 South Third Street. Both have a wrought-iron rail with129 the same scroll pattern of effective simplicity, a pattern much favored in modern adaptation. Another stoop of this type at Number 272 South American Street is high enough to permit a basemen

rk of the latter is superb. Rich in effect, yet essentially simple in design, it has grace in every line, is not too ornate and displays splendid workmanship. Again a spiral design is conspicuous in the stair balustrades, and the curved newel treatment recalls that of the foregoing stoop. The balustrade of the platform consists of a simple diaper pattern of intersect

e accompanying balustrade are to be seen motives much employed in the other examples here illustrated. Scroll work is conspicuous, as are rosettes, but a touch of individuality is given by a Grecian band in

Balustrade and Newel, Upsala; S

oot scrapers on the doorstep or at the foot of the front steps were a necessity and became ornamental adjuncts of the doorways of early Colonial homes. For the most part of wrought iron, some of the later ones were cast in molds, that at Wyck being a particularly interesting 131example. It consists of two gr

, Upsala; Staircase Balustr

ndards with a sharp-edged horizontal bar between them to provide the scraper proper. This horizontal part was made quit

orts, is the scraper of the Dirck Keyser doorway, Number 6205 Germantown Avenue, Germantown. Regarde

it has no decoration, and what the origin of the design may be it is difficult to determine. To a

At the top, both outside and inside the bow, and sometimes down the sides, spiral ornaments were applied in the Florentine manner. Accompanying illustrations show two scrapers of

themselves as supports for the scraper bar. The turn of the spiral is he

at Vernon, Germantown, suggests the heart as its motive, altho

a foot from the bottom, and133 the two halves bent respectively to the right and left until they meet the next spindle on each side, the scraper bar of ornamental outline being fastened across from one to the other of these spindles below. The principal charm of the South Seventh Street rail lies in its extreme simplicity, the twisted section of the spindles near the bottom being a clever expedient. The pleasing effect of the design at Seventh and Locust streets is largely due

se, Third and Spruce Streets; Detail of Stair