The Centre Gable Appears
A Note to my readers
Please remember that these essays were written, not as scholarly articles, but as if they were transcriptions of my lectures from former years. Be aware also that many of the photographs I use to carry my narrative were taken in the 1980-90 period, so these houses, if they are still standing, have for the most part been renovated so that most of the detail is lost.
The Centre Gable Architecture of Confederation
inspired by the Gothic Revival Movement
Mutch House at Eldon, c. 1850-60, now demolished.
In architecture, and art in general, nothing ever stands still. The frontispiece house, which required special efforts in framing, was abandoned and the dormer begins to spread and spread, in the tracks of the ambitions and dreams that led to Confederation, so that in time it takes over all four sides of the house! An early stage can be seen in the now senselessly demolished Mutch house that until recently, stood at Eldon in its beautiful grounds.
The transition from the introduction of the dormer, circa 1800, to the appearance of the centre gable, seems to have taken only a generation, as by the late 1830s there was evidence of a rapid evolution as seen in this graphic, showing how this might have taken place, but it is only half of the story. These changes coincide with the Gothic Revival which was changing the way in which churches were built, but at the same time influenced the design of houses. Everywhere there was a new vertical thrust.
While it is possible to argue that this was a practical change in style to simplify house fronts, especially after the appearance of expensive projecting frontispieces on cottages, we should be aware that all this was a part of a larger tradition passed on to a British colony by the mother country.
In England, as early as 1785 John Plaw, who ended his life changing the architectural style of the Island, wrote a highly influential book called Rural Architecture which was so popular as to be reprinted at least eight times! It was directed at the middle class who wished to flee the city for a healthy life in the country, and later, those who fled the smoke and stink of the factories of the Industrial Revolution. A whole new literary genre appeared that celebrated the ferme ornée and dozens of books, some quite fantastical, appeared from the late Eighteenth Century well into the 1840s, when the theme was picked up in America by a landscape gardener called Andrew Jackson Downing. In this period all sorts of styles – stemming from the Picturesque movement – would appear and feature many details taken from historic architecture, including the gable.
In 1837 J. C. Loudon, a prolific writer of such books espousing the new cottage style, wrote (Clark p. 59),
… such is the superiority of all rural occupations and pleasures, that commerce, large societies or crowded cities, may be justly reckoned unnatural … Indeed, the very purpose for which we engage in commerce is that we may one day be able to retire to the country, where alone we picture ourselves days of solid satisfaction and undisturbed happiness.
In his 1795 book, Ferme Ornée; Or Rural Improvements … , Plaw provides us with an aquatint of a centre gable house, which was one of the more practical designs proposed in the book. Most of his proposals were either fantastical garden ornaments – places for the fashionable resident “hermit” to live in, or very large country houses that could scarcely be called a ferme of any kind. Here is the seed for the centre gable house in England and its colonies.
John Plaw, Ferme Ornée, detail of plate 16, 1795.
In 1818 John Papworth, an architect of the Early Romantic period, published a book with a very long title that begins as Rural Residences … which is beautifully illustrated with coloured prints. In it is a design for a Gardener’s Cottage on the grounds of the estate, and in the manner of the time serving the dual purpose of provided a home for the gardener but also a very picturesque structure incorporated into the general landscape design.
Papworth, detail from a design for a Gardener’s Cottage,
Plate III, facing page 13, 1818.
The main feature of the design is an arresting centre gable topping the frontispiece that projects slightly from the house. The gable reaches almost to the crest of the roof and contains a window with two small Gothic frames which would have brought light to the attic hallway from which opened two bedrooms illuminated by windows at the back of the house. So here, well before the same kind of window is featured on Island houses is a prototype to be imitated. The design is ornamented by a veranda on the left and on the right, for balance, is a bay window framed with attached columns.
As the Nineteenth Century progressed, and about the same time as the centre gable began to appear on Island cottages and houses, in 1837 a house owner at Ham Hill in Powick near Worcester built an addition onto a simple fashionable thatched cottage he had just bought which dwarfed the original and made it a full-time residence. It is a striking structure whose facades are completely dominated by huge centre gables meeting ornate traditional brick chimneys at the apex. These huge complicated chimneys, by the way, were a recognised design problem, representing the exhibitionistic pride of the rural bricklayers (Papworth p. 43).
Although not immediately outwardly visible, this house was inspired in part by the Gothic Revival that had begun in the second part of the Eighteenth Century. A year before the house was built, in 1836, Augustus Welby Pugin, the man most responsible for the Gothic Revival if the Nineteenth Century published his highly influential book, Contrasts, which more than anything else introduced the desire for accurate Gothic architecture to the world. (Pugin will be discussed at length when this blog progresses to the section on Island churches.)
https://en.wikipedia.org/wiki/Augustus_Pugin
Ham Hill, Powick near Worcester, 1837 revisions, White p 60-61.
Here is a picture of the dining room vault where plaster and lath imitate Gothic stone vaulting supported by ribs meeting at an ornamented boss at the centre. As you can see, from quite early on the centre gable style was associated directly with Gothic detail.
Dining room vault, Ham Hill, Powick near Worcester, 1837 revisions, White p 60-61.
More examples of this kind could be easily inserted here but I believe this little group well illustrates that, beyond the practicality of getting rid of the dormer and frontispiece, both expensive to construct, there was the new Gothic Revival style in England that was transferred to the Colony of Prince Edward Island. Style, I believe, was more insistent than practicality.
Centre Gable Houses on the Island
I begin this section with this house, built near the end of the centre gable period, which coincided with Confederation in 1864 and continued for a few years when another style change, the Italianate took over.
The centre gable is tied to the Gothic Revival style, which was contemporaneous. The gable, especially in some steep examples, brings to mind soaring Gothic vaults. And, of course, there are all those Gothic-inspired windows that attempt to mitigate the aggressive size of the gables themselves.
This house was built by Will Howe in Guernsey Cove presumably at the end of the 1860s. Carefully restored and painted a brilliant white, the house arrests you as soon as you arrive. It has rejected the Palladian window in the upstairs and replaced it with one in a simplified Gothic style called Carpenter Gothic in many handbooks. The angle of the apex of the window determines the angle of the centre gable roof. They are the same.
Will Howe house, Guernsey Cove, circa 1868-early ’70s.
However, the five bays on the ground floor remain Palladian in their articulation and framing. If you stand and contemplate this wonderful apparition for a while, the conflict in angles between the classical pediment above the front door and that of the gable and its window begins to give you an uneasy feeling: a war of styles is going on.
This war is continued more subtly, but on closer examination, very dramatically, in the eave mouldings.
The fascia, which should basically be a board under the cornice, has been turned into two superimposed rows of Italian dentillated cap moulding which appeared in late Roman architecture and was revived during the Renaissance. So, THREE styles are clamouring for attention. This is indicative of the changing times in architecture when, in the Late Nineteenth Century, a whole series of revived historical designs – part of the Romantic movement – makes its appearance in Europe and America. Anything goes.
On Prince Edward Island, the centre gable house appears to me to have developed most energetically in the southern part of King’s county in the highly ornamented styles found in the area of Guernsey Cove. From what I have been able to observe, the quite elaborate mouldings found on cottages and two storey houses in Southeastern PEI in the 1840-70 period may have had their origins in the work of builders from that area, men who had come from the island of Jersey in the Channel Islands around 1807, and who prospered, isolated, on the south coast of King’s County. Although this is still a suspicion in my mind, and not a proposal backed by data, I have believed, for some years, that elaborate trim on houses, from Guernsey Cove up to Murray River, and west in the direction of Eldon, has its origins in the building practices of these Channel Island builders. My argument is weakened today because most of the details on the Guernsey Cove houses has disappeared due to renovations made in the last twenty or so years.
A Possible Evolution of the Centre Gable House
I am once again stepping on risky ground in presenting this sequence of an ever-widening centre gable until it gobbles up all four faces of the house, because in spite of collecting images, I have been unable over the years to give specific dates to these houses, only estimates based on appearance and comparison, and so cannot claim that this is indeed a true chronological pattern or just a change in local taste in that generation before Confederation.
So it is with all the necessary caveats to the lector that I present this series of buildings, some undocumented, except for their locations.
This absolutely beautiful (but damaged) Late Victorian photograph of the circa 1850 McKinnon family house in Rollo Bay – along with their horses and wagons and even a foal! – shows what may be one of the earliest centre gable houses on the Island. The gable has a sash window inserted because it is too narrow for the wider Palladian window required by the front door with its side lights. In all other respects it looks just like the Georgian cottages we have looked at in the previous posts.
McKinnon farm, Rollo Bay, built circa 1850. Late 19th century photo from the internet.
In the remote countryside of Trout River, a sparsely populated stretch of Route 239 west of Hope River, is the George Carroll house, similar to the McKinnon house, but simpler in its detail with an ordinary door and no veranda. But the new style had penetrated inland to such a degree that the family built their modest house with a centre gable.
George Carroll house, Trout River, c1855.
Meacham’s ATLAS of 1880 has well over one hundred lithographed views of town and rural properties scattered throughout its pages of detailed lot maps, and centre gable houses are to be seen everywhere in their original setting. This evidence in Meacham alone gives us the impression that there were many such houses built in the 1845-70 period. The jump from the various Palladian-derived styles was not a great one to make because during the Eighteenth Century and a great part of the Nineteenth Century the central plan house was considered the most desirable and was the most popular. The centre gable simply continues the tradition with a new face.
Close to Charlottetown, now opposite the University, is the Hon. W. W. Sullivan house. It was an elegant centre gable house decorated with lacy barge boards, laboriously cut out of plank wood. Elaborately decorated eaves became popular in the middle of the century.
From Meacham’s ATLAS, p. 38
Sullivan’s house is set back from the road and the grounds have been turned into an austere but appealing garden, articulated by trees and not the opulent flower beds that were popular at the time. The tall triangular space above the gable window is a bit unsettling and one can understand why builders would start to look for ways to fill it. There was a horror vacui.
SUMMERSIDE is a mecca for students of architecture and while its finest buildings are Late Nineteenth Century and Early Twentieth Century, there are still a number of fine earlier examples to be seen. This centre gable house (alas I have for the moment lost its location) still has its barge boards of a style that was popular in the 1860-65 period.
Summerside
There is, hidden away in China Point, in a bypassed peninsula east of Charlottetown, a very fine centre gable house with a Gothic tracery window worthy of any church. By the time this house was built the width of the gable had spread to take up nearly half of the façade, but not quite. The effect is most pleasing.
China Point, circa 1855.
Also probably from the late 1850s was this quite tall centre gable house that stood, ready to be demolished, one supposed, near Foxley River in the mid-1980s when I took this photograph. The pitch of the roof is so steep – a fashionable conceit – that additional articulation was required to fill the gable and so a triangular attic window with very heavy mouldings imitating the cornices below, looks about to leap out at you.
Near Foxley River, as it appeared in the 1980s. Circa 1860.
The Lord house in Charlottetown, at 17 Water Street, was built for the Hon. W. W. Lord, a wealthy merchant and Member of the Legislative Assembly (Rogers pp. 300-301) in 1863. This house too has a vertical presence, but its greater volume of five bays makes that more acceptable than the perilous verticality of the Foxley River house we just examined. The barge boards are decorated by doughnut-like circles that culminate in a heavy triangular infill, replete with lacy wooden panels, which was fashionable at that time.
The Lord house, 17 Water Street, Charlottetown, 1863.
This house at Millview, near Saint Joachim’s church at Vernon River, is quite similar to the Lord house but its super-tall centre gable’s upper portion is filled with a modest, Gothic-inspired attic window that, from a design point of view, conflicts with the Palladian front door and window above it. It was a time when rules were cheerfully broken in the pursuit of more visual sensation. If that little window had been round-headed, there would have been no design conflict.
Millview.
The centre gable begins to spread aggressively in the 1865-’75 decade, and this house at North Lake, closed down when I photographed it in the late 1980s, shows that the width of the gable is now greater than ever before, well over half the width of the house. The gable has come alive and intends to take over.
North Lake.
This house at Mount Mellick, once destitute, has been put on a new foundation and beautifully and austerely restored. It is next to Buster’s Service Station and can’t be missed when you drive past. Like its prototype, and probable inspiration in Guernsey Cove, the spreading gable has room to accommodate a Carpenter Gothic window created by adding pointed tops to the older Palladian elements. Unlike the Guernsey Cove house where the pediment above the door conflicts with the window above in the difference of angle, here there is no conflict, and the builder gets away with it.
Mount Mellick.
A house similar to this one was built far away in Abrams Village in the Acadian region by Sylvain E. Gallant who was the local store keeper. It is not central plan but it has all the kind of Palladian detail found in the Howe house in Guernsey Cove and this one above. It is believed to date to the end of the 1860s. One wonders how design traveled such long distances so very quickly. This is an aspect of Island architectural history that has never been explored and would require, as a starting point, a study of all the newspapers of the time to assemble the names of owners who built newsworthy houses and the men who built them. I have no idea how much information could be gleaned by doing this. A review of all the community histories would probably be more productive in names, dates and often, even photographs!
Sylvain E. Gallant house, Abram Village, circa 1870.
Most of the centre gable houses on the Island have been renovated and all traces of trim and decoration have vanished. Small paned windows are replaced by one over one sashes or, in some cases, by a single blank double-pane glass.
In Belle River, my neighbours across the road live in a centre gable house that has been moved from its original site in what is now woodland and brought to the highway in the 1930s. At that time the original decoration was so decayed that it was replaced, and new windows installed.
John Alan Stewart, later Cook house, Belle River, c. 1865.
Photo courtesy of Shirley Cook Krug
Of great interest is a very tiny snapshot of the original owner, John Alan Stewart, whose family were original settlers of Belle River, standing in front of his home on the right. And what a home it is!! In the Guernsey Cove style (if I dare to call it that) not only are the door and gable window pedimented but the two flanking ground floor windows as well! It is quite exciting to see, and the upper pediment’s integrity is respected and does not follow the angle of the ever-widening gable.
A Special House in Crapaud
The angle of the centre gable continues to spread dramatically as the 1860s come to an end, and this house in Crapaud is one of the most perfect examples to survive. It had, when this photo was taken in the 1980s, maintained its Palladian purity. No effort had been made to fill the great gable, now almost to the corners of the house, with anything other than the Palladian window that matches the proportions of the doorway. The house has an exceptionally fine veranda – perhaps the finest design for such a structure ever to appear on the Island – and it was used in other houses built or renovated in that period.
Crapaud, circa 1865-70. Photo R. Porter, c. 1983.
A later and grander version of this house was built by William Inman, probably in the post 1870 period and is discussed by Scott Smith on pages 94-95 of his book on Island houses. I reproduce this photo from Scott’s book and it shows that the centre gable design has begun to evolve into what will be called the Italianate style, which appeared in the 1870s. This is seen most clearly in the brackets inserted along the eaves and the splitting up of the Palladian window into two separate 2 over 2 windows that heralded the death of the small pane 6 over 6 window that had been used since the Eighteenth Century.
The very elegant veranda is identical to the one discussed in the previously discussed house, also in Crapaud.
The William Inman house “Riverdale”, photo by Scott Smith, p 94.
Scott produced a plan that shows you how the interior of these houses were articulated. The interior remained much the same as other central plan houses going back a hundred years. House styles changed but the way of living did not change significantly. It is most important that we have plans such as these. They allow us to understand how people moved about and used the space behind the fashionable walls of their homes. The best source of such valuable plans is still Scott Smith’s 1990 book, The Historic Houses of Prince Edward Island.
Plan of the William Inman house “Riverdale” by Scott Smith, p 94.
The Centre Gable widens to become a Cross Gable
As the centre gable style moves rapidly to its decline, the angle of the gable itself widens with amazing speed so that soon all four facades of the square house will be identical. The village of Victoria has a number of these late houses with almost identical facades. Here is one of them where the kitchen wing inserts into such an arrangement.
Victoria.
You can see how the cross gable got its name in this low resolution image of Victoria from Google Maps. A red arrow points to what from the air looks like a Maltese cross!
Google Maps. Satellite photo detail of Victoria.
Perhaps the Mother of all Centre Gable Houses is to be found on the main street of Montague, where once it was a huge gracious home. Now it has been converted into a warren of flats and houses the barber shop where I go for my clips. Soon it will have a new life as major renovations appear to be planned.
The house is huge, and I don’t know how many bays made up the façade – certainly five.
Montague. Circa 1875?
Such is the story – as far as I have been able to assemble it – of the Centre Gable house. I remind you again that its popularity may be connected to the contemporaneous Gothic Revival style where to dominating gable reminds us of soaring vaults. The comparison, I believe, is a credible one.
You can visit an extremely fine centre gable house that has been successfully restored, along with its grounds, to the appearance it had when it was built in 1866.
Yeo House, Port Hill, 1866.
It is the Yeo house at Port Hill, built by a wealthy and powerful shipbuilder called James Yeo.
http://www.biographi.ca/en/bio/yeo_james_9E.html
https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=1259
The house is now a part of the Greek Park Shipbuilding Museum, which is a branch site of the Heritage Foundation. In my opinion it is the Foundation’s most successful and beautiful endeavour in all the years of its existence. Visiting the site is an unforgettable experience, and the traditional courtesy of the local guides is legendary. Here, for a while, you can see, smell and touch the world of 1866. Fortunately, you will not have to meet the extremely unpleasant and hateful James Yeo.
From Meacham’s ATLAS, p. 146.
This post has been an attempt to describe yet another island architectural style, similar to what can be found in other Maritime Provinces, but with its own particular twist. The Island, somehow, is always different, and very often an exciting place to explore.
Special Thanks
Once again I wish to thank Georges Arsenault for a name and a date for a house in Abrams Village, and Scott Smith for reminding me that I had not yet included the wonderful Inman house in Crapaud. And more thanks to Scott for having given me permission to copy material from his beautiful publications to illustrate my stories. Thank you!
PATRONS
Kind persons have provided support for the expenses incurred in producing this blog. I wish to express my deep gratitude to these individuals who have helped me cover the costs of archival scans, photographs, learned journals, books and professional services, and to those who have shared photographs and documents in their collections.
Marcel Carpenter
Scott Davidson
Trevor Gillingwater
Henry Kliner
Earle Lockerby
Dr. Edward and Sheila MacDonald
Robert L. Scobie
Dr. Douglas Sobey
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