Chapter II: Part 2

"... when I rode through the Garden District--the new part of the town--my lady friends pointed to the galleries and said: 'You should see them in the summer, before the people leave or after they come back. The entire population is out-of-doors in the air, and the galleries are loaded with women in soft colors, mainly white. They have white dresses by the dozen. They go about without their hats, in carriages and in street cars, visiting up and down the streets. In-doors, one must spend one's whole time and energy in vibrating a fan.'"

Writing of the Garden District, Mark Twain said: "All the dwellings are of wood ... and all have a comfortable look. Those in the wealthy quarter are spacious; painted snowy white, usually, and generally have wide verandas, or double-verandas, supported by ornamental columns. These mansions stand in the center of large grounds and rise, garlanded with roses, out of the midst of swelling masses of shining green foliage and many-colored blossoms. No houses could well be in better harmony with their surroundings, or more pleasing to the eye, or more home-like and comfortable-looking...."

George Washington Cable, who is credited with introducing the French Quarter's charms to the world, was born on Annunciation Square, just below Lafayette City and later grew up and spent many years in various homes in the Garden District. Cable was internationally celebrated in his day for his Creole stories. His house on Eighth Street, between Chestnut and Coliseum, still standing today, was a mecca for visiting authors. Public education had its start in Lafayette City shortly before it was started in New Orleans. However, Cable gives a delightful glimpse of the wild carefree youngsters of Lafayette in the 1830's before the free educational institutions were established:

"... The mass of educable youth--the children who played 'oats, peas, beans' with French, German and Irish accents, about the countless sidewalk doorsteps of a city of one and two-story cottages (it was almost such); the girls who carried their little brothers and sisters on one elbow and hip and stared in at weddings and funerals; the boys whose kite-flying and games were full of terms and outcries in mongrel French, and who abandoned everything at the wild clangor of bells and ran to fires where volunteer firemen dropped the hose and wounded and killed each other in pitched battles; the ill-kept lads who risked their lives daily five months of the year swimming in the yellow whirlpools of the Mississippi among the wharves and flat-boats, who, naked and dripping, dodged the dignified police that stalked them among the cotton bales, who robbed mocking-birds' nests and orange and fig trees, and trapped nonpareils and cardinals, orchard-orioles and indigo-birds in the gardens of Lafayette and the suburban fields--these had not been reached and had not been sought by the educator."

Visualize Twain, Cable and Charles Dudley Warner of _Harper's Magazine_ at Cable's Eighth Street home. Add Lafcadio Hearn and Joel Chandler Harris for very good measure. You have the principals of a scene which actually took place, well documented by Cable's children who were also present as youngsters, and described delightfully by Mark Twain in _Life on the Mississippi_. Briefly, Twain, Warner and Hearn had come to join the host in welcoming the famous "Uncle Remus". A literary evening ensued, but to the dismay of the children, not only was "Uncle Remus" white, but he didn't _talk_ the dialect of which he was the undisputed master. Harris was so very shy that Twain read the "Tar Baby" for him to assuage the feelings of the disappointed youngsters. Then the authors read from their own works; Cable played his guitar and sang his celebrated Creole songs. Twain's amusing passage describing the scene has an equally humorous sketch showing himself reading while the others are sound asleep.

Great sports figures knew the Garden District. The Southern Athletic Club, at Washington Avenue and Prytania Street, now Behrman Gymnasium, was a center of athletic endeavor for the elite of the area, and its volunteer military units had headquarters there. Among the sports luminaries who used its facilities was the great Jake Kilrain. He trained there in 1889 for his bout with John L. Sullivan at Richburg, Miss. In 1892 "Gentleman Jim" Corbett trained there for his celebrated fight with Sullivan at the Olympic Club, and to the Southern he returned triumphant for a victory celebration. The S.A.C. had New Orleans' first Turkish bath. In 1878, the Lawn Tennis Club had the city's first tennis court at Jackson Avenue and Prytania.

The most discussed showplace in an area of palatial homes was the Renaissance-inspired house of James Robb on Washington Street, now Avenue. His dream house deserved all the adjectives lavished upon it. The one-story brick and plaster mansion was surrounded by gardens rivalling those of Europe's royal estates. He brought over a German gardener to design and maintain them. Statuary by European and American masters embellished the grounds.

Some contemporary observers found the severe classical exterior a bit plain, but inside there was a lavishness of detail which made even these carpers wax enthusiastic. The house contained frescoes by the celebrated Dominique Canova, priceless European pictures, furniture, rugs and objects. The most famous art work was probably Hiram Powers's _Greek Slave_, the daring marble beauty which had shocked New York. Robb allowed it to be exhibited in several cities before bringing it to his home. Everywhere it aroused controversy. Today it is in Washington's Corcoran Gallery of Art.

Robb, millionaire businessman, president of the first trunk line railroad to New Orleans, the New Orleans, Jackson and Great Northern (later part of the Illinois Central) lost his fortune and in 1860 the great house which had been dubbed "Robb's Folly" was acquired by another millionaire, John Burnside. Under his ownership the beauties of the dwelling were preserved. The noted octagonal room, decorated in the Pompeian fashion, with its arrangement of mirrors which reflected the scene _ad infinitum_, continued to excite admiration.

In 1890, Mrs. Josephine Newcomb purchased the three-acre square and its buildings for the girls' college which she had endowed some years before. In converting it into a school, great care was taken to preserve the architectural beauty. When Newcomb College moved to its present campus in 1918, the old campus was acquired by the Baptist Bible Institute, later the Baptist Theological Seminary. They used the site until 1955, when they, too, moved to larger quarters. The Baptists extended Conery Street through the square, divided the property into lots, and sold them. Fine new homes have arisen there.

The people of Lafayette were notably deep in their religious faiths and in love for their fellow men. This is shown by their early church organizations, by their solicitation for the welfare of the indigent and the orphans of the immigrants devastated by cholera and yellow fever epidemics, and by their inauguration of public education, lyceum programs and a library.

It is interesting to note that, with the background of Germans and Irish, it was a Protestant church which first was erected for a Lafayette City congregation. In a building on St. Mary Street, near Fulton (now St. Thomas), as early as 1831 the Methodists were meeting. Some 10 years later the same denomination built a new church on Magazine Street out of flatboat gunwales, and this was known for years as the "Flatboat Church". Later it became identified with a young pastor, Elijah Steele, who had died of yellow fever. As Steele's Chapel it united with the St. Mary Street Church and the Andrew Chapel, which had been built on Dryades and Felicity in 1835, to form the Felicity Methodist Church.

Although a parish was chartered for Lafayette Roman Catholics in 1836, they had no church and no priest until 1843. That year Father Peter Chakert, of the Redemptorist order, gathered the faithful in Kaiser's Hall on Chippewa and Josephine Streets for masses on Sunday morning after the past evening's dance had ceased. The following year saw the start of their first church on Josephine Street, St. Mary's Assumption. This lovely little wooden chapel, with its bell which was cast at Des Allemands, was later replaced by the present structure. However, the first building is still standing, moved to St. Joseph's cemetery on Washington Avenue, where it serves, all white and clean, as a mortuary chapel, 117 years old.

St. Mary's Assumption first served all the Roman Catholics of Lafayette with sermons alternating in German, French and English. In 1850 St. Alphonsus Church was completed across the Street, chiefly for the Irish, and nine years later, this remarkable tri-lingual parish opened a church for the French people on Jackson Avenue. This was taken down in 1925, but is perpetuated in the Chapel of Our Mother of Perpetual Help at Third and Prytania, the old Lonsdale-McStea house.

A SKETCH OF THE PLAN OF THE FAUBOURG LIVAUDAIS,
_Drawn at the request of_ Messrs. L. PEIRCE, W. H. CHASE, M. MORGAN and
S. J. PETERS,
By B. BUISSON, Surveyor for the Parish of Jefferson--March, 1832.
PRINTED BY BENJAMIN LEVY, CHARTRES-STREET.

The year 1840 saw the Presbyterians organized in Lafayette City under the popular Rev. Jerome Twichell. Their church, completed in 1843, on Fulton between Josephine and Adele, was also occasionally used by the Society of Friends. Henry Clay attended services once in the church soon after it was opened. The Prytania Presbyterian Church, where George W. Cable worshipped and sang in the choir, was founded in 1846.

Episcopal services began in a room on the corner of Washington and Laurel streets in 1847. Later that year, construction started for the Church of the Holy Trinity at the corner of Live Oak (now Constance) and Second streets. In 1851, the Rev. Alexander F. Dobb, a dynamic churchman, began working for the construction of a handsome new edifice at Jackson and Coliseum Streets. Trinity Church, as its name was shortened, was occupied in 1853. Unfortunately, Mr. Dobb and his wife died in the tragic yellow fever epidemic of that year and never saw the completed church.

Congregation Gates of Prayer, the Jewish synagogue, originally worshipped in a building near the corner of Sixth and Tchoupitoulas Streets, but in 1854 it moved to a building, still standing though no longer used for that purpose, on Jackson Avenue.

Missions for the German Protestants were provided by the Evangelical, Methodist, Presbyterian and Episcopal churches in various locations.

Lafayette City is no more. Its heritage is two-fold: the sturdy Irish-German stock of its riverfront section; and the great houses and cultural heritage of the Garden District, its fine residential section. Of the former, volumes could be written; of the latter, the following pages will attempt to touch the high spots. If this small book encourages the reader to visit the scenes described, if it provides a setting for the better appreciation of the great houses, the many hours of patient research and writing will be well rewarded.

LOUISE S. McGEHEE SCHOOL
2343 Prytania Street

_The Main Building_

Formerly one of the most lavish private homes in the Garden District, this mansion now serves as the main building of the Louise S. McGehee School, for almost half a century one of the outstanding private schools for girls in the South. Amid architectural surroundings which bespeak a bygone age of leisure, work and study now prevail as the students pursue their exacting college preparatory curriculum.

Designed in the splendid free Renaissance style by James Freret, the mansion was constructed in 1872 for Bradish Johnson, a young man of wealth and discrimination whose family fortune was based on sugar plantations. Its erection marked the second great period of affluence for the Garden District. According to tradition it was built at a cost of one hundred thousand dollars and its furnishings were as lavish as the house itself. Always beautifully maintained by the Johnsons and the Walter Denègre family, its later owners, the architectural features of the building have been carefully preserved by the school corporation. Of undiminished loveliness are the fluted Corinthian columns, lofty ceilings and elaborate moldings embellished with classical motifs. An outstanding feature of the building is the winding staircase which rises at the rear of the marble-floored entrance hall. This stairway of unsurpassed beauty has been frequently honored as a masterpiece of design and craftsmanship.

A curious fact about the building is that neither a marriage, a birth, nor a death has ever taken place within its walls. However, since its acquisition by McGehee school in 1929 it has been the scene of many scholastic triumphs. The school features an honor system and student self government, the first high school in the city to establish this type of government. Nearly all of the school's graduates have gone to college and most of the alumnae are active in civic affairs.

A stroll around the grounds on the First Street side gives a good view of the former servants' wing, which extends to the rear, looking today much as it did when the house was new. The beautiful grounds are particularly lovely in the spring when myriads of azaleas are in bloom as well as the large wisteria vine which drapes the arch of the front gate. Aged and majestic are the many magnolia trees, the largest of which some years ago was declared by E. H. Sargent, then curator of the Arnold Arboretum, to be the most magnificent specimen of _magnolia grandiflora_ in the United States.

Provision for fine private education for girls has long been a tradition in the Garden District. By a strange coincidence, three of the earlier schools were within the immediate neighborhood of what is now McGehee School, and one of these was on the very spot.

In 1853 the Reverend William Duncan, later a professor of Greek and Latin at the University of Louisiana, opened the Young Ladies' Seminary on the corner of Jackson and Prytania Streets. The seminary offered what was for that time quite an impressive curriculum in languages, arts and physical sciences.

Little is known today about the Carnatz Institute, a "fashionable academy for young ladies", which in the 1860's occupied a substantial brick cottage on the present site of McGehee School. This corner of First and Prytania streets had been one of the first settled in this part of Lafayette. Here Charles Conrad, one of a prominent family of lawyers, had his cottage. Nearby were the houses of Alfred T. and Frank Conrad, also barristers. Sometime later General W. R. Miles was said to have owned the Conrad house which subsequently became the Carnatz Institute. In addition to day students this school attracted boarding students from Mississippi, Alabama and Texas. The Institute was advertised as having a "healthy and secluded location with spacious rooms and shaded grounds." It is not known whether the academy moved or was disbanded when Bradish Johnson bought the property and removed the old house to make way for his new mansion.

Of more recent vintage was the school of Mrs. Francis D. Blake which was located in a large gray house, now demolished, on the downtown lake corner of Prytania and Philip Streets. Mrs. Blake, a daughter of the famous Bishop Leonidas Polk, was assisted in running the school by her sister, Mrs. Lucia Chapman. This school of Sally Polk Blake is of more than passing interest because in the last years of the school the English teacher was the youthful Miss Louise Schaumburg McGehee. When the doors of Mrs. Blake's were closed, parents of undergraduates asked Miss McGehee if she would undertake to run a school for their daughters.

In 1912 Miss McGehee began her school in a small cottage on Louisiana Avenue near St. Charles. The following year the school moved to more commodious quarters at 1439 Louisiana Avenue. Assuming corporate status in 1929, the school purchased the Johnson-Denègre house and moved to its present location. The carriage house of this mansion was converted into a gymnasium and the stable into a cafeteria.

A program of growth and expansion was undertaken in 1953-54 with the construction of a new building containing elementary classrooms and an assembly room. By 1960 McGehee School had acquired adjoining properties which complete the school's ownership of the entire Prytania Street frontage on the lake side of the 2300 block. Plans begun in that year call for the construction of a lower elementary building, new cafeteria and gymnasium and a studio-laboratory wing to the upper school building. This project will be financed by a drive for capital funds, launched in 1961.

During its history, McGehee's has seen changes not only in its physical plant but also in its organizational structure. In 1937 the school was re-incorporated as a non-profit institution, which status it has today.

HARRY MERRITT LANE HOUSE
1238 Philip Street

The classic Greek Revival Style and all that typifies antebellum life in the South are to be found in the stately Lane home. The handsome two-story-and-attic brick building with its front and side verandas was built in 1853-54 for John H. Rodenberg, a dealer in feeds. In addition to the stunning front portico, the view from the corner reveals the charm of the Chestnut Street elevation with the gently undulating effect achieved by the juxtaposition of a pair of shallow bays.

In the years after it was built, the mansion was the residence of the Hardie and Brooks families and for more than 50 years was known to New Orleans society as the Pipes house. For many years it was the home of the late Federal Judge Wayne G. Borah and his family, Mrs. Borah being the granddaughter of Mr. and Mrs. David W. Pipes. In 1969 the house was purchased by Mr. and Mrs. Harry Merritt Lane, Jr., who have preserved all the notable traditional features of the house while adapting the rear section to accommodate the needs of their active young family of four.

The substantial methods of construction used by early builders resulted in the brick-bearing walls being 18 inches thick. The 14-foot-high ceilings are typical of houses of the period as is the Victorian parlor, 18 by 40 feet in size. The two large crystal chandeliers in this room are reflected in gold leaf mirrors over the twin white marble mantels. Lovely traditional furnishings complete the picture.

The cypress woodwork, doorframes in the so-called "keyhole" design, bronze doorknobs, and heart pine floors are in the best traditions of buildings of the period.

One of the focal points of the patio is a curious bit of Southern Americana, a plant bed made from the brick foundation of an old cistern where rainwater was collected. Every house had one or more of these tanks, made of wood and usually painted green. As a rule the cistern stood quite high, built upon a stilt-like frame, and was located in plain view near the back corner of the house. The sight prompted Mark Twain to write, "There is a mansion-and-brewery suggestion about the combination."

Here in the garden are many rare varieties of old camellias, grown from cuttings by Mrs. Pipes, who brought them from her family home in the Feliciana section of Louisiana more than fifty years ago. In addition to these fine specimens, this lovely Southern garden abounds in other interesting plant materials. Around the pond are plants of Creole boxwood (_Buxus japonicus_) which were propagated many years ago to supply the beautiful box hedge which flourishes on the property. The very tall palm tree is one of the few remaining in the Garden District where once they were plentiful, as old pictures show. Hurricanes, time and freezes cut down their numbers. On this tree grows a spreading wisteria vine which seems a shower of lavender in the spring.

Notable also are the sweet olive trees, crape myrtle, pear, Japanese plum (loquat) and coral tree (_Erythrina Cristagalli_). The latter is nicknamed locally the "crybaby tree" because at certain times the flowers emit a colorless fluid reminding some of tears. Contributing a tropical touch are the showy bougainvillea which climbs the side of the house, and the Hawaiian ti plant.

FORMER HARRIS-MAGINNIS-CRASSON HOUSE
2127 Prytania Street

As this edition goes to press, preservationists are fighting to stay the demolition of this handsome raised cottage. Its interesting and varied history dates from 1857-58 when it was erected for Alexander Harris, a cotton broker. In 1871 it was sold to John H. Maginnis, whose family lived there for many years. It was the local headquarters for the American Red Cross from 1939 until 1954 when it was purchased by Dr. and Mrs. Clyde Crasson, who restored the building to its original beauty as a home.

The well proportioned lines of the Greek Revival mansion were designed by James Calrow, who, with his partner Mr. Day, also served as builder. Although the three fine houses he designed during this period show Calrow to have been a man of unquestionable talents, he is otherwise unknown to architectural historians.

Symmetry and grace characterize the imposing portico with its eleven Corinthian columns, echoed by the capitals of the pilasters flanking the front door. While construction of this house was under way in 1858, an interested spectator of its progress was T. K. Wharton, one of the architects of the customhouse. In his diary, now in the New York Public Library, he notes on February 10 of that year that this house "promises to be the handsomest piece of work in the District." Its style, he later remarked, is "rich Corinthian, very handsome."

The broad gallery, so typical of the Garden District, is also embellished with the popular grillwork, "iron lace" as it is sometimes called. An astonishing diversity of ironwork patterns is to be seen in the area. This particular design of fruit and flowers is a fine example of both single- and double-faced cast iron used in alternation.

Proceeding up the broad, high flight of center stairs, the visitor crosses the wide veranda and reaches the handsome front door, which in its carved basket of fruit ornamentation repeats one of the motifs of the grillwork. An old-fashioned pull type of doorbell announces a caller. Inside one enters a center hall of breath-taking proportions. Within its area of 67 feet by 12 feet could be placed several rooms of a modern development house. Here again we find the reflection of the classic revival in the elaborate plaster work of cornices and ceiling.

On the right of the entrance hall is a large drawing room of the type called "double parlor" because of the suggested separation into two rooms, each of which was treated identically and had matching mantels. A balanced spacing of all openings in the room plus the treatment of windows as doors in the French mode give harmony to the room. Both mantels are of black and gold Italian marble with bronze trim. The front mantel features the _fleur de lis_ of France while the companion mantel has the crossed bows of Louis XVI and the roses of Marie Antoinette. Both fireplaces are backed with black iron embossed with the _fleur de lis_ design.

Across the hall is the dining room, which is lighted by the original gas chandelier, now wired for electricity. Here the graceful mantel is of white marble. Directly behind this room the Crassons have installed a family room kitchen in the early American style. Originally the kitchen was outside, as was the custom of that day, but the present owners made a more convenient arrangement for modern living by this relocation. The comfortable sitting room has a black and gold mantel with the same Louis XVI motifs as one in the drawing room.

No trace of the original garden which extended to Jackson Avenue remained when the Crassons purchased the property. They are now in the process of restoring this corner to some of its former beauty. In the front of the house, however, huge oaks and palms remain from the past. According to reliable sources, these massive oaks were planted as young saplings on September 14, 1874, the day the carpet baggers were driven out of New Orleans.

ATWOOD L. RICE, JR. HOUSE
1220 Philip Street

While it was the home of Isaac Delgado, this exquisite dwelling housed the art collection which became the nucleus of our city's art museum. Although this is one of the largest houses in the Garden District, a delicacy of proportion and the tree-shaded garden within which it stands serve to minimize its great bulk. A good notion of its size can be obtained from counting the many chimneys which rise from the slate roof. Constructed entirely of wood, it exemplifies the style developed locally just before the War Between the States. Here we find the characteristic fluted Corinthian columns used on both upper and lower galleries and linked by iron grillwork. Gracefully curved upper portions of windows and shutters lend a note of harmony. The semi-octagonal bay which extends on the north side of the house was once the dining room but was transformed into a bar and kitchen in recent years. The north wing of the house has also been converted into a separate _maisonette_.

Little is known about the construction of the house. It was built in the late 1850's for Mrs. Augustin Marius Tureaud, believed to have been the daughter of James Mather, who was mayor of New Orleans in 1810. In 1866 the house was sold at auction to Trinity Episcopal Church for use as a rectory. For some reason this purpose apparently was never carried out, and the house was sold again in 1868 to Samuel and Sarah Delgado for $12,400.

Samuel Delgado was a prosperous sugar and molasses broker. Childless, he and his wife took into their home their fourteen-year old nephew, Isaac Delgado, who came from Jamaica. Apparently having exceptional business aptitude, the boy entered the world of commerce almost immediately. In a few years he began amassing the fortune he was to use for charitable purposes. Long before his death Delgado, a bachelor, gave away huge sums. He donated his art collection and $150,000 to erect the Delgado Museum of Art in City Park. It was completed in 1911 and the old man was quite disappointed that ill health prevented his attending the dedication ceremonies. On his death in 1912, he left his millions for hospitals and the trade school which bears his name. His home he bequeathed to the city. For a brief period it served as the British Consulate, and then in 1920 it was sold to David Pipes, who owned the fine house next door which is now the Lane home. Present owners are Mr. and Mrs. Atwood L. Rice, Jr. who purchased the house in 1972 from Mr. and Mrs. John R. Fitz-Hugh. Charmingly furnished, this house is a fine example of how an early Victorian mansion can be adapted to modern living.

The beautifully landscaped garden is planned to feature color in the spring with a predominantly green effect for the hot summer months. Across the front of the yard is a hedge of white camellia sasanquas. From front to back on both sides, the garden is bordered with dwarf azaleas which range in color from deep red (Hexie and Henodegeri) to pinks (Pink Pearl and Coralbells) in the center to white (Snow) in the rear. The large azaleas in the side garden are Pride of Mobile. Among the other plants are camellia, crape myrtle, cocculus, cherry laurel, pear and wild plum, many of which are grouped around an inviting patio.

THOMAS JORDAN HOUSE
1415 Third Street

This great mansion on the corner of Third and Coliseum streets is an outstanding example of the age of opulence. Designed by an unknown architect, the house was completed in 1865 for Walter Robinson, a young Virginian who came to this city to buy Cuban wrappers for cigars and to purchase perique, an especially fine type of tobacco which to this day is grown only in St. James Parish of Louisiana.

The house's second owner, David C. McCan, a native of Cincinnati, is remembered for his philanthropy and civic endeavor. Third occupant was Peter Pescud of Raleigh, North Carolina. His wife, Margaret C. Maginnis, who reigned in 1874 as the second queen of the New Orleans Carnival, made it a center of gay social activity.

Douglass Freret assisted the present owner, Thomas Jordan, Esq., with a fine restoration.

Viewed from the street, the house presents an impressive sight. The unknown architect set it far back on the lot, sideways to the street, with a Palladian carriage house and iron gates. The impressive scale of the house results from stories of equal height, 15 feet, 8 inches. Double galleries with curved ends adorn the façade. These feature Doric columns below and Corinthian above. Linking the columns are panels of cast iron in a pattern somewhat heavier than usual, which admirably blends with the feeling of solidity which the building gives. On the southern exposure are double galleries framed in ironwork of a lacy design, which effectively lightens and gives delicacy to the whole. Not to be overlooked is the iron fence which, with its handsome shell motifs, contributes to the effect of beauty.

Detailing of the interior, with its elaborate carved door and window trim, fine plaster cornices and ceiling centerpieces, and especially the superb winding staircase, is among the most elaborate in the city. All the rooms are palatial, furnished with choice antiques, many the work of America's foremost cabinet makers.

Painted ceilings are features of both living and dining rooms, that of the latter executed with great delicacy after the manner of Robert Adam. The wallpaper in the dining room is the famous Züber 1834 "Scenic America". The chimney piece of this room was designed to contain a wooden eagle found at the mouth of the Mississippi after a hurricane. Carved from cypress, it is believed to be the sternboard of a pilot boat built in Charleston at the time of the Louisiana Purchase in 1803.

A fascinating fact about this house is that it was said to be among the first in the city to have inside plumbing, water being supplied from cisterns on the roof, which also provided protection from fire.

THOMAS B. FAVROT HOUSE
1448 Fourth Street

During the fabulous 1850's when splendid mansions were rising all through the Garden District, no structure was larger or finer than this important house. Although usually identified as the "house with the cornstalk fence", this house has other features to recommend it.

The tremendous size, the asymmetrical design and the beautiful iron work galleries on front and sides make it an unusual structure. Designing during a period when romanticism was the ascendant trend in arts and letters, the architect Henry Howard turned to the Italian villa style, which he skillfully adapted to the hot and humid New Orleans climate. Built in 1859 for Colonel Robert Henry Short, a Kentucky colonel, the house cost the wealthy commission merchant $23,750. Cost of duplication today would be impossible to estimate.

The mansion presents an exterior which, except for the classical pilasters of the entrance doorway, is a radical departure from the then prevalent Greek Revival. Howard's expertness in the latter form at this period had been demonstrated in the recently completed Belle Grove plantation at Bayou Goula, one of the most magnificent of all the plantation houses. Some of the features of the Belle Grove plan he used again for Colonel Short. Despite the Italian façade beautifully allied with New Orleans' beloved iron lace, the interior of the house adhered strictly to the Greek Revival in woodwork and ornamentation. Marvels of workmanship are the handsomely carved door and window frames and the decorated plaster cornices and ceiling centerpieces.

The usual double parlors are found to the left of the entrance hall, but in this instance they are not identical rooms. The rear one extends farther into the side yard in a curved bay with an iron work gallery outside. Giving an idea of the magnificent scale of the house are the approximate dimensions of the parlors, which at their greatest points measure 43 by 26 feet. The ceilings are 16 feet high.

Across from the back parlor is a library which extends out in a similar manner on the Prytania Street side. The wide entrance hall is met at the rear of the parlors and library by a large cross hall which contains the stairway. This is of oak, evidently not the original since that kind of wood was not used for buildings in this locality at that period. This was one of many alterations made by one or both of the subsequent owners: Miss Mary Morgan, who bought it in 1892 from Short's succession; or Abraham Brittin, cotton broker, who acquired it in 1906.

Around the turn of the century other changes had been made in a determined effort to wipe out every vestige of the neo-classic. Deep red brocade was applied to the walls, and in one room the ceiling was painted red. All woodwork was painted a gloomy brown with imitation wood grain, while simulated wall panelling was used to change the character of other rooms.

Some of the changes, however, were not as heavy and unattractive to present day tastes. The already commodious dining room was further enlarged with a delightful semicircular bay on the Prytania Street end, and with an extremely decorative arcaded conservatory with open terrace at the other end of the room.

Under the sympathetic restoration of Mr. and Mrs. Alfred Jay Moran, oppressive dreary paint gave way to light cheerful colors and spurious panelling was torn down with a feeling of expansive grace regained. In 1971 the house was purchased by Mr. and Mrs. Thomas B. Favrot, for whose large family it is a handsome and congenial setting.

Outside, the distinctive fence of morning glories intertwining cornstalks which was falling to pieces in 1950 when the Morans bought the house, has been restored. When the repairs were underway, an exposed base of a fence post revealed that the iron work was supplied by Wood and Perot, the famous Philadelphia foundry. Through the local agents, Wood and Miltenberger, this firm supplied a good percentage of the cast iron used in New Orleans. It is likely that the "iron lace" galleries on this house were also their work.

BRYAN BELL HOUSE
1331 Third Street

Iron lace, delicate but dramatic, casting lovely shadows across the façade of the Bell house, has made this a favorite "shot" for photographers, both amateur and professional. These cast iron galleries, often called the finest in the city, make the house eye-catching, but locally it is also famous for its associations with the New Orleans family of the French painter Edgar Degas.

In 1850 Michel Musson, a prominent cotton merchant and postmaster of New Orleans from 1849 to 1853, purchased the site and is said to have commissioned James Gallier, Sr., to design his dwelling. Construction was soon completed on this interpretation in wood of a formal Italian villa, as its style has been defined by Samuel Wilson, Jr., local architectural historian. Certainly in those days the designation would have been more appropriate than now, the famous ironwork having been added in 1884. The original Gallier plan had two bay windows on the front, similar to one on the garden side of the house, with canopies such as are on the Coliseum Street side protecting the upper windows. The bracketed overhang of the roof on both sides is Italianate in feeling.

In 1869 the house was sold to James Buckner, who in turn sold it in 1884 to Charles M. Whitney. In addition to altering the front of the house, Whitney also added the Victorian stables which are still preserved complete with brass name plates on the former stalls of his favorite horses, Momus, Comus and Twenty-one. The last was named for a favorite riverboat gambling game. At the rear of the property is a garçonnière (literally "house of the boys") which is original, as is the ornamental iron fence.

The house is now the property of Mr. and Mrs. Bryan Bell who have furnished it with an excellent collection of antiques and paintings.

As a visitor enters the house, he is at once captivated by the graceful curved stairs, typical of Gallier's work. This is of the unsupported or free-hanging type. Throughout the house, woodwork of door and window frames is of the famous neo-classic design, popularly called the "keyhole design", which owes its inspiration to the vogue for Egyptian styles which followed Napoleon's campaigns in that country. The lovely living room cornices are of plaster, set out from the wall at a slight angle with an openwork design which gives them the local name of "double transparencies". The wide board floors are heart of pine, sun-cured instead of kiln-dried which gave great durability to the wood.

Lovers of the unusual are always fascinated by the handcarved teakwood mantel in the living room. Added by the Whitneys, it has a secret compartment on either side.

An unusual feature of the house is the huge dining room, which, despite its twin mantels, was always a single room. The large Musson family and the many friends they entertained dictated a dining room of tremendous proportions. The identical bronze chandeliers were originally for gas but later were wired for electricity. Mrs. Whitney, however, not fully trusting the new-fangled electricity, prudently had only half the arms wired. The rest she kept for gas "just in case".

The spacious side garden of the Bell home uses many typical Southern materials bordering a wide sweep of green lawn. The towering palm is a species of date palm tree. On the trellises by the house are Carolina jasmine (_Gelsemium sempervirens_) vines. At the corner of the house is a large golden dewdrop (_Duranta repens_), a showy shrub which has bright yellow berries and racemes of small lilac flowers, frequently at the same time. Near this spot is a Lady Banksia rose (_Rosa Banksiae_), for many years a New Orleans springtime favorite. In summer the famous "Whitney pink" oleanders are especially striking. This variety was propagated by Mrs. Whitney's gardener and is now one of the most popular in the Crescent City.

This type of work is typical of that done by European artisans who decorated many great Garden District homes.]

ADELAIDE L. BRENNAN HOUSE
2507 Prytania Street

Nearly a century after it was built, this vast mansion, a newspaper editor's dream house, almost made the front page when a raging fire gutted the interior and threatened destruction. Fortunately the house withstood good times and bad, hurricanes and fire, and stands today lovingly restored.

The quarter square of land at the corner of Prytania and Second Streets was purchased in June, 1852, by Joseph H. Maddox, owner of the _New Orleans Daily Crescent_, a prominent newspaper of the period. Plans for his new residence were made by a local architect, John Barnett, and in August of that year a contract for construction was signed with John R. Eichelberger. As was often the case in those days, a different architect was employed to supervise the construction. Edward Gotthiel was selected for this job.

Unfortunately, soon after its completion, Maddox became embroiled in a ruinous law suit which resulted in the house's being seized by the sheriff and sold to John Coleman. Subsequent owners have been F. W. Kirchoff, Alfred Moulton, S. P. Walmsley, C. D. Cecil, Walter S. Simpson, and now Mrs. Brennan.

As envisioned by Barnett and brought to fruition by Gotthiel and Eichelberger, the house emerged as one recognized for its exceptionally fine proportions. A strict scale was adhered to so that all rooms, both upstairs and down, are 22 feet square with the exception of the entrance hall which measures 11 by 44 and the gold ballroom which is 22 by 44 feet.

Viewed from the street the front elevation of broad front galleries with superimposed Ionic and Corinthian columns impresses even the casual observer. A more practiced eye will detect refinements of scale and detail which make it notable.

In 1954, soon after the Simpsons acquired the property and began restoration, a major fire destroyed a large part of the interior. Heartsore but undaunted by the monumental task they now faced, the Simpsons were determined that the house should be restored as closely as possible to its original state. Months went into the search for proper materials and workmen who could execute in the style of a past century. Today this beautiful home, with recent restoration by Mrs. Brennan, is again the object of much admiration.

In the entrance hall the molded cornices around the ceiling are prized "double transparency" style. The rosette was made directly upon the ceiling at the time of the restoration. Others in the house were molded separately and then applied. Following the popular neo-classic trend, the doorframes were made in the "keyhole design", enhanced by handmade hinges of silver over solid brass.

Many different woods are used to advantage in the house. Hall floors are of pine, but cypress is the flooring for living and dining rooms. Diagonally laid oak boards were placed over the old pine in the ballroom to give a better surface for dancing. The magnificent stairway combines cypress treads with walnut spindles topped with a mahogany rail. Especially beautiful in the living room are the sliding doors made of burl walnut. They complement the handcarved mantel, also of burl walnut, with brass trim and Italian tile hearth.

In the dining room the fire blistered off layers of paint on the mantel tiles and revealed beneath the original design of the tiles. This Louisiana bayou scene is unique.

Most elegant room in the house is the gold ballroom, looking today much as it did in 1870, when the Moulton family commissioned a Viennese artist to decorate it. At that time the ceiling of the coved area was done in tapestry. Since the fire, it has been hand painted in colors as close as possible to the original. The birds are done on canvas, and the field paper is a companion to that on the walls. In this room is a pair of mantels, dark Italian marble rimmed with silver plated brass, with hearths of Italian tiles. When the fireplaces are in use, fascinating designs embossed on the iron firebacks glow and stand out in relief. At the far end of this spacious chamber is a small room, now converted into a bar, which was once the room where musicians sat while furnishing music for soirées.

FRANK G. STRACHAN HOUSE
1134 First Street

By reason of its beauty alone this majestic house would deserve notice, but history has touched the house, making it a landmark. It is revered by Southerners because the Confederacy's beloved President, Jefferson Davis, died within its portals. A granite marker placed beside the front walk by the United Daughters of the Confederacy memorializes this sad event.

Very little is known about the actual construction of the house, but it is conceded to have been one of the very first large mansions of the district. Records show that the site on the corner of First and Camp Streets was purchased in May, 1849, by Jacob U. Payne and his business partner, J. P. Harrison. It seems reasonable to suppose that the date of construction was between that time and 1850, the dawn of Lafayette's great era of building. Since no record of architect or builder has been found, it is a popular local supposition that Mr. Payne himself designed the house, carrying on the tradition of the previous century when many gentlemen considered skill in architecture a necessary accomplishment.

The architect, whether Mr. Payne or some unsung genius, achieved a masterpiece which has both dignity and grace. The use of the Greek Revival style of architecture could not have been more correct. The handsome portico with its double gallery is adorned with great columns, Ionic below and Corinthian above, in the great classic tradition. Massive gables of the house with their twin chimneys are typical of the high quality of materials and workmanship employed. The cast iron capitals of the columns are marked New York, 1848.

The exterior of the house is stuccoed brick and the thick walls within are also of brick. Cypress was used for the beams; heart pine, for the floors. Window frames and doors are of mahogany. The decoration of this house is more restrained than in most of the houses built later when a greater exuberance came into vogue. The cornice design was duplicated in a miniature room depicting a New Orleans interior in the Chicago Institute of Art.

From J. U. Payne, ownership of the house passed to his son-in-law, Judge Charles E. Fenner, and his family. It was in the downstairs bedroom, on December 6, 1889, that President Davis died. Mrs. Edward Gay, granddaughter of the original owner, recalls that Davis, an intimate friend of the Paynes and Fenners and frequent guest in their home, was taken ill at his home "Beauvoir" on the Mississippi Gulf Coast and was brought to her grandfather's house in an ambulance.

Joyous times as well as sad form the tapestry of this house's associations with the Davis family. Winnie Davis, the daughter of Jefferson Davis, had her happiest moments here. This lovely girl, christened Varina Ann Jefferson Davis, had been born in the Confederate Executive Mansion in Richmond in June, 1864. Her birth was regarded as a single bright light in the darkest time for the South. Ever afterward she was affectionately called the "Daughter of the Confederacy".

When she came of age, Winnie was presented to New Orleans society from the Fenner home. Her social success was a tribute to her beauty as well as an expression of the esteem with which her father was regarded. In 1883 Winnie was queen of the Momus ball, the theme of which was "The Moors in Spain". The following year Winnie, along with the daughters of Robert E. Lee, Stonewall Jackson and A. D. Hill, was signally honored by Comus. These girls were given the honor of dancing the first quadrille, Miss Mildred Lee being Comus's partner. Although they were not officially proclaimed queens and maids of honor, the dynasty of Comus courts dates from that ball.

Later, the charming Miss Davis had her turn to reign with full Carnival panoply. Comus made her his queen in 1892. Mrs. Gay recalls how, as a small girl, she stood by the steps to catch a glimpse of Winnie in her white satin gown, styled along modified Oriental lines, as she entered the carriage to go to the ball. A portrait of Winnie in this dress, along with her jewels and the chalice Comus used to toast his queen, are on display at the Confederate Memorial Hall.

In 1935 the house was sold for the first and only time to Mr. and Mrs. William Bradish Forsyth. Present occupants of the house are Mr. and Mrs. Frank G. Strachan. Mrs. Strachan is a daughter of the Forsyths. The large house is furnished with a fine collection of European and American antiques and _objets d'art_.

On the south side of the house is an enchanting garden pavillion, which was designed by Richard Koch and Samuel Wilson, Jr., who have also been consulting architects for restoration work on the house. The lovely gardens were planted according to the plans of Umberto Innocenti, noted landscape architect of Long Island, N. Y.

THOMAS M. TERRY HOUSE
1417 Third Street

Small and appealing, this remodeled carriage house furnishes a delightful contrast to the huge mansions which surround it. Some thirty years ago Dr. and Mrs. Thomas M. Terry bought the carriage house in the rear of the large house at 2520 Prytania Street. The main house, built in 1853, is attributed to Isaac Thayer, architect and builder, in Samuel Wilson, Jr.'s _Guide to Architecture of New Orleans_--1699-1959, although local tradition holds that it was the work of James Gallier, the younger. This was the childhood home of John M. Parker, a former governor of Louisiana.

After purchasing the rear portion of the property, the Terrys, under the direction of Douglass Freret, architect, embarked upon a building plan which preserved the interesting features of the original structure and yet added modern convenience. The resulting arrangement has a serenity achieved partly through a flowing use of available space and also through selection of muted, quiet colors. Theirs is a house spacious enough for entertaining yet a compact home for two.

The original outside walls of the carriage house are 13 inches thick, a density which is readily seen in the depth of the doorways in the old exterior walls. Preserved on the exterior are the broad doors which once swung back to permit the passage of carriages.

The entrance hall, with kitchen on the left, is part of the additions made by the Terrys. The hall flooring is beautiful Tennessee marble. Although the brass stair post is not old, the well-worn steps, hidden beneath the carpet, are the original outside steps leading to the loft of the carriage house.

The elegant living room was once the carriage house itself, while the extension on the street end, which now serves as a small study, was used as harness room, it is believed. Together they form a room 20 by 34 feet.

Extending the width of the house in the rear is a 38-foot-long dining room and enclosed porch. Huge sheets of glass installed in the spaces between "iron lace" grillwork of a characteristic Garden District gallery permit sweeping views of the garden while preserving the traditional character of the dwelling.

The charming garden is a prize example of achieving maximum beauty in a more or less minimum space. In competition with gardens of much greater size, it won the New Orleans Garden Society Cup for three consecutive years, at which time the cup was permanently presented to the Terrys. Planned around a large swimming pool, it is skillfully laid out so as to give the impression of much greater size. Among the plantings are found azaleas, camellias, sasanquas, sweet olives, hibiscus, hydrangeas and spring bulbs. The view from the rear of the garden toward the house is particularly pleasing.

The late Dr. Terry was a tireless worker on behalf of the preservation of the Garden District. During his twenty-year tenure as President of the Garden District Property Owners Association, he helped launch an energetic program aimed at preserving and restoring the beauty of this section.

GEORGE G. WESTFELDT HOUSE
2340 Prytania Street

The simplicity and unpretentious charm of this ancient raised cottage set well back amid luxuriant vegetation bring to mind the pleasant rural character of the Faubourg Lafayette of the 1830's. Strongly akin to the type of plantation architecture which developed in Louisiana, the house was built by a pioneer resident of the Garden District, Thomas Toby.

In 1817 Toby left Philadelphia and came to New Orleans where he introduced the use of long-tailed drays for hauling cotton bales. Soon he had the largest wheelwright and commission merchant business in the South. After the railway up Nayades Street made the new town of Lafayette so accessible a suburban paradise, he chose a beautiful lot, heavily wooded with fine oak trees, on the corner of First and Prytanée (now Prytania) Streets. In 1838 he erected the charming white cottage surrounded by a picket fence which became a point of reference when describing the area. From that day the house has been known as "Toby's Corner". Much of the lumber and supplies used in its construction was brought from Philadelphia on the ships of his father, Simeon Toby, who engaged in the East coast trade. Thomas Toby suffered severe financial reverses in helping to finance the Texas revolution and some years after his death in 1849, his widow sold the house.

The present owner George G. Westfeldt, Jr., was the fourth generation of his family to occupy the house. At present the house is the dwelling of the British Consul General, Mr. A. G. Maitland, and his family.

Thomas Toby had come to New Orleans the year following the disastrous Macarty crevasse. Doubtless he was mindful that this circumstance had ruined the Livaudais plantation's sugar cane crop, and that flood might come again. Certainly a raised cottage, high water architecture if you will, was an excellent choice of style. His dwelling had the typical Louisiana arrangement of brick-piered basement at ground level with a wide flight of stairs leading to the principal floor above. Originally there were galleries only on the front and rear of the house, but through the years other galleries were added as well as a wing on the Philip Street side. Now the outside steps have been removed and the main entrance to the house is through the ground floor hall.

The lack of elaborate ornamentation in the house is a testament to its great age. The pine mantels in the summer living room downstairs and the simplicity of the woodwork are examples. Also notably chaste in design is the cornice of the upstairs drawing room. It has been estimated that one square foot of this molding would weigh 12 pounds. In this room and the dining room the Italian marble mantels are replacements made many years ago. Fireplaces remain in almost every room in the house and are sometimes used in the winter. As in so many houses in this neighborhood, the handmade glass window panes with their delightful irregularities are original.