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1890 home styles


Architectural House Styles

Architectural House Styles

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Styles

  1. American Foursquare — popular 1890-1930
  2. Art Deco — popular 1925-1940
  3. Art Moderne — popular 1920-1940
  4. Bauhaus Style — popular 1920s-1930s
  5. Beaux Arts — popular 1885-1930
  6. Bungalow — popular 1920-1940
  7. Carpenter Gothic — popular mid 1800s-1940
  8. Chateauesque — popular 1880-1910
  9. Chattel House — popular mid-19th century-present
  10. Classical Revival — popular 1893-1950
  11. Colonial Revival — popular 1880-1955
  12. Cotswold Cottage — popular 1920-1939
  13. Craftsman Bungalow — popular 1905-1930
  14. Eastlake — popular 1880-1910
  15. Federal — popular 1780-1820
  16. Folk Victorian — popular 1870-1910
  17. Georgian — popular 1700-1830
  18. Gothic Revival — popular 1840-1880
  19. Greek Revival — popular 1825-1860
  20. International Style — popular 1930-2000
  21. Italian Renaissance — popular 1890-1935
  22. Italianate — popular 1840-1885
  23. Jacobethan Revival — popular 1890-1940
  24. Mediterranean Revival — popular 1920-1940
  25. Minimal Traditional — popular 1935-1950
  26. Mission Revival — popular 1890-1920
  27. Neoclassical — popular 1750-1850
  28. Octagon — popular 1850-1870
  29. Prairie — popular 1890-1930
  30. Pueblo — popular 1920-1930
  31. Queen Anne — popular 1880-1910
  32. Ranch — popular 1940-1970
  33. Richardson Romanesque — popular 1880-1900
  34. Rustic Style — popular 1880-1940
  35. Saltbox — popular 1650-1830
  36. Second Empire — popular 1855-1885
  37. Shingle Style — popular 1880-1900
  38. Shotgun Style — popular 1850-1920
  39. Spanish Eclectic — popular 1915-1940
  40. Stick Style — popular 1855-1890
  41. Storybook Style — popular 1919-1940
  42. Swiss Chalet — popular 1850-1930
  43. Tudor — popular 1890-1940
  44. Usonian — popular 1940-1970

Collections

Below are residential and other architectural style categories that are clsssified by the National Register of Historic Places.

19th Century High Style - Indiana Landmarks

American high-style architecture in the nineteenth century drew much of its inspiration from Europe. Older European architecture certainly played its part, but so did a fascination with the continent’s political ideals, archeological finds, and building trends. All found expression in the variety of forms and designs of this period.

Federal

1810 – 1845

Robert and James Adam (1728-92) heavily influenced British architecture in the late eighteenth century. Though Americans threw off British rule, we happily borrowed the Adams brothers’ architecture for our Federal style, named after the Federalists—an early American political party that favored a strong federal government and close ties with Britain. The Federal style spread from the east coast to Indiana—the first architect-designed style the state—where it remained popular from roughly 1810-1845.

Refined and balanced, Federal houses in an I-house form generally have a fanlight and sidelights surrounding the main entry that provided natural light into the center hallway, a necessity in the days before electricity. End chimneys maintain the symmetry (and provided warmth in the days before central heating).

If the house still has its original windows, they’re probably double-hung sashes with small panes of glass, often in a 6-over-6 pane pattern. The windows typically have flat trim, perhaps with a simple keystone as decoration. The most elaborate Federal houses have a three-part Palladian window.

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Given the style’s dates of construction, you’ll find Federal houses in Indiana’s oldest towns and along early transportation routes like the Ohio River, and National and Michigan roads.

Greek Revival

1840 – 1860

Greek mania swept through America in the early nineteenth century, fueled by the desire to cut ties with Great Britain after the War of 1812. Archaeological discoveries in Greece, chronicled in books, and the Greek War for Independence (1821-30), which aroused American interest and sympathy, also contributed to the style’s popularity. Americans latched onto ancient Greece, the birthplace of democracy, as the most fitting design inspiration for architecture in the United States. People at the time called it the National style.

Buildings of every type—houses, courthouses, banks, even outhouses—displayed a temple front and columns. In addition to columns, Greek Revival houses have a pediment and wide entablature (the band between the pediment and the columns). Greek Revival remained popular in Indiana from 1840-1860.

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Among the most famous archaeological discoveries of this time included the excavation of Delphi, site of the mythological Oracle. Prophecies were given as riddles. One imagines a lot of Ancient Greeks muttering, “Some help you are,” but it was probably better than nothing.

Gothic Revival

1850 – 1870

The late Middle Ages—think castles and crusades—looked inexplicably attractive to a nineteenth-century society made anxious by factory work, political corruption, and financial crises. Alexander Jackson Davis and later Andrew Jackson Downing harnessed the feeling in Gothic Revival-style architectural designs for country cottages published in oversized plan books that reached a large audience.

The construction of the Palace of Westminster (Houses of Parliament) in London from 1840-1870, and James Renwick, Jr.’s 1855 “castle” for the Smithsonian Institution—both Gothic Revival—helped popularize the style. The great Gothic cathedrals of Europe inspired verticality, which in houses meant steeply-pitched roofs and pointed (or Gothic) arches.

In residential architecture, Gothic Revival remained fashionable in Indiana from 1850-1870, and its popularity for religious buildings continued well into the twentieth century. In some examples, board-and-batten siding further emphasizes verticality. Gothic Revival-style churches exhibit delicate stone tracery, translated in residential buildings to wooden gingerbread on bargeboards and porches. The introduction of the mechanical scroll saw to the United States in the 1860s made these intricate wooden details more affordable and prevalent.

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The historic Goths, Germanic tribes that eventually clashed with Rome, had their own architectural style, one which has little in common with the style that now bears their name. They’d also never heard of The Cure.

Italianate

1855 – 1890

The Italianate style reflects Americans’ continued love of early European architecture. Along with Gothic Revival, A. J. Downing’s pattern books also depicted designs inspired by the Romantic country villas of the Italian Renaissance. Downing’s villas often included a tower or cupola that added drama and proclaimed the wealth and status of the owner, in addition to offering a spectacular view and releasing heat during humid Indiana summers.

Italianate architecture enjoyed a long run of popularity and remains the most common of the nineteenth-century high styles in Indiana, primarily due to rapid population growth during the period. New railroads, improved roads, and larger farms made Indiana’s population swell by over one million people between 1850 and 1890. You’ll find picturesque rural examples as well as urban mansions. Even vernacular forms such as gable-fronts and I-houses embraced the Italianate craze. Italianate commercial buildings also line the Main Streets of small towns and big cities.

To spot an Italianate building, look for brackets along the cornice. While they may look like they are supporting the roof, they are merely decorative with many made of light-weight sheet metal. The roof is typically low-pitched and hipped, although gable-front forms also appear. Decorative window hoods cap tall, narrow windows that often stretch from floor to ceiling on the first floor. You’ll find Italianate houses constructed in brick and in wooden clapboard.

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Some of the first pattern books were produced by sixteenth-century Italian architect Andrea Palladio, who published a series of books including designs for houses and architectural embellishments. As they grew in popularity, their illustrations of homes and architectural styles became increasingly ornate and detailed, making pattern books an artform unto themselves.

Second Empire

1860 – 1885

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Unlike styles inspired by older European architecture, the Second Empire style arose after Napoleon III’s reign in France from 1852-1870 (the “Second Empire” in question) sparked U.S. interest in the latest Parisian fashion. Napoleon undertook a massive effort to beautify Paris through parks, grand boulevards, and new buildings. French architects of the period revived the seventeenth-century designs of Françoise Mansart, who popularized the distinctive mansard roof.

The mansard roof, the Second Empire style’s major defining element, is a dual-pitched, hipped roof. The steep lower slope may have a concave, convex, or straight edge, while the upper slope has such a low pitch that it may appear flat. Dormer windows send light into the attic, a full-height third floor made possible by the roof structure.

Elements from the Italianate style also decorate Second Empire houses, including brackets along the cornice; tall, narrow windows; and towers. The style’s fleeting popularity—1860-1885—left few examples in Indiana, but you can immediately spot those that remain; just look for the mansard roof.

Thanks to Hollywood in the ‘50s and ‘60s, the Second Empire style may be forever associated with haunted houses. Watch Psycho, The Ghost and Mr. Chicken, and The Addams Family to get acquainted with Second Empire style.

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Second Empire was often associated with “new money” as the nouveau riche sought to emulate the sophistication associated with nineteenth-century Paris. John Morris, builder of Indiana Landmarks’ Morris-Butler House in Indianapolis, only occupied the home thirteen years before declaring bankruptcy. Ironically, he sold the house to Noble Chase Butler, a bankruptcy attorney.

Romanesque Revival

1880 – 1900

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If you prefer a fortress to a cozy cottage, Romanesque Revival is the style for you. Hallmarks of the style include massive scale, weighty stone or brick exteriors, and heavy round arches (also in stone or brick), hipped roofs with cross-gables, and towers. The style lends itself to substantial public buildings like courthouses, but you can find residential examples too.

The Romanesque Revival style drew inspiration from eleventh- and twelfth-century European architecture, which in turn was a reboot of ancient Roman forms. The style was popular in Indiana from roughly 1880 to 1900.

Boston architect H. H. Richardson is so closely associated with the style that the term Richardsonian Romanesque describes his designs, which relied on rough-cut stone, fortress-like towers, round arches springing from squat columns or piers (known as Syrian arches ), and floral details on column capitals and arches.

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It has been said that H.H. Richardson’s ego and physique rivaled his massive buildings. He was known to enter client meetings summoned by a gong and dressed in monk’s robes, a demonstration of his affinity for medieval design.

Queen Anne

1860 – 1900

When people refer to houses as Victorian, they usually are referring to Queen Anne-style homes with gingerbread, wrap-around porches, patterned shingles, and multi-colored paint schemes. To get technical, even though Queen Victoria reigned from 1837-1901, the Victorian era in architecture refers to structures built between 1860 to 1900, which includes Second Empire and Romanesque Revival styles. Next time someone says, “I love Victorian architecture,” show them your smarts by asking, “Which style?”

Queen Anne is named for the English Baroque architecture produced in the reign of Queen Anne (1702-1714), which is hard to figure, since American Queen Anne looks nothing like the English style. The last of the nineteenth-century styles, Queen Anne houses combine gabled and hipped roofs in an asymmetrical shape. Covered in patterns, textures, and colors, the houses confirm the late Victorians’ view that more was better. The popularity of the style grew not through architects, but through the publication of many house plan books such as those published by George F. Barber.

Famously called “painted ladies” in San Francisco because of the many bright colors people today sometimes use to highlight the architectural details, Queen Anne-style houses in the nineteenth century were painted in a three-color palette of rich jewel tones. A late-nineteenth-century variation of Queen Anne known as Free Classic style incorporated more formal features, like classical columns and pedimented entries, while keeping Queen Anne asymmetry and full porches.

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James A. Garfield popularized the wrap-around porch during his run for president. During his“front-porch campaign” of 1880 he addressed the public and press from his recently remodeled Queen Anne-style home in Ohio.

Fashion history of the late nineteenth century

Fashion history

Surprisingly graceful, light and rich in decoration was the women's suit of the Art Nouveau era in the fashion of the 1890s. The era of femininity and sophistication has come, the time has come for elegant accessories and luxurious underwear, as an important detail of the chosen image and style. The S-shaped line of women's dresses was formed due to a slightly high waist, a bustle in the back of the skirt, bodice cutouts and peplums, and the cloth was embroidered and decorated with intricate braid. nine0003

Each dress, cape or bonnet was handcrafted, artfully embellished with embroidery, satin ribbons, intricate designs and fringes. Women wore knitted stockings and boas when going out, and home dresses were decorated with knitted capes and stand-up collars. Evening dresses of ladies surprised with deep cuts, decorated with silk flowers and ribbons, almost all dresses had long trains and short sleeves with frills, tapering to the wrist of a gentle lady's hand. Daytime suits, more restrained and modest, were complemented by fur-trimmed capes, jackets and mantillas, blouses were complemented by bows and ribbons, and from under the skirt the edge of the petticoat peeped out from a thin moire, sur and satin brooch. nine0003

Since most of the dresses were sewn with wide and puffy sleeves, the ladies purchased capes so as not to spoil the outfit. In turn, capes, capes and mantillas were distinguished by their original design and a large number of laces, weaving from cord and beads, they abounded with embroideries and silvery patterns. In addition to the costume, there were: a lace umbrella, a tiny bag with a drawstring or chain, and a hat that aroused the admiration of the public. Some hats were made so masterfully that the next decade turned into a real "hat" boom with sometimes comical shapes and styles. nine0003

In the period from 1890 to 1900, the image of a gentle and airy nymph with an aspen waist and graceful posture was formed in society. Fashion designers achieved a similar effect with the help of a special cut: the waist was tightened with lacing or invisible fasteners, the skirt was narrowed in front, and widened and slightly elongated in the back with a tren. At that time, women lacked freedom and equality, so they sought attention for themselves with the help of clothes, changing outfits several times during the day. In their home, women wore loose tea dresses with guests, which were gradually replaced by tunics and peignoirs. nine0003

By the end of the 19th century, there was a breakthrough in fashion trends: satin, velvet and brocade began to be replaced by airy muslin and translucent fabrics, wide and puffy sleeves disappeared, giving way to elbow-length sleeves, and cutouts on evening dresses became deeper and more frank. Women almost stopped wearing corsets, as the styles of dresses included numerous undercuts and bones to maintain a slender silhouette. But what luxurious and expensive belts appeared on store shelves, what corsages could be seen on fashionable coquettes. The end of an era was associated with the loss of bustles under the skirt of the dress, although the long train created a “flowing” silhouette just as effectively. nine0003

Modern designers are constantly trying to use the trends, fashion trends and details of the 1890s, but, unfortunately, the amazing tailoring art of the Belle Epoque can no longer be returned, it can only be repeated and imitated, creating new collections and styles.


New Russian - Style - Kommersant

2K 2 minutes. . .. nine0003

The All-Russian Museum of Decorative, Applied and Folk Art is being renovated. The recently opened exposition “Russian Style. From historicism to modernity. The new halls are quite capable of surprising the viewer with their modern design and inspiring them to change their home interior in the neo-Russian spirit that is fashionable today. Kommersant Style found at least four reasons to visit Osterman's estate on Delegatskaya.

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Bratina and ladle in the "pseudo-Russian style", Dyatkovo plant, 1890s. according to the sketch by E. BEM

Salt cellar in the form of a wooden salt cellar, Moscow, 1880s. Silver, engraving, gilding, enamel.

nine0029 Jug with “pseudo-Russian style” ornament, Imperial Glassworks, 1870. Designed by Viktor Hartmann

Spinning wheel. Early 20th century

Armchair "Slower ride, further you will be" ("Arc, axes, mittens"). Designed by V.P. Shutov 1871, Russia, last third of the 19th century. Wood, carving, toning. nine0003

Shelf "Bogatyrs". Author of the drawing: Zinoviev A.P. Smolensk province, Talashkino. Talashka art workshops 1900s Wood (birch), through carving, flat-relief carving, tinting, tinting, waxing

Box with a removable lid, Moscow, experimental work of the Handicraft Museum of the Moscow Provincial Zemstvo 1905-1907 years. Bast, tree, painting

Decorative vase, Moscow. Firm of P. A. Ovchinnikov, late 19th-early 20th centuries. Sapphire, amethyst, tourmaline, garnet, carnelian, silver, shotting, gilding, casting, filigree enamel

Set for drinks in the Russian-Byzantine "style" (Dish, decanter, piles) 1870s, satellite, after I. Monighetti's drawing

Locker with the image of pomegranate branches, author of the project: Polenova E. D., Moscow province, Abramtsevo. Abramtsevo carpentry workshop, 1880s. Wood (linden), contour carving, trihedral-notched carving, tinting, waxing

Bratina "Rooster". Sketch author: Golovin A. Ya. Art pottery workshop "Abramtsevo". End 1890-s. Majolica, relief, colored glaze, restoration firing, gilding

Sculpture "Lel", author Vrubel M. A. Moscow province, Dmitrovsky district, Abramtsevo estate, Abramtsevo pottery workshop 1890. Ceramics, colored glazes, restorative firing

nine0029 Photo frame with back

Tapestry "Tsar Saltan" based on a sketch by M. A. Vrubel. Partnership of the Spaso-Setunsk Carpet Manufactory, 1903. Wool, silk and cotton thread; lint-free hand weaving

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Bratina and ladle in the “pseudo-Russian style”, Dyatkovo plant, 1890s. according to the sketch by E. BEM

Salt cellar in the shape of a wooden salt cellar, Moscow, 1880s. Silver, engraving, gilding, enamel.

Pseudo-Russian ornamented jug, Imperial Glassworks, 1870. Designed by Viktor Hartmann

Spinning wheel. Early 20th century

Armchair "Slower ride, further you will be" ("Arc, axes, mittens"). Designed by V.P. Shutov 1871, Russia, last third of the 19th century. Wood, carving, toning. nine0003

Shelf "Bogatyrs". Author of the drawing: Zinoviev A.P. Smolensk province, Talashkino. Talashka art workshops 1900s Wood (birch), through carving, flat-relief carving, tinting, tinting, waxing

Box with a removable lid, Moscow, experimental work of the Handicraft Museum of the Moscow Provincial Zemstvo, 1905-1907. Bast, tree, painting

Decorative vase, Moscow. Firm of P. A. Ovchinnikov, late 19th-early 20th centuries. Sapphire, amethyst, tourmaline, garnet, carnelian, silver, shotting, gilding, casting, filigree enamel nine0003

A set for drinks in the Russian-Byzantine “style” (Dish, decanter, stacks) 1870s, satellite, after a drawing by I. Monighetti

Cabinet with the image of pomegranate branches, author of the project: Polenova E. D., Moscow province , Abramtsevo. Abramtsevo carpentry workshop, 1880s. Wood (linden), contour carving, trihedral-notched carving, tinting, waxing

Bratina "Rooster". Sketch author: Golovin A. Ya. Art pottery workshop "Abramtsevo". Late 1890s. Majolica, relief, colored glaze, restoration firing, gilding nine0003

Sculpture "Lel", author Vrubel M. A. Moscow province, Dmitrovsky district, Abramtsevo estate, Abramtsevo pottery workshop 1890. Ceramics, colored glazes, restorative firing

Photo frame with a back

Tapestry "Tsar Saltan" based on a sketch by M. A. Vrubel Partnership of the Spaso-Setunskaya Rugs Manufactory, 1903. Wool, silk and cotton thread; lint-free hand weaving

Learn all about neo-Russian style

Echoes of style, increasingly heard on the world's podiums, are heard in the museum at the very beginning of the new exhibition - where the works of artisans and artists who turned to historicism are presented. All those who in the second half of the century before last were inspired by the old Russian way of life and elements of peasant architecture and culture. Its details are visible in everything: from the wooden key holders, shelves and calendar boards assembled in the installation to friezes from manor houses and murals from the service of the Imperial Porcelain Factory, which belonged to Grand Duke Konstantin Nikolayevich, son of Nicholas I.

Coaster, Russia. On a blue background: "Dear guest. Drink to your health." Beginning of XX century. Silver, perforation, gilding, champlevé enamel

Neo-Russian style originated in the legendary Abramtsevo workshops, where such artists as Vrubel, Korovin, Vasnetsov worked under the auspices of the philanthropist Savva Mamontov. Their works, in particular, will accompany the viewer throughout the exhibition, demonstrating how the style developed, up to the appearance of distinct features of European Art Nouveau, which we call Art Nouveau. nine0003

Look at the trends in museum design

Of course, the Parisian Les Arts Decoratifs, Viennese MAK and the Victoria and Albert Museum in London, but ours already has something to show too.

Bucket-endova. Sketch by: Tenisheva M. K. Smolensk province, Talashkino. Talashka art workshops 1900s. Wood (birch), chiselling, flat-relief carving, contour carving, tinting, waxing.

Despite the rather modest area of ​​the former Osterman estate, where the institution is located, compared to the museum grandees, all museum trends of recent years are reflected here to one degree or another. Now there is everything here: from lightboxes with pictures of eyewitnesses of the era and interiors, reflective showcases and interactive panels with illustrations and texts, to works assembled into total installations, painted in fashionable colors of walls, rhyming with the colors of the exhibits, and a whole film with an animated story. In the latter, paintings, sketches and sketches by Vasnetsov and Vrubel come to life, including those created for opera productions. nine0003

Be inspired by rustic wooden furniture

Buffet, Moscow province, city of Sergiev Posad. Art and carpentry workshop of the Moscow provincial zemstvo, late 1900s - 1910s Author of the drawing: Malyutin S.V. Wood (birch), flat-relief carving, tinting, waxing.

Buffet, Moscow province, city of Sergiev Posad. Art and carpentry workshop of the Moscow provincial zemstvo, end of 1900s - 1910s Author of the drawing: Malyutin S.V. Wood (birch), flat-relief carving, tinting, waxing.

As elements of a la russe in the form of embroideries, lace and ornaments are included in the collections of designers, so deliberately rough furniture and interior items made of natural wood with “primitive” carvings along with smooth lines and floral motifs of the Art Nouveau era are increasingly appearing at interior exhibitions in Paris and Milan. And the new exposition of the Museum of Decorative and Applied Arts may well become a source of inspiration for the viewer, for example, in arranging your own home, especially if you plan to make custom-made furniture. nine0003

The square cabinets, chairs and armchairs exhibited here (including the curule or ironic “The slower you go, the further you will be”) of the turn of the 19th–20th centuries will not leave anyone indifferent. Not to mention those things, the prototypes of which appeared in the pavilion of the Russian Empire in 1900 at the famous World Exhibition in Paris, where Art Nouveau was “legitimized”.

Admire Vrubel's fireplace

One of the central exhibits of the Russian pavilion (it made a splash in Paris) at that historical exhibition was the majolica fireplace "Meeting of Volga Svyatoslavovich and Mikula Selyaninovich", or rather, its incredible lining. It was made in the Abramtsevo workshops according to Vrubel's sketch in several versions, one of which is presented in the museum on Delegatskaya.

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