Two excellent doorways of this general type having paneled instead of fluted pilaster casings may be seen at Number 6504 Germantown Avenue, Germantown, and Number 701 South Seventh Street. The former is broad and has a six-panel door much like that at Number 5011 Germantown Avenue, but the fanlight is of simpler pattern and withal more pleasing. A fine-scale dentil course 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 rendered the more interesting by reason of its eight-panel arrangement, the s.p.a.cing being that usually employed for double doors. The wood trim, molded but nowhere carved, commends itself for effective simplicity. Two marble steps, the upper one very deep, with an attractive iron rail on the b.u.t.tresses at each side, complete a doorway picture that is typically Philadelphian.

[Ill.u.s.tration: PLATE XLVIII.--Shutter Fastener, Cliveden; Shutter Fastener, Wyck; Shutter Fastener, Perot-Morris House; Shutter Fastener, 6043 Germantown Avenue.]

[Ill.u.s.tration: PLATE XLIX.--Detail of Round Headed Window, Congress Hall; Detail of Round Headed Window, Christ Church.]

Surpa.s.sing both of the foregoing, however, is the doorway at Number 709 Spruce Street. Indeed, it is among the best of its type in the city. It has the simple excellence in detail of the 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 white like the wood trim about it. The only carved molding is the Grecian fret of the dentil course in the pedimental cornice. Here again another favorite knocker pattern greets the eye.

Engaged round columns, usually smooth and standing in front of wide pilasters, were often pleasing features of these pedimental doorways. In such instances the projection was so great that the entablature sections above the columns were square, and the soffit of the corona in the pediment was paneled. Two notable instances may be cited at 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 use is made of a reeded ovolo, and the fascia of the architrave bears a pleasing hand-tooled band of vertical flutes with a festooned flat fillet running through it. The most distinctive feature, however, is the double denticulated molding of the pedimental cornice with prominent drilled holes in each dentil alternately at top and bottom.

Although representing a high degree of the wood-carvers' art, the other doorway is rather over-ornate in its detail. The reeded ovolo is again prominent, and the fascia of the architrave of the arch bears a familiar decorative motive 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 the corona, the abacus of the capitals and its continuation across the lintel of the door. Least pleasing of all is the fluting of the frieze portion of the entablature sections with three sets of drillings suggestive of festoons.

Another admirable type of doorway, of which there are many examples in Philadelphia, frames the high, round-headed arch of the doorway with tall, slender engaged columns supporting a ma.s.sive entablature above the semicircular fanlight over the door. Almost without exception 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 widely s.p.a.ced pilasters, which are virtually a broadening of the casings of the door frame, and which support a second entablature back of the first and somewhat wider.

The two combined form a doorhead with projection almost equal to a hood, but the effect is far more stately.

Such a doorway in its simplest form, with columns tapering considerably toward the top, in accordance with a prevalent local custom of the time, is to be seen on the Powel 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 recalls many having a similar arrangement of molded and raised panels, but differs from most of them in that the lock rail is about double the width of the two rails above.

Narrower, with more slender columns, and thus seemingly higher, is the doorway of the Wharton house, Number 336 Spruce Street. While the entablature is generally similar, the moldings adhere less closely to the cla.s.sic 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 refinement to the paneled jambs and the architrave casing of the arch with its hand-carved keystone. The fanlight is of simple but pleasing pattern, and the eight-panel door is of characteristic design.

At Number 301 South Seventh Street the doorway itself strongly resembles that of the Powel house, except that it is higher, narrower and rather lighter in scale. However, the wing flights of stone steps on the sidewalk leading to a broad landing before the door and the handsome wrought-iron rail lend individuality and rare charm to this notable example of a familiar type.

The doorway of Grumblethorpe, Number 5621 Germantown Avenue, Germantown, differs little in general appearance, if considerably in detail, from that of the Powel house. One notices first how deeply recessed it is because of the thickness of the stone walls. With the projecting entablature 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 the jambs and architrave casings of the keyed arch. It is also repeated above the double denticulated member of the cornice, the latter enriched by a hole drilled in each dentil alternately above and below.

Daintiness and simplicity characterize the fanlight pattern set in lead lines.

The doorway at Number 6105 Germantown Avenue, Germantown, may be regarded as one of the best of the more ornate examples of this type.

[Ill.u.s.tration: PLATE L.--Fenestration, Chancel End, St. Peter's Church.]

[Ill.u.s.tration: PLATE LI.--Details of Round Headed Windows, Christ Church.]

It has fluted columns, an intricately hand-tooled dentil course in the cornice, richly incised architraves and carved ovolo moldings. The denticulated molding has fluted dentils with horizontal connecting members forming a sort 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 festoons. The architrave of the arch and lintel has a slightly different incised pattern. There are the same fluted groups with oval ornaments composed of drillings between. The door itself is of the regulation six-panel arrangement.

Few doorways in the Corinthian order are to be found in what may properly be termed the Colonial architecture of Philadelphia, for this order was little used by American builders until early in the nineteenth century. The doorway of Doctor Denton's house in Germantown instances its employment in a somewhat original manner. The entablature follows the cla.s.sic order 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 casing over the fanlight. The columns are fluted, but have the Doric rather than the usual Corinthian capitals.

Double blind doors such as are a feature of this entrance were the predecessor of the modern screen door. Arbor vitae trees in square wooden tubs on the broad top step each side of the doorway complete a formal treatment of dignity and attractiveness.

Rarely occurred a doorway having a complete entablature above a fanlight surmounted by a pediment. The east and west entrances of Mount Pleasant offer two splendid examples, ma.s.sive and dignified. While much alike in several respects, they differ sufficiently in detail to afford an interesting comparison. In size and general arrangement in their double three-panel doors and smooth columns, they greatly resemble each other.

Although not pure, the doorway of the west or river front is essentially Tuscan 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 guttae. There is the same rustication of casings and jambs up to the height of the doors, but molded spandrils occupy the s.p.a.ces each side of the round arch with its wide ornate keystone. Exceptionally broad tapering and fluted mullions lend distinction to the heavy fanlight sash with its round-ended openings. Neither of these doorways has the double projection of those previously described. The background pilasters are omitted, and the engaged columns stand directly against the stone masonry. A beautiful Palladian window in the second-story wall above each doorway forms a closely related feature, the two being virtually parts of the same effect.

Oftener, where an entablature supported by engaged columns was surmounted by a pediment, the fanlight over the door was omitted. Of the several instances in Philadelphia, the best known is undoubtedly the cla.s.sic doorway of Cliveden, about which the Battle of Germantown raged most fiercely. The damage done by cannon b.a.l.l.s to the 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 Philadelphia, while the blinds used instead of screen doors recall those of Doctor Denton's house, although divided by two rails respectively toward the top and bottom into three sections, the middle section being the largest. Two small drop handles with pendant rings comprise the entire visible complement of hardware on the doors.

As compared with the east entrance of Mount Pleasant, the Cliveden detail is richer in the paneled soffits of the corona and the paneled metopes in alternation with the triglyphs of the frieze. One notices also that it is not deeply recessed according to the prevailing custom in the case of stone houses.

Another doorway of this general character and having double doors is the entrance to Solitude. Conventionally Ionic in detail, with smooth columns and voluted capitals, it pleases the eye but lacks the impressiveness of the doorway at Cliveden. The three-panel double doors are narrower, and this fact is emphasized by the deep recess with paneled jambs. There is but one broad step, which also serves as the threshold.

The doorway of the Perot-Morris house, deeply recessed because of the thick stone walls, presents at its best another variation of this st.u.r.diest of Philadelphia types with a single, eight-panel, dark-painted door and a very broad top stone step before it. Virtually a pure Tuscan adaptation, it differs in a few particulars from others of similar character, notably in the p.r.o.nounced 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 already referred to and of which the doorways at Number 5200 Germantown Avenue and Number 4927 Frankford Avenue are examples. The bra.s.s k.n.o.b, the heavy iron latch and fastenings inside are the ones Washington, Jefferson, Hamilton, Knox and Randolph handled in pa.s.sing in and out during Washington's occupancy.

[Ill.u.s.tration: PLATE LII.--Chancel Window, Christ Church; Palladian Window and Doorway, Independence Hall.]

[Ill.u.s.tration: PLATE LIII.--Palladian Window, The Woodlands.]

Above the pediment is to be plainly seen the picturesque, cast-iron, hand-in-hand fire mark about a foot high, consisting of four clasped hands crossed in the unbreakable grasp of "My Lady Goes to London" of childhood days. This ancient design, to be seen on the Morris, Betsy Ross and numerous other houses, was 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 policy.

For a long time it was the custom to place these emblems on all insured houses, the princ.i.p.al reason for doing so being that certain volunteer fire companies were financed or a.s.sisted by certain insurance companies and consequently made special efforts to save burning houses insured by the company concerned.

Porches were the exception rather than the rule in the early architecture of Philadelphia. Only a few old Colonial houses now remaining have them, and for the most part they are entrances to countryseats in the present suburbs 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 may possibly be of more recent origin than the house. Except for the narrow double doors the entrance to The Highlands is strongly reminiscent of New England doorways and porches. Both have hipped roofs so low as to be almost flat.

A splendid example of the gable roof or pedimental porch more typical of Philadelphia architecture is that at Upsala. Although displaying free use of the orders, it is regarded as one of the best in America. On a square stone platform reached by three broad stone steps, slender, fluted Doric columns, with engaged columns each side of the doorway, support a roof in the form of a pediment of generally Ionic character, the architrave and cornice being notable for fine-scale hand tooling. It will 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 doorhead supported by flanking engaged columns. The doorway itself is distinctly of Philadelphia type, high, relatively narrow, and deeply recessed, with the soffit of the arch and the cheeks of the jambs beautifully paneled and a handsome semicircular fanlight above the single eight-panel door but with no side lights. The effect of the keystone and imposts, also the enrichment of the semicircular architrave casings are characteristic. The paneling of the door consists of pairs of small and large panels in alternation, the upper pair of large panels being noticeably higher than the lower pair.

Of far more modest character is the porch of the old Henry house, Number 4908 Germantown Avenue, long occupied by Doctor W. S. Ambler. It is much smaller, extremely simple in its detail and of generally less pleasing proportions. Two slender, smooth columns and corresponding pilasters on the wall of the house support a pediment rather too flat for good 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 raised panels is of that type, having three pairs of small panels of uniform size above a single pair of high panels, the lock rail being more than double the width of the rails above and wider than the bottom rail. Unlike the usual fanlight, this one is patterned after a much used Palladian window with sash bar divisions suggested by Gothic tracery.

At Number 39 Fisher's Lane, Wayne Junction, in connection with a doorway much like the above, is an elliptical porch much like those of Salem, Ma.s.sachusetts, although devoid of their excellent proportion and nicety of detail. 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 can hardly be said to belong to any particular order of architecture. The door itself is unusual in having molded flat rather than raised panels, while the fanlight is of more conventional pattern than that of the Henry house.

Side lights and elliptical fanlights, so characteristic of New England doorways, are as rare as porches in the Colonial architecture of Philadelphia. The entrance of The Highlands is thus unique in combining the three. The doorway at Number 224 South Eighth Street has the New England spirit 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 paneling of the wide single door. The ornate woodwork of the frame and casings, however, especially the frieze across the lintel, with its oval and elliptical fluted designs elaborately hand-tooled, suggests the Dutch influence of New York and New Jersey. The iron rails of the steps present an interesting instance of the adaptation of Gothic tracery, arches and quatrefoils.

[Ill.u.s.tration: PLATE LIV.--Great Hall and Staircase, Stenton.]

[Ill.u.s.tration: PLATE LV.--Hall and Staircase, Whitby Hall; Detail of Staircase, Whitby Hall.]

The front doorway at Stenton may be regarded as the earliest instance of side lights in Philadelphia, and one of the earliest in America. The width of the brick piers or munions is such, however, that there are virtually two high narrow windows rather than side lights in the commonly accepted sense of the term. Indeed, they are treated as such, being divided into upper and lower sashes like those of the other windows, only narrower. Neither door nor windows 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 k.n.o.b or latch, is reached from a brick-paved walk about the house by three semicircular stone steps, such as were common in England at the time, the various nicely hewn pieces being fastened securely together with iron bands. Severity is written in every line, yet there is a picturesque charm about this quaint doorway that attracts all who see it. In this the warmth and texture of the brickwork play a large part, but much is also due to the flanking slender trellises supporting vines which have spread over the brickwork above in the most fascinating manner.

Toward the beginning of the nineteenth century and for a few decades thereafter, under the influence of the Greek revival, a new type of round-arched doorway was developed in Philadelphia,--broader, simpler, heavier in treatment than most of the foregoing. There were no ornamental casings, the only 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 four-panel with a small and large panel in alternation like many earlier doors, but the panels were molded and sunken rather than raised. In a few instances there was a single vertical panel to each door, sometimes round-topped as on the doors of the Randolph house, Number 321 South Fourth Street.

The most distinctive of these doorways is that at the southeast corner of Eighth and Spruce streets, where elliptical winding flights lead to a landing before the door. The ironwork is undoubtedly among the most graceful and best preserved in the city. This low, broad entrance resembles Southern doorways rather than the Philadelphia type, although there are a few others of similar character near by. The wide, flat casings and single-panel doors seem severe indeed by comparison with most of the earlier doorways with their greater flexibility of line.

Generally similar, the doorway of the old Shippen mansion, Number 1109 Walnut Street, with its straight flight of stone steps unadorned in 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.u.s.trade so much admired in the former. The fanlight pattern, good as it is, fails to make as strong an appeal as that of the other doorway.

At the northeast corner of Third and Pine streets is to be found a very narrow doorway of this character, its double doors paneled like those of the Shippen mansion and its graceful fanlight 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 leading to a square stone platform, the entire construction being on the brick-paved sidewalk. The simple, slender rail of wrought iron, its chief decoration a repeated spiral, is the best feature.

Philadelphia, perhaps more than any other American city, is famous for the profusion and beauty of its ironwork, wrought and cast. For the most part it took the form of stair rails or bal.u.s.trades, fences and foot sc.r.a.pers, and many are the doorways of little or no architectural merit which are rendered beautiful by the accompanying ironwork. On the other hand, accompanying ill.u.s.trations already discussed show the rare beauty of architecturally notable doorways enriched by the addition of good ironwork.

Fences were the exception rather than the rule in Colonial times, although rarely employed along the front of a house to prevent pa.s.sers from accidentally stepping into areaways in the sidewalk in front of bas.e.m.e.nt windows. The danger of such a catastrophe was remote, however, for Philadelphia sidewalks were very broad in order to make room for the customary stoop before the doorway and the frequent rolling way or bas.e.m.e.nt entrance. These sidewalk obstructions being the rule, people formed the habit of walking near the curb, and accidents were thus avoided. It was not until late in the nineteenth century, when bas.e.m.e.nt entrances with an open stairway along the front of the house began to be provided, that fences came into vogue, except in the suburbs, where a small front yard was sometimes surrounded by an iron fence.

[Ill.u.s.tration: PLATE LVI.--Hall and Staircase, Mount Pleasant; Second Floor Hall Archway and Palladian Window, Mount Pleasant.]

[Ill.u.s.tration: PLATE LVII.--Hall and Staircase, Cliveden; Staircase Detail, Cliveden.]

Stoops divide themselves into four princ.i.p.al cla.s.ses, of which the first, consisting only of a single broad stone step before the doorway, perhaps hardly warrants the term. As at Grumblethorpe and the Morris house, these broad stone steps often had no ironwork other than a foot sc.r.a.per set in one end or in the sidewalk near by. Again, as at the entrance to the Wistar house, there were iron handrails or bal.u.s.trades at both sides. Less common, though by no means infrequent, were the stoops of this sort with a single handrail at one side.

These handrails or bal.u.s.trades, replacing the stone parapets so common in other American cities, are patterned after the cathedral grilles and screens of the Middle Ages and consist of both Gothic and Cla.s.sic 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 bal.u.s.trade at the Wistar house just referred to is a typical example of excellent cast-iron work, the design consisting of a diaper pattern of Gothic tracery with harmonious decorative bands above and below.

The Germantown farmhouse presents another variant of this first and simplest type of stoop with a hooded penthouse roof above and quaint side seats flanking the doorway. As at the Johnson house, the broad stone step was sometimes flush with the sidewalk pavement.

The second type of stoop consists of a broad stone step or platform before the door with a straight flight of stone steps leading up to it.

Cliveden, Mount Pleasant and Doctor Denton's house are notable instances of such stoops without handrails of any sort. The Powel house stoop of this type has one of the simplest wrought-iron rails in the city, while that of the house at Number 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 the southeast corner of Seventh and Spruce streets, already referred to, and the former being given a distinctive touch by two large b.a.l.l.s used as newels. Sometimes, as at Number 701 South Seventh Street, there was only one step between the platform of the stoop and the sidewalk, when its appearance was essentially the same as a stoop of the first type such as that of the Wistar house.

The third type of stoop has the same broad platform before the door, but the flight of steps is along the front of the house at one side rather than directly in front. While these were oftener straight, as in the case of the doorway at the northeast corner of Third and Pine streets, already referred to, they were frequently curved, as at Number 316 South Third Street. Both have a wrought-iron rail with 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 bas.e.m.e.nt entrance beneath the platform. The ironwork is beautifully hand-wrought in the Florentine manner, its elaborate scroll pattern beneath an evolute spiral band combining round ball spindles with flat bent fillets, and the curved newel treatment at each side adding materially to the grace of the whole.