In Part 1 of this two-part post on Regency architecture and furniture on the Island I talked about two houses – Holland Grove and the Carmichael house – that fit the criteria of the Regency style.

Holland House, c. 1815

I went on to discuss in some length my belief that these houses probably were designed by the great architect of the Picturesque, John Plaw, who had moved to the Island in 1807. I based my attributions on stylistic elements from buildings he had designed in Britain and from plates in his three books written for a Regency audience.

Carmichael House, c. 1820

With enthusiasm and excitement, I pointed out that the Carmichael house, still standing in its original garden space, is the most powerful evocation of the Regency spirit left in the city.

 

In this Second Part of the Post, I will conclude my survey of what I believe to be Regency-inspired architecture in the City by looking at Fairholm, built in 1838-39, when the style was in decline, and Isaac Smith’s version of the then popular Greek Revival was at its height.

 

The Architects of the Regency:
John Plaw and Isaac Smith

We have discussed both Plaw and Smith at length, and in different capacities, in the past several blog posts. After probably being Isaac Smith’s mentor for three years, Plaw died in 1820. He was buried in the Elm Avenue Cemetery on University Avenue.

Plaw’s gravestone, Elm Avenue Cemetery.

 

The young Isaac Smith was in the right place at the right time and had the necessary talents to continue Plaw’s elegant Regency classicism into new directions.

Isaac Smith, Tinted ambrotype photo, Private Collection.

Smith, thoroughly familiar with the Plaw style from firsthand experience and from the three books Plaw left behind, seems to have stepped into the role of the chief architect in the City. By 1823 he had completed the Plaw round Market House and absorbed its form and very elegant classical details both in the colonnade and the cupola on the roof.

Smith would go on, for the next quarter century to be the chief official architect of the Province, designing first Government House in 1834 and completing the Colonial Building or Province House by 1847. In his private commissions Smith was attracted by the fresh style that had swept through Europe and North America – the Greek Revival. It had had its origins in the works of Stewart and Revett in the late Eighteenth Century, but was given tremendous impetus, and a new universality of application after the Greek War of Independence which began as a revolt against the Turkish overlords in 1821 and continued until 1829 when Greece gained the upper hand. By 1832 Greece, assisted by Europe and America as the mother of our classical culture, gained a king, a young superfluous prince from Bavaria called Otto. This caused a most energetic change in architectural style, from the greatest public buildings to modest homes to have wide corner boards or pilasters, with classical capitals. There are wonderful examples of this style in Nova Scotia.

Prince Edward Island did not adopt these styles, largely I think because Smith had embarked upon a wide pilaster style of his own, derived from the modillion capped corners of Plaw’s courthouse. In the more fashionable houses within a considerable radius of Charlottetown, Smith’s Greek Revival, as opposed to other styles that persisted, became the norm.

 

Fairholm, 1838-39

https://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=3847

Thresher’s print.

We know a great deal about the exterior appearance of Fairholm because of a very detailed print made in 1841 by George Thresher, an English artist who travelled around the Eastern Seaboard of North America giving art lessons and decorating carriages, making shop signs and decorating churches. In 1829 he and his wife moved to Charlottetown where he produced fine topographic works of Charlottetown and life in the countryside until 1854. One of these works is a fine small print, possibly an early lithograph, that must have been produced in some quantity for distribution to friends and family, but to my knowledge, only two have survived. One is in the Glenbow Museum collection in Calgary, and the other, when I saw it in the the mid-1980s, was in the possession of the owners of the house, the Rogers family. It is marked Ridon, Lithographer, Exeter. (Rogers 1983, p. 210.)

George Thresher, Fairholm House,
perhaps an early lithograph, 1841. Ridon, Lithographer, Exeter.
Formerly in the George Rogers Collection,
Present location unknown.

There is nothing to link Isaac Smith with Fairholm, built for Thomas Heath Haviland (1795-1867) in 1838-39. Haviland was a tremendously powerful man, a land agent and proprietor, banker and politician who had immigrated to the island in 1816. His story is comprehensively summarised by Ian Ross Robertson in the following DCB article.

http://www.biographi.ca/en/bio/haviland_thomas_heath_1867_9E.html

 

So far nothing that I am aware of has surfaced about who the architect of Fairholm was. He was not obviously interested in the Greek Revival style that was by that time well established on the island. The style is very much English Regency.

The house, built out of local-made brick, is at the core, a typical Palladian central plan house and would have consisted of three bays were it not for the two half-turrets that travel from the ground to the roof, where they are elegantly capped by semicircular low turret tops. The bricks of the curved cornice seem to be arranged in a dentillated fashion which, stretching the information available in this blurred enlargement, may have run under the eaves of the entire house. The half turrets, or perhaps more properly, bays, are illuminated, top and bottom, by three sash windows in the six over six arrangements of the glass panes. The central portion of the façade is taken up by a shallow fronted pedimented temple porch supported by pairs of Ionic columns. This partly covers a door flanked by Georgian sidelights. The upper part of the façade is dominated by a Palladian window, what one would expect in such a composition. All these elements culminate vertically in an elegant hip roof.

George Thresher, Detail of Fairholm House, 1841.

The two stories are clearly defined by a protruding belt course, which is not unusual in brick or stone houses of that time. It creates an excitement in how we perceive the two levels of the house in relationship to one another. The fireplaces rise above the outside walls and are evenly spaced, regardless of the windows below them. This was not in the least unusual because there was a tradition, centuries old, that permitted flues to travel inside a masonry wall and bend to permit the insertion of a window.

Fairholm is “famous” for its five blocked up “fake” windows on both sides of the house where chimneys should run vertically. Most people believe that this was done purely for design purposes – a quest for symmetry. Thresher’s print very clearly shows these blank spaces occupied by six-over-six sashes. The blocked-up windows, in my view, were the result of chimneys being rebuilt, probably when the house was renovated in the late Nineteenth Century by either Charles Young or Benjamin Rogers. The art of the wandering chimney flues may have been lost by that time. Rogers went so far, it is said, to have replaced the windows in the facade turrets with sashes fitted with semi-circular glass.

 

Other Views of Fairholm

There are numerous pictures of Fairholm, mostly smudgy halftone prints from the Late Nineteenth and first half of the Twentieth Century. The occupants of this house over the years were all of the highest social calibre and worthy, with their house, of being in the news.

This extraordinary winter view of the house and grounds is a mystery. I only saw it once in an album that belonged to the last owners of the house, the Rogers, and was permitted a quick photo in colour slide format. As a result, I have no idea of its medium, which appears to be a photographic print but at other times a monochrome painting.

Anon. View of the Fairholm Estate in Winter, monochrome on paper,
from an album in the George Rogers Collection.

It may date from the 1850s, judging by the size of the trees along the street. The original temple front portico has been replaced with a much larger semi-circular one, seeming to match the diameters of the double storey bay windows. Rogers (p. 207) says it was the work of the owner from 1855-1892, The Hon. Charles Young, Attorney General and later Judge of the Probate Court. There is now a flagpole, perhaps signifying a vice-regal status, and the glass conservatory has been detached from the house. A substantial barn for horses and a carriage is on the right and is capped by a substantial weathervane.

 

A decade later, about 1860, the house is photographed for the first time probably by the socially acceptable Henry Cundall who was a surveyor and Charlottetown’s first amateur photographer. His legacy is of the highest value. Again, it is during the time of Charles Young and no major change seems to have been effected in the time between the two pictures.

Henry Cundall?, View of Fairholm, photograph, from the DuVernet Album,
Heritage Foundation Collection in PARO.

The view is fall or spring as all the trees are bare, and show significant growth compared to the young trees visible in the previous view of the property in winter. There does not appear to be any change to the house from the previous view.

 

The next view of the house, also from the occupancy of Charles Young, is very grand and is a single folio page lithograph from Meacham’s ATLAS. In little vignettes here and there, we are given glimpses of the douceur de vivre available to the Hon. Charles and his family. The flag flies prominently in the front of the house and all around are urns and plant stands dotting the carefully cut grass of the lawn. Men and women meet in tented shady alcoves in the trees labelled the “bower and tent,” and on the right perhaps servant approaches to intensify this douceur d’été with polite ministrations and collations. On a rustic bench, a feature of the earlier Gothic Revival cottage, a man reads to a woman, his arm stretched invitingly along the back.

Meacham’s ATLAS, Fairholm,  Artist’s initials illegible, p. 46, 1880.

 

Gracious living continued at Fairholm well into the Twentieth Century. Benjamin Rogers had acquired the property in 1894 and it would remain in that family until the late Twentieth Century. The next view if a photograph printed as a half-tone cut. It is difficult to identify the precise source for this because this picture appears in a number of publications around the turn of the century. It was even used as the subject of a postcard.

Half tone print, source unknown, circa 1890-1910.

We can see that significant changes were made, first, in the portico, which is now square with a hipped roof. Pedestrian approach continues to be controlled by the corner entrance to the grounds which are enclosed by elaborate fences with towering gateposts.

Postcard, c. 1910. Phil Culhane Collection.

 

Fairholm Today

Today Fairholm is no longer the sepulchral enclave of the Rogers family. It has been sandblasted to within an inch of its life and has lost all its small panes of glass in the windows. What appears to be the Rogers portico, or a later version of it, still frames the entrance. At some time in the past the clear glass of the sidelights and transom have been filled with garish coloured glass inserts, no doubt inspired by Edwardian fashion.

The most shocking change of all – and the most utterly revolting – is the top-heavy glassed-in porch that was built by the Rogers family on top of their earlier portico in 1929, according to Scott Smith (p. 118).

1929 sun porch

This sun porch is so offensive to the original design of the house, and the spirit of the Regency that inspired it that its all you notice when you drive by or approach the house. For years it has brought most vividly to my mind the image of a monster horse taking a dump, the excrement framed by the turret horse buttocks.

The back of the house has remained more or less intact and consists of two wings, now joined by a brick passageway that were once the domain of the servants. Here were the kitchen and pantries and accommodation for the male and female servants who kept the house running.

As I mentioned earlier in my discussion of the blocked-up windows, I believe that they are a late Nineteenth Century attempt to build new chimneys following the lines of the tops protruding from the roof. Not bothering to reconstruct the complicated flu channels they simply built over the windows and blocked the openings. Quite frankly it all looks vile.

A great deal of the interior has original elements such as the main door with its fanlight and side lights. The original small panes of clear glass have all been replaced by weak designs in coloured glass. The door is probably Edwardian of circa World War I vintage.

The grey imported marble mantelpiece in the sitting room is still in place and looks very well against the chimney front. It is a typical neoclassical design that can be seen in houses of this age and quality all over England and America.

 

Original plaster is to be found in the major rooms of the house and dates to the time of construction. It was probably run and moulded by the same craftspersons who did similar work at Government House.

 

The Outdoor Root Cellar

Last of all you may be interested in seeing the beautiful brick vaulted outdoor root cellar which may be contemporary with the house.

Doors at a very low angle lead into a low mound visible behind the house. Open then and descend a flight of ten or so stairs and you are on the hard floor of a beautifully vaulted space, now supported (probably unnecessarily) by a heavy framework of beams.

 

It reminds you of exploring a Roman ruin. Here vegetables were safely kept for the winter, and even game might be refrigerated for short periods of time. Wonderfully, it has survived to delight and interest us as another aspect of a forgotten past.

 

This then is my account of what I believe to be Regency period/Regency-inspired houses in Charlottetown in the first four decades of the Nineteenth Century. They are all very different from each other, as Regency houses should be, but they all share strong basic elements that relate them to the parent Georgian Palladian tradition.

Let us give the glorious Thresher engraving of Fairholm the last word, for Regency elegance in an urban setting.

George Godsell Thresher, Fairholm, possibly an early lithograph, 1841.
Formerly in the collection of George Rogers.

http://www.biographi.ca/en/bio/thresher_george_godsell_8E.html

 

 

Appendix

Regency-style Furniture on P.E.I.
A Short Digression

Note that all the furniture used to illustrate this brief overview came from Island homes, and for the most part, was probably built by Island craftsmen.

 

I want to discuss, in a small way, the kind of furniture that was placed in these Regency homes. This furniture came in ships with the colonists when they immigrated, and once established in various communities, produced in quantity by local craftsmen. By nature, I am attracted most of all to Regency-derived furniture, especially the strong simple classically inspired shapes of the William IV period, when fine furniture began to be acquired by an increasingly wealthy middle class in Britain and on the Continent. There, its adaptation of Regency was called Biedermeier.

 

Because the Island received its first burst of British settlers in the extended years of the Regency period, we would expect to find on the Island, many examples of that style. Some of it was imported in the baggage of the settlers which a great deal, imitating home examples, was made by Island cabinetmakers and joiners. The most famous of these is Mark Butcher, who arrived on the Island in 1829.

http://www.biographi.ca/en/bio/butcher_mark_11E.html

There were others as well and this information has never been carefully assembled and published, nor any significant attempt made to associate particular pieces of furniture with any specific name. Everything is ascribed to Butcher in a flurry of eager acquisition.

I should mention that Regency furniture, especially the many forms of armchairs, were, like the French Empire styles before them, inspired by designs found on painted terracotta pots. The Greeks were great potters who delighted in showing every possible aspect of everyday life on their pots, even intimacies that today would fall under the aegis of pornography.

They painted first in black figure, that is, the images were painted on the red terracotta with black paint. About 500 BC this changed about, and the figures were reserved in red, while the background was painted in black with that amazing sheen it possesses. In this pot – an amphora for storing wine – we see a woman seated on a chair that has a broad curving rail that hugs the shoulders. This is a klismos, a word deriving from the Greek verb klinein, to lean or recline.

Amphora with Musical Scene,
Niobid Painter (Greek, ca. 470-445 BCE),
Walters Art Museum

Using examples from my small collection of Regency-derived furniture, I hope to give you an impression of how some parts of the Regency houses I have been discussing were furnished with furniture probably made on the Island by British craftsmen.

 

Regency-derived Armchairs and Pedestal Table

In my Regency-derived armchairs you can see the back rail as a curved board, inspired by such as the Niobid painter pot. The curving arms imitate other classical designs seen on pottery.

The pedestal table is extremely Neoclassical in its form, with its square top, originally meant to tilt so the table could be moved out of the way, and its powerful pedestal, built but by a series of diminishing mouldings. The moulding supporting the tabletop, which is made only of three mahogany boards, is the s-curve, or cyma moulding, beloved in Antiquity.

 

Side Chairs

The principal chairs in a formal dining room were armchairs, as you see above. For the lesser mortals, side chairs, capable of other functions, were arranged around the table.

The two Aylward chairs flanking another Island side chair that has been restored.

Several years ago, I was able to obtain three Regency chairs that had belonged to the Aylward family in Tignish. They had belonged to an early Nineteenth Century settler. The original varnish had been removed, leaving them looking a little pale, but the design is clear in every way. As country furniture the seats are board, perhaps covered by a small pallet cushion for elderly and tender posteriors. In these chairs the principal source of original design, which perhaps served to identify particular makers, was the stretcher.

The space for original design was small and narrow, but the carvers always managed to produce original and individual arrangements.

 

The Stool

Stools in a formal room, rather than a chair with a back, first became popular in the Seventeenth Century in the court of Louis XIV, the Sun King. To celebrate his grandeur to an inconceivable level he ordered that all the noblemen who attended upon him should sit on stools, to emphasise their inferior position. After this absurdity ceased the elegant stool, chair height, survived in the salon or sitting room into the Regency and Biedermeier periods as a useful very portable piece of furniture.

This stool, still with its original finish that has become opaque with time, is very elegantly designed with a frame that suggests perhaps a classical harp or lyre. Everywhere is to be found the concentric motifs which gave flair to the objects they decorated.

 

The Footstool

In houses where the only source of heat was the fireplace, it was desirable, aside from the obvious comfort we still enjoy, to lift the feet away from cold drafts.

This splendid PEI example of a footstool blends perfectly with the Regency armchair. Its cushion cover is temporary for the purpose of this photograph.

 

The Sofa

The Greeks, and later the Romans were very fond of sofas, which as we can see painted on Greek pots, were simple in form, with a raised end on which to lean and reach out to the table for food. The Greens and Romans ate in a reclining position in these narrow sofas arranged around tables of various shapes.

This form of sofa was adapted in the French Empire period, during the time of Napoleon, and a very famous conversationalist who entertained intellectuals, did so, like the ancients, in a reclining position. There is a very famous painting of her, now almost archetypal, by Jacques Louis David.

David, Jacques Louis, Madame Recamier,
o.c., 174 x 224 cm, Louvre.

 

My Recamier sofa, as interpreted by this probable PEI Regency cabinetmaker, and scrutinised by a severe-looking Lord Byron, follows the Neoclassical lust for symmetry and so it has two raised ends and a stylish back board covered with exotic burl veneer.

 

The Console Table

Here is a very fine Regency multi-purpose piece of furniture which can serve as a console table set against a wall, often between two windows, or, pulled on its hidden casters to a more open location, with a beautifully inlaid top opened and swivelled around, became a most elegant card table. It is based on the lyre design in the Greek amphora above.

The mantelpiece of the fireplace was the principal focus of any major room in the house. As it was the source of heat and comfort it was the place where, in strict hierarchical order, members of the household arranged themselves. It was the household altar and of above it was place a large mirror that reflected the owners of the house as it were a portrait assuring those present that they were indeed the masters and mistresses.

I do not have any Regency mantel in my house, which is considerably later, but my friend Claude Arsenault, the connoisseur of early Island furniture by excellence, has in his central plan/chimney house this most elegant one in the Ionic style.

Next to it, and still without a new home, is a quite formal Doric style mantelpiece recently acquire from an auction where fragments of a very old island house were being sold.

 

The Chiffonier – Ancillary to the Mantel

The custom arose to flank the dead areas on either side of the protruding chimney front with low cupboards in which to store various articles – sewing things and games come to mind. They were generally fairly wide and waist high, had ornamental glassed doors opening onto adjustable shelves, and generally came in pairs.

This one is from such a pair, built and used here on the Island. Stylistically it is most interesting because the architectural framework is in the Greek Revival style, so popular at the time. The colonnettes sit on block bases which in turn rest on bulbous feet, while the top terminates in a beautifully carved palmette ornament. The doors on the other hand are pure Gothic Revival with the pointed Gothic arch forming the framework for the tracery. At this time Gothic Revival, driven by the books of A. W. N. Pugin, began to gain momentum as a style in architecture and furniture.

 

The Chest of Drawers

The chest of drawers was invented in the Late Seventeenth Century when the box or chest was abandoned for more sophisticated and flexible storage. From then on it followed the styles that were fashionable in the decades that followed, especially in France and England, who were the leaders in furniture design.

This stylish chest of drawers, probably made on the Island in the 1840-50 period, has three lower drawers with pulls, an overhanging top drawer opened by pulling on the overhang, and above that two small drawers, set back considerably from the front edge, which could be used to store small and intimate things. The drawers are framed by heavy undulating veneered side pieces that terminate in a curved foot. All the drawers are covered with veneer cut from the same tree, split in the middle so the fancy woods are mirror images of each other. The key holes are modest recessed openings with no brass escutcheons found on earlier chests. It is a fancy bourgeois chest with fashionable details subdued by the leaving out of bright brass ornaments.

 

The Centre Table

Another piece of furniture that appeared at this time was the centre table, generally 3-4 feet in diameter, which, in the beginning, could be folded and put away, but later designed to stay, like this one, permanently in the centre of the room as manners changed at the end of the Regency period, and the way in which the salon or sitting room was used was dramatically changed. A most interesting account of how this took place in France for the first time is to be found in the Memoires of Queen Hortense (1783-1837), the mother of Napoleon III. She says (Praz 1964, p. 197),

I was the first in France who established, in the drawing room, a round table to be used for work or for evening entertainment, as is common in the countryside. Previously, French hostesses arranged groupings near the fireplace, all the ladies in a circle, with their gentlemen standing up in the centre of the group. Sparkling conversation, in which each tried to show his wit, was the only occupation of an evening.

Soon, this custom would spread across the continent and find its way to British interiors. Colonists to British North America would bring the new trend with them, and it would become part of our heritage.

 

The Desk or Library Table for a Study

Many upper middle-class homes had a study or library for the master of the house. The central feature of this study was a desk or library table of a substantial design. The history of the desk goes back centuries and in the mid-Eighteenth Century, desks were often huge completely encloses boxes with the knee hole visible from the other side, or often, completely covered over with ornamental; panels. They would become so again in the late Victorian period.

In the French Rococo period, what we generally refer to as the Louis XV or Louis Quinze period, there was a move away from this massive kind of desk and elegant tables were produced, light enough to carry to desirable locations in the room but covered with elaborate veneer and graced with bronze ornamental details plated in gold and called ormolu. These first library tables were in the Rococo style with elegantly curved legs called cabriole, consisting of two curved parts and with its name derived from dance movements, and even arena movements of horses schooled in dressage!

In the middle of the Eighteenth-Century the Rococo style was abandoned and the very neoclassical style of Louis XVI or Louis Seize became the fashion, and you can see its elements in this engraving produced in 1776. The legs of both the table and chair are fluted Doric columns tapering down to a narrow foot capped with a small caster for mobility. The desk already has the necessary scholar’s tools placed on the top. They consist of a pen tray, a pen knife, feather pens, bottles of red and black ink, and a supply of fine sand for blotting. In time this became formalised with candles and a cast brass unit to hold all the elements, and you may have noticed that it is still the principal desk furniture of British Royalty today.

Moreau le Jeune, “C’est un fils, Monsieur” from Monument du Costume,
copperplate engraving, 1776. Verlet, p. 221.

The French Empire and Directoire periods that followed the Revolution adopted all these forms that had developed in the previous century and made them more severe, more masculine, It was this later furniture that inspired Regency designers.

The English always had a propensity to design heavier furniture than the French and it is believed this was because the English, not used to the refined life and movements of the French, needed something more solid that would not collapse when somebody leaned back and balanced on two legs. Be that as it may, English furniture was more solid, and this solidity was brought to the Island by the colonists.

Take for example this library table built of solid mahogany with no veneer decoration at all. It has a very strong frame and the legs, often referred to a tulip design at the capital, are quite substantial, perhaps more than was required for a simple library table derived from French models. However, again and again, it appears that this same design was used in dining room ensembles, especially in the William IV period, and on into Victoria’s time. These tables could be extended to accommodate large numbers of diners by stretching out a hidden frame that allowed generally 2-4 extra leaves to be seamlessly inserted to provide the extra seating capacity.

I suspect that my desk, with a top consisting of two massive mahogany slabs, could just as well be a cobbled down dining table made into a desk. On a personal note, I found it in the barn of a Sackville antiques dealer and bought it for $21 in 1968. It has never left my side and I worked on it every day of my life for the past 55 years.

 

The Lampstand, Writing Stand, or Sewing Table

A very handy and versatile piece of furniture developed at this time, and, as in this Regency example, was very flexible. It could hold a lamp or candlesticks, had drawers in which to keep either stationery or sewing supplies. It also had folding leaves which when turned up doubled the area of the stand. One could have a light lunch sitting around this quite small, but monumental piece of furniture. The base of this stand with its solid fluted column is quite majestic and the lion head pulls on the drawers give it further dignity. And yet, it is just a small multi-use piece of furniture!

 

Reading at Night – the Lamp Stand

We have mostly forgotten that with the close of day, night shutters were closed, leaving the house in almost total darkness. The primary source of light came from the fire, and from candles placed in sconces on the walls between windows and flanking the central feature of the fireplace, usually the mirror. For private work, whether it be sewing, reading, or writing, candles in portable brass holders were placed where the light was at its best.

To sit and read comfortably near the warm fire, a candle stand would be placed next to your chair. This stand was only big enough to hold a couple of candleholders and your book or sewing things. As you can see its design derives from the more formal stand pictured above. The photo above attempts to recreate the ambience of such an arrangement that continued so long into the Twentieth Century that it was still the way in which I read in the evenings in a community where electricity was unknown and the precious oil lamps were reserved for the pastimes of the adults. The memory of this golden glow on the page of my library book lingers on.

 

We conclude this digression.

This digression on a few of the kinds of furniture that found its way into these houses might help the reader see these buildings not just as shells, but as homes filled with furniture appropriate to the class and needs of the occupants. I have not tried to be comprehensive in my presentation of various pieces of furniture but limited myself to those objects in my collection that fit the style and time frame of the long Regency period.

 

 

 

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. I also would like to thank persons who have accompanied me in the field, to safeguard my explorations and to assist me in taking measurements and photographs. This year (Summer 2023) Manny Davidson introduced me to the documenting of buildings and landscape with his drone. It was a revelation!

Claude Arsenault
Marcel Carpenter
Manny Davidson
Scott Davidson
Trevor Gillingwater
Henry Kliner
Earle Lockerby
Christopher Lunt
Dr. Edward and Sheila MacDonald
Robert L. Scobie
Dr. Douglas Sobey

 

 

 

References

__________ The United Empire Loyalists’ Association of Canada, Loyalists of the Maritimes, IV – LOYALIST SETTLEMENT ON PRINCE EDWARD ISLAND, pp. 21-26,
https://www.uelac.org/education/MaritimesResource/Maritimes-04.pdf

Ackerman, James S., The Villa: Form and Ideology of Country Houses, The A. W Mellon Lectures in the Fine Arts 1985, Princeton University Press, Princeton N. J., 1990.

Alberti, Leon Battista, On the Art of Building in Ten Books (c. 1450), translated by Joseph Rykwert, Neil Leach and Robert Taverner, The MIT Press, Cambridge, Mass., 1988, 1996.

Aslet, Clive, The Story of the Country House, Yale University Press, New Haven, 2021.

Batey, Mavis, Alexander Pope: The Poet and the Landscape, Barn Elms Publishing, London, 1999.

Brown, Jane, Lancelot ‘Capability’ Brown – The Omnipotent Magician, 1716-1783, Pimlico, London, 2012.

Bumstead, J. M., “The Patterson Regime and the Impact of the American Revolution on the Island of St. John, 1775-1786”, Acadiensis, 13(1), 47, 1983.

Chambers, Douglas D. C., The Planters of the English Landscape Garden: Botany, Trees and the Georgics, Yale University Press, New Haven, 1993.

Chambers, Sir William, A Treatise on the Decorative Part of Civil Architecture, Third Edition, Joseph Smeeton in St. Martin’s Lane, Charing Cross, 1791.

Chitham, Robert, The Classical Orders of Architecture, Butterworth Heinemann, Oxford, 1985.

Clerk, Nathalie, Palladian Style in Canadian Architecture, National Historic Parks and Sites Branch, Parks Canada, Environment Canada, Ottawa, 1984.

Curl, James Stevens, Classical Architecture – An Introduction to its Vocabulary and Essentials, with a Select Glossary of Terms, W. W. Norton & Company, New York London, 2003.

Downing, A. J., Cottage Residences …, Part 1, Third Edition, Wiley and Putnam, New York, 1847.

Downing, A. J., The Architecture of Country Houses (1850), reprint by Dover Publications, New York, 1969.

ELM – see MacDonald.

Georgian Group, The, and various authors, Georgian Arcadia: Architecture for the Park and Garden, exhibition catalogue, Colnaghi, London, 1987.

Gowans, Alan, Looking at Architecture in Canada, Oxford University Press, Toronto, 1958.

Halfpenny, William, A New and Compleat System of Architecture Delineated, in a Variety of Plans and Elevations of Designs for Convenient and Decorated Houses …, John Brindle, London, 1749.

Harris, John, The Palladian Revival: Lord Burlington, His Villa and Garden at Chiswick, Exhibition Catalogue, Yale University Press, 1995.

Hennessey, Catherine, “Painting a History: The Story of Holland Grove,” The Island Magazine, Issue 46, Fall/Winter 1999. The Prince Edward Island Heritage Foundation. (Because of poor editing, paragraphs with vital information were omitted from the article.)

Humphreys, Barbara A and Meredith Sykes, The Buildings of Canada: A Guide to pre-20^th Century Styles in Houses, Churches and other Structures, distributed for free by Parks Canada, reprinted from Explore Canada, The Reader’s Digest Association (Canada), Montreal, 1974.

Hunt, John Dixon and Willis, Peter, The Genius of the Place – The English Landscape Garden 1620-1820, The MIT Press, Cambridge, Massachusetts, 1988.

Jackson-Stops, Gervase, An English Arcadia 1600 – 1990: Designs for Gardens and Garden Buildings in the Care of the National Trust, The American Institute of Architects press, Washington, 1991.

Jackson-Stops, Gervase, The English Country House in Perspective, with illustrations by Brian Delf, Peter Morter and Mel Wright, Grove Weidenfeld, New York, 1990.

Jacques, David, Georgian Gardens – The Reign of Nature, BT Batsford Ltd., London, 1983.

Kalman, Harold, A Concise History of Canadian Architecture, Oxford University Press Canada, 2000.

Lawson, Helen A., Colonel John Hamilton Gray and Inkerman House, Centennial ’73 Project of the Charlottetown Branch of the Canadian Federation of University Women, P.E.I. Offset Inc., Charlottetown [1973].

Laugier, le Père, S.J., Essai sur L’Architecture. Nouvelle Edition, Revie, corrigée, & augmentee; avec un Dictionnaire des Termes …, Chez Duchesne, Librarie, rue S. Jacques, Paris, 1755.

Leard, George A., Historic Bedeque – The Loyalist Work and Worship in Prince Edward Island, Bedeque United Church, Bedeque, P.E.I., 1948, amended in 1973.

Loudon, John Claudius, An Encyclopaedia of Cottage, Farm and Villa Architecture and Furniture: containing numerous Designs for Dwellings, each Design accompanied by analytical and critical Remarks, [      ], 1842.

MacDonald, Elizabeth L. (ELM), “Charlottetown Fifty Years Ago,” The Prince Edward Island Magazine, Charlottetown 1901. Digitised, re-formatted and illustrated by Reg Porter, 1989 – 2019. P. 62.

MacRae, Marion and Anthony Adamson, The Ancestral Roof- Domestic Architecture in Upper Canada, Clarke, Irwin & Company Limited, Toronto, 1963.

Maitland, Leslie, Neoclassical Architecture in Canada, National Historic Parks and Sites Branch, Parks Canada, Environment Canada, Ottawa, 1984.

Maitland Leslie, Jacqueline Hucker and Shannon Ricketts, A Guide to Canadian Architectural Styles, Broadview Press, Peterborough, Ontario, 1992.

Mowl, Timothy, Gentlemen & Players – Gardeners of the English Landscape, Sutton Publishing Limited, 2004.

Naftel, William D., Prince Edward’s Legacy: The Duke of Kent in Halifax: Romance and Beautiful Buildings, Formac Publishing Company Limited, Halifax, 2005.

Naismith, Robert J., Buildings of the Scottish Countryside, Victor Gollancz Ltd in association with Paul Crawley, London, 1989.

Plaw, John, Dictionary of Canadian Biography, Volume 5 – http://www.biographi.ca/en/bio/plaw_john_5E.html

Plaw, John – Historic Places in Prince Edward Island – http://www.gov.pe.ca/hpo/index.php3?number=1019796&lang=E

Porter, Reginald, Government House and the Fanningbank Estate: A Guidebook, in-house report available as a pdf file on this blog, The Friends of the Gatehouse Cooperative, Charlottetown, 2015.

Praz, Mario, The House of Life (La Casa della Vita), translated by Angus Davidson, Methuen & Co. Ltd., 1958, 1964.

Praz, Mario, An Illustrated History of Furnishing from the Renaissance to the 20-th Century, George Braziller, New York, 1964.

Rayburn, Alan, Geographical names of Prince Edward Island, Toponomy Study 1, Surveys and Mapping Branch, Department of Energy, Mines and Resources, Ottawa, 1973.

Redford, Bruce, Dilettanti: The Antic and the Antique in Eighteenth-Century England, The J. Paul Getty Museum, Los Angeles, 2008.

Richardson, Tim, The Arcadian Friends – Inventing the English Landscape Garden, Bantam Press, London, 2007.

Rifkind, Carole, A Field Guide to American Architecture, New American Library, Times Mirror, 1980.

Robinson, Sidney K., Inquiry into the Picturesque, The University of Chicago Press, Chicago, 1991.

Rogers, Irene L., Charlottetown the Life in its Buildings, The Prince Edward Island Museum and heritage Foundation, Charlottetown, 1963.

Rogers, Irene, Reports on Selected Buildings in Charlottetown, P.E.I., Manuscript Report Series, Department of Indian and Northern Affairs, 1974, 1976. Pp. 124-125.

Smith, H. M. Scott, The Historic Houses of Prince Edward Island, The Boston Mills Press, Erin, Ontario, 1990.

Smith, Thomas Gordon, Vitruvius on Architecture, The Monacelli Press, New York, 2003.

Strong, Roy, Visions of England, or Why We Still Dream of a Place in the Country, Vintage Books, London, 2012.

Symes, Michael, The English Rococo Garden, Shire Publications, Oxford, 2011.

Thornton, Peter, Authentic Décor – The Domestic Interior 1620-1920, Crescent Books, Random House, New York, 1985.

Thresher, George -artist

http://www.biographi.ca/en/bio/thresher_george_godsell_8E.html

Verlet, Pierre, French Furniture and Interior Decoration of the 18^th Century, Barrie and Rockliff, London, 1967.

Vitruvius, the Thayer translation:

https://penelope.uchicago.edu/Thayer/e/roman/texts/vitruvius/1*.html

White, Roger, Cottages Ornés: The Charms of the Simple Life, Yale University Press, New Haven, 2017.

Williams, Henry Lionel and Ottalie K. Williams, Old American Houses 1700-1850 – How to Restore, Remodel, and Reproduce Them, Bonanza Books, New York, 1957.

Woodforde, John, Georgian Houses for All, Routledge & Kegan Paul, London, 1985.

Wright, Janet, Architecture of the Picturesque in Canada, National Historic Parks and Sites Branch, Parks Canada, Environment Canada, Ottawa, 1984.

Young, Arthur, A Description of Duncombe Park, Rivalx Abbey, And Helmsley Castle, With Notices of Byland Abbey, Kirkdale Church …, (Taken chiefly from Mr. Young’s Northern Tour), Second Edition, British Library 1821 (modern reprint, n.d.)