Perpsective view with porches

Series of 19 images showing perspective views of the Keim House and other dwellings, detail views depicting evidence of an early plastered cove cornice on the Keim house, and other related photos, including images of houses built during the same quarter-century period as the Keim house and earlier English antecedents displaying plastered cove cornices. Image #1, an early 20th century view, appears to show deteriorated remnants of a coved plaster{a} cornice under the second story eaves of the 1753 house [left of roof extension above the second story balcony], and on the c. 1805 addition [right of roof extension]. Images #2, 3, and 4 are colored digital images provided by restoration craftsmen and consultants Tom and Chris Lainhoff, showing coved oak joist-ends{b} with nail holes for lath, confirming that an early plastered cove cornice existed, most probably from the first period of the 1753 house. This conclusion is reinforced by the un-coursed "rubble" masonry walling behind the cornice [Images #3, #4, & #5]. Such coarse stonework would not be seen behind the plaster and lath of the cornice and is therefore not masoned as methodically as the visible wall ranges of the house. As a comparison and contrast of masonry methods on the same building, the wall ranges behind each Keim house "pent" were as carefully laid-up as all other exposed ranges of the structure because the pent roofs were not ceiled {c}. {a} In modern usage, "plaster" ("plaister" in early British terminology), is sometimes confined to interior finishes, and "stucco" is limited to lime-based rendering applied directly to exterior wall surfaces. Early plaster was extruded ["keyed"] between wooden lath, originally riven [sometimes "hewn"], and later sawn, for anchorage. Some scholars consider the interior-"plaster"/exterior-"stucco" distinction to be arbitrary and historically unwarranted [see Curl, A Dictionary of Architecture, Oxford U. Press (1999), page 645]. Other respected authorities seem to prefer "plaster" in describing interior renderings, invoking the earlier term "roughcast" for coarsely aggregated exterior coatings [e.g., Lounsbury, Carl, Editor, An Illustrated Glossary of Early Southern Architecture and Landscape, page 279]. In the context of Mid-Atlantic vernacular building forms and practices, the highly regarded authors noted that "Stucco…[was] sometimes applied to interior walls…(though more commonly to describe an exterior finish)" [Lanier & Herman, Everyday Architecture of the Mid-Atlantic…Buildings and Landscapes, Johns Hopkins University Press (1997), p. 113]. The legendary Renaissance stone mason and architect Andrea Palladio invoked the term "stucco" to describe the decorative plaster coating applied to interior niches in his villas. Other scholarly textual sources uniformly describe cornices as "plastered" when specifying the material applied to exterior coved eaves transitions (e.g., Richie, Kornwolf, Murtagh, Schiffer, Tinkcom & Simon). It is clear that there is no consensus among the academic community endorsing the use of the terms "plaster" and "stucco" based merely on interior or exterior applications. {b} Compare the lath-nailing system of the George Douglass house, where concave brackets are suspended from the sides of the cantilevered attic-floor joists [see Image #6] projecting beyond the top of the rubble segment of the wall, and are footed on the projecting upper surface of the squared and dressed sandstone blocks forming the top course of the "ashlar" façade. [Image #6, photo "GD cove brackets 2", 8/23/13]. Images #7 & #8, Photos 2950 and 2951, 7/12/13 show surviving plaster fragments of the early cove cornice on the Douglass house [Images #9 & #17]. The convex view in Image #7 clearly shows the thin plaster "keys" which extruded through the narrow gaps between lath, securing the finished cornice in the coved profile established by the brackets. {c} earlier: "sealed", typically with board sheathing. The nail holes in the coved joist-ends of the c. 1805 addition to the 1753 Keim house are spaced differently from those on the early house, indicating that the two cornices, though approximately conformed in dimension and cove radius, were applied in different periods, probably separated chronologically by the approximately half century between the 1753 house and the Federal-era addition project. Therefore, the two cornice segments, though jointed in some manner when the addition's cornice was plastered, never formed a monolithic concave band across the contiguous eaves of the two house-blocks. Unless the cornices were re-plastered contemporaneously in a later period [of which there is no evidence], they were never unified in a single plastering campaign. The current [2013] restoration program relates only to the 1753 house, including its cornice. The coved plaster cornice on the c. 1805-10 addition will be considered for a future restoration campaign. One of the earliest cove cornices in the Philadelphia region appeared on the three bay pre-Georgian Anglo-Pennsylvania Chalkley [Letitia Street] house (c. 1703-1715; see Tatum, Penn's Great Town, plate 6, and Fig. 2 in Smith, Two centuries of Philadelphia Architecture, 1700-1900, offprint, pp. 291-303, from Transactions of the American Philosophical Society, New Series, vol. 43, Part 1, March, 1953, which describes the cornice as constructed of wood), built in central Philadelphia and since 1883 situated on its re-located site in Fairmount Park. Smith's "Two Centuries" paper notes in footnote 6, p. 290, "three houses with pent roof and cove cornice"…[on] Cuthbert Street in Philadelphia. Another early Philadelphia house with a cove cornice, "that would become so typical of the Delaware Valley" [Kornwolf, Architecture and Town Planning in Colonial North America, Vol. Two, p. 1223], is the surviving two story, five-bay "Bellaire", c. 1714-1729, an early Georgian plan-form with English Baroque decorative elements, and built for the prominent Quaker Mayor of Philadelphia and Provincial Treasurer, Samuel Preston [see Worldly Goods, p. 84, Phila. Museum of Art, 1999]. The "High Street" [2d and Market] "Greater" Meeting House, built c. 1695 and re-built in 1755, and the old Court House/Town Hall across the street from it, also featured full-perimeter ["encircling"] coved and plastered eaves cornices in their early periods [see Tatum, op cit., plate 8]. A five-bay brick house, the 1730 William Miller house in Avondale, Chester County, PA, prominently boasts another "encircling" plastered cove cornice, added at the attic floor level when the third story was erected in 1771 [Schiffer, Survey of Chester County, Pennsylvania, Architecture, 17th, 18th and 19th Centuries, page 61, Image # 19, photo miller cove cornice]. It is not clear whether a cove cornice appeared on the first-period house at the original 2d story eaves level. Another four-range cove cornice, restored in 1950, appears on Wright's Ferry Mansion, Columbia, Lancaster County, PA, built in 1738 with roughly coursed limestone "rubble" and hybridized by some Germanic details for the Quaker "Renaissance woman" Susannah Wright. Yet another Quaker structure with a most imposing surrounding cornice, described as a "concave, plastered support," above roughly coursed rubble walls and segmental brick "relieving" arches, is the 1768-1769 Buckingham Friends Meeting House in Bucks County, PA [see photo and caption at pp. 64-65 of Stone Houses… Bucks County and Brandywine Valley by Richie, Milner, and Huber (2005)]. It seems reasonable to infer from the early Philadelphia-area examples cited, (and some in West Jersey) that immigrant plasterers from England, who probably received training and experience in the post-fire English Baroque tradition{d}, would have been familiar with and probably influenced by 16th and 17th century specimens of prominent plastered coved cornices in their homeland. Such traditions would have been preserved and transmitted within the British building trades within the prevailing and ancient master-journeyman-apprentice system under the auspices of craft Guilds devoted to the "art and mystery" [craft methods and trade secrets] of each artisan group. Plastered cove cornices, some on half-timbered town-houses with curvilinear plastered eaves-panels, appear on substantial houses in 16th and 17th century England. Examples would include half-timbered 16th century structures Congleton, and Moreton Old Hall, both in Chesire, and a dormered three and a half story Town House in Bisley Street, Painswick, and the symmetrical three-bay pre-Georgian house in Lechlade, also in Gloucestershire. These antecedents, graciously brought to the Trust's attention through the scholarship of Joe Kindig III of York County, would have provided an abundance of prototypes for emigrant plasterers re-settling in Penn's distant colony, and their protégés. Examples from the late half-timber period appear in photographs published in British Bouquet, An Epicurean Tour of Britain (1963) by noted architectural photographer and etcher Samuel Chamberlain [images #10, 11, and 12]. {d} This tradition included numerous variants and applications, in architecture and decorative arts, of the "C-scroll" motif and the Renaissance (originally Roman) versions of the "cavetto" moulding profile. The National Register application on behalf of the c. 1698-1700 Reynolds house in Bristol, RI describes "an original plaster cove cornice" as "a rare survivor following late seventeenth century English precedents". Several plastered cove cornices in New England and the southern tier of the mid-Atlantic states are recorded in HABS and National Register records. An impressive concentration of houses with coved lath-and-plaster cornices, some with shed-form roofs ["pent eaves"] across the gable walls and most constructed in the 1740s, appeared in German Township, later the Germantown wards of northern Philadelphia but then an independent community established by a Penn grant 10 miles north of Philadelphia in the late 17th century. Notable among these are the earlier (of two) Gorgas ("Monastery") house, 1746-47 [see image #13, photo #gorgas], and the earlier (of two) Daniel Pastorius house [1748, image #14, photo #3402], later known as the Green Tree Inn. Other mid-18th-century stone houses in Germantown with plastered cove cornices include the early 18th-century De La Plaine house [demolished 1885], which was gambrel-roofed and dormered (wounded Civil War veteran John Richard's lithographic Plate X); and the (Van Lauchet) Weygandt house (Richard's Plate XXX , also gambrel-roofed, with an asymmetric street façade. Plate XLVI also suggests a coved cornice on the dormered section of the house on Thorp's Lane, near the site of Weber's and Thorp's Mill. Richard's detailed drawings were published as lithographic reproductions by the Pennsylvania German Society in Vol. XXIII of its "Proceedings", Lancaster (1915), in the essay and plate collection called "Quaint Old Germantown." The design currents and craft proficiencies producing the coved plaster cornices in the Philadelphia region in the earliest decades of the 18th century reached Germantown by 1740, and appeared in more remote northerly settlements by the middle of the 18th century, as exemplified by the cornices at Pottsgrove [1752], Keim [1753], Eshelman [Lancaster County, 1759], Abraham Landis [Lancaster County, 1763], and George Douglass [Amity Township, Berks County, 1765]. The most prominent "backcountry" house with plastered cove-profile cornices (and an English Baroque-influence re-constructed door-hood) is John Potts' "Pottsgrove" mansion [image #15, photo #265, 9/11/12], built a year or two before the Jacob Keim house, and about 12 years prior to the 1765 George Douglass house, which displays a cornice quite probably influenced by Pottsgrove, though in a more attenuated and vernacular interpretation of this and other design details. The Pottsgrove cornice is plastered on lath nailed to coved brackets scribed and "sistered" to the coved ends of the attic floor joists projected through the top courses of the walls. This system and its lath nailing pattern for the early plaster cornice, differing from the coved joists at the Keim house and the suspended brackets at the George Douglass house, can be viewed at Pottsgrove via a strategically placed mirror through a window in a second floor chamber, as the brackets and a coved plaster segment are now sheltered by the "ell" addition constructed c. 1820 and butted against the original 1752 house. This group of houses--Pottsgrove, Douglass, and the earlier Germantown structures--all feature coved cornices framed by crown and bed mouldings above a coursed and dressed "Georgian" façade. The Keim house departs from this essentially Pennsylvania-Georgian design approach, lacking the evenly coursed ashlar block-work and central passage façade-symmetry of most of the other houses cited. The 1753 Keim house also apparently omitted a traditionally moulded "crown" piece forming the outer (and upper) termination of the plaster cove. The restored top trim board will be beaded and finished with a chamfered "drip-edge." A slightly later (c.1768) pre-Revolution structure with several design details in common with the Keim house is the Bethlehem Widow's house depicted as plate 45 in Murtagh, Moravian Architecture and Town Planning, p. 87, and Brumbaugh, Colonial Architecture of the Pennsylvania Germans, plates 76 and 79 [captioned "Moravian Seminary"]. Although the Widow's House is laid-up in courses, is symmetrical on its principal elevation, and is dormered, both it and the Keim house (as well as the Buckingham Meeting House cited above) "relieve" the rectilinear geometry of their fenestration openings with segmental brick arches, and refine their eaves transitions with coved plaster cornices arcing between bed- and crown-mouldings. The 1753 Keim house is undoubtedly one of the few random rubble structures in the region (perhaps a unique example) with a three-room Germanic floor plan, asymmetric eaves-wall fenestration, a coved plaster eaves cornice, a stone-arched cellar doorway, and a cantilevered balcony [to be reconstructed] above the end-bay ["side-passage"] doorway. Two Lancaster County Germanic-Georgian houses with mixed characteristics and "encircling" coved plaster eaves cornices are: A. the 1759 house in Conestoga Township, Lancaster County, PA constructed for Mennonites Benedict and Anna (Stehman) Eshelman [cfr. photo and floor plan in Falk, Architecture and Artifacts of the Pennsylvania Germans (2008), pp. 144-145]. Unlike the Keim House's emblematic three-chamber stove room ["stube"] plan, the Eshelman house includes a slightly off-center walled passage and rear stair-hall, and four rooms on the first floor, the larger pair (kitchen and stove-room) to the left of the hallway. The Eshelman façade is laid up in coursed and roughly dressed block-work and a full perimeter rubble course between first and second story windows, indicating that an early ceiled pent roof had been removed, an inference further affirmed by a projecting flashing course and outlooker remnants, apparently truncated when the pent was removed; and B. The Abraham Landis house in East Lampeter Township, c. 1763 [Lestz, Lancaster County Architecture, 1700-1850, p. 54, photo]. Other Keim House Details include: 19th-century roofed porch [Image #1], replaced by the "L" form two range porch in the 1930s; second floor balcony [to be re-constructed in 2013-14], framed onto cantilevered "outlookers"; flashing ("drip") course for earlier pent roof (removed, presumably to make way for the porch roof shown in this record). Note the absence of porch or evidence for porch on west gable wall; the L-form 20th-century porch succeeding this one is depicted in record KPH4--1002.01.009. A history of this 19th century porch and its 1930s successor, removed in 2011, and related photographs and other images appears in archive record KR11PH3--1002.01.092. The vertical separation between the "flashing" course (which sheltered the joint between the original pent roof and the eaves wall) and the top of the porch roof shingles in these "vintage" photos appears to have been approximately 12-14 inches. With this separation, the flashing course did little to prevent precipitation from penetrating the joint between the pent roof and eaves wall, gradually and inevitably eroding or rotting the rafters and lathing of the porch roof. Signs of such decay were evident on removal of the early 20th century porch rafters and other framing members. Laurence Ward, 2011; updated February, 2021