Surveying Interior Wood Casings to Distinguish Original from Alteration

There are several methods for distinguishing original construction inside your home from later alterations and additions. You can look for source documents, such as permits, photos, or drawings as evidence of your home in a previous condition. You can look at floor plans of typical homes of the time period and try to determine if your house's layout ever fit that arrangement or something similar, and interviewing former occupants may be the most helpful. Additionally, you can examine the existing physical details, such as interior wood trim. A stark, or even subtle, but noticable, divergence from the overall trim detail scheme in a house (or portions of a house) can hint of a detail or a wall that was constructed later than the original. Although distinctions can be discerned from any type of trim (such as baseboards, wainscoting, or crown moldings), this article will focus on looking at casings.

Why Casings and What Exactly Are They?

Interior casings are a type of wood trim that serve the primary purpose of finishing the gap between a wall's finish (i.e. drywall, plaster, or wood paneling) and a door or window's frame. Casings also are used to frame "cased openings"-- a wall opening with no door in it.

This image shows how the casing trim covers over the gap between the wall finish and the wood frame of the opening. Image via Fine Home Building.

The interior trim is an opportunity to inject character through either intricate or simple detail, and its use throughout history has served as a method of associating the interiors with an overall architectural style or movement. Casings can incorporate details to your heart's content, such as keystones, plinth blocks, corner blocks, entablatures, and are often formed with molding profiles of varying depth and detail.

Classical detailing in this cased opening. Photo credit: Mark Lohman, via This Old House.

Door casings with a fluted profile and rosette corner blocks. Photo credit: Shannon Malone via Houzz.

Now, why do I focus on casings? I contend that they simply are less likely to have been modified or added over the course of history in an older home than other types of interior trim. As opposed to baseboards and crown moldings, casings are generally at eye level and more easily in the field of vision, meaning it was near impossible for the builder of the original home to avoid giving significant thought to their appearance. Sure, they may have been painted over 10 times, but once in place there generally isn't much of a reason to change the casings out unless one goes out of their way to change the character of their home's interior. Baseboards, on the other hand, might hold more impetus for change if flooring is upgraded or changed. Crown moldings, wainscoting, and chair or picture rails generally are treatments provided on a per-room basis and could have been added at any time. The casings are elements most likely to have been given consistent thought upon original construction and to have stayed that way.

When examining the casing trim throughout a house, remember the word consistent, as this does not mean that all casings are treated equally by the builder. A higher level of detail and ornament may have been provided in more public rooms, with simple detailing in bedrooms or on the second level of the house. The same could be said for size-- larger rooms or openings might have consistently been given larger-scaled trim to remain in proportion. Again, we're looking for changes in consistency-- if you see a prominent room that has casings with a fancy frieze and entablature over top of most openings, but one wall has a door with corner blocks, someone may have added that wall at some point or punched a new door into an existing wall.

A Case In Point

Our 1920's bungalow has always been a modest home. It has never included incredibly rich architectural details, such as what you might find in a true craftsman home, but nonetheless it is not without its character. Most of the casings in my home are flat stock on the jambs (sides) but have a 6" tall entablature crowning the top of the opening. They look like this:

It is remarkably consistent, except where it isn't. Look at the picture below of what you see when you walk in through the front door of the house:

The opening to the right of the photo has just flat stock trim all the way around, with no additional detail whatsoever. It looks like this up-close:

Is this a less-important opening? No, not really-- it is a smaller opening, and it does lead into the "back-of-house" bedroom areas of the house, but most of the casings in those bedrooms have the more detailed entablature. The answer is that the opening with the flat trim was added several decades later, I believe in the 1950's or 60's. In the close-up view you can see two more openings beyond-- one with the more detailed trim (on the left) and one with the flat stock trim around the door (to the right). That opening with the detailed entablature was originally the entrance into the front bedroom from the hallway. Take a look from the bedroom side of these partitions:

Through the current bedroom door, you can see the casing of the original door opening just visible beyond. That entire bump-out in the entrance corner of the bedroom is a later addition, not original (you can see what I believe to be the original layout of the house here)-- the closet door to the right has our tell-tale entablature detail, but the current bedroom door opening has the flat stock. Again, look for breaks from the consistency in your house-- if the original builder had wished to make a distinction between less-important openings with the flat stock trim, that closet door would be more likely to lack the detail than the actual bedroom door.

Aside from the fact that I have documentation and other clues of previous alterations to the house, the flat wood casings are a dead giveaway throughout the house that they are not original. In truth, the casings with the added detail are so consistently similar to each other, and the flat trim is so consistently inconsistent with that overall theme, that I believe all of the flat trim was installed by the Cantlin family, who were the home's only owners from 1932 to 2001. I have full confidence that if it has flat trim, then either it's a wall that is not part of the house's original layout, or a new door or opening was made in an original wall. This is a theory that plays out when I compare the locations of various trim styles with the evolution of the floor plan of my house.

Here are some further examples throughout the house:

Casings in the original portion of the house all exhibit that entablature detail, unless the wall itself was later modified.

All of the casings within the 1940's addition are flat stock.

Even in the original bedrooms, we have entablatures at the window casings.

But no detail was added to the window and door casings in the 1940's addition.

Yet, one more trim style exists, and that is at both bathrooms. Here, we see standard-issue casing trim that you'll find at any big-box home improvement store. This was installed by the owners prior to me.

Entrance to the bathroom on the left, with a basic casing profile from the home improvement store.

This is not to downgrade its status-- on the contrary, the majority of the updates post-2001 work quite nicely for this modest home. It's what most people today would use. However, the difference from the other trim clearly marks its timeline in the house. On a side note, one question this leaves me with is whether the window in our second, more public, bathroom is in a window opening that was always there or whether the window opening was added (the window itself is a modern double-pane replacement).

If you'll notice, it has the same Home Depot window casing. Perhaps the original, more detailed (and entablatured) casing was ripped out, either when the original kitchen was converted to a bathroom in the 1950's or when new owners modernized within the last 15 years. The other possibility is that the casing trim never existed and that a new window was created during that bathroom conversion-- something to investigate further if I ever get to the point of replacing our exterior asbestos siding.

Hopefully now you are able to look for both the consistencies and differences in the trim of your house. Although the contrast between the two main trim styles in my house are more obvious, even a more thoughtful renovation job done in the past can show subtle inconsistencies that can clue you into non-original alterations. Put your mind into that of the original builder, and think about what he would have done...

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Interpreting Historic House Blueprints

The conception of most buildings, residential houses included, has historically involved some sort of architectural drawing. Whether crudely crafted as a rough hand sketch or professionally drafted and reproduced, drawings serve to visualize, communicate, and translate a building's design. I've written before about the importance of at least making an inquiry at your local building department regarding the possible existence of your home's original permit drawings. The older your house is, the more likely you are to come up empty in this search. However, the value which bona fide architectural drawings can bring to the richness and understanding of your house's history make it worth the effort to try a few other places as well, such as historical societies, county archives, and architectural archives. One such repository here locally is the Athenaeum of Philadelphia, which houses an extensive collection of drawing archives and maintains an outstanding online database of Philadelphia Architects and Buildings. While age may decrease your odds of finding plans, if your home has local significance then the odds may increase that some drawings have been preserved throughout its history at such a repository. One other way to potentially locate old drawings for your house is through previous owners or their descendants. Perhaps the son of an original owner felt deeply connected to the house in which he grew up and was able to hang onto the plans.

So let's say you score. You are able to locate historic drawings for your home-- now what? Let us look at a case study. Last month, I published a Saturday Spotlight article featuring a 19th century folk/vernacular home in Roxborough, which had been significantly modified with renovations and a major addition by noted Philadelphia architect Robert Rodes McGoodwin in the mid-1930's. Fortunately, a blueprint copy of drawings for the project has survived and been passed down through the progression of ownership history of the house. The current owner has been kind enough to grant permission for me to share and interpret the blueprints here, so let's do exactly that. A scan of the entire sheet is shown below and includes primarily floor plans and elevations.

Scan of blueprint copy. Courtesy of the home's owner.

Provenance

As described, we know that this an authentic copy of the original architectural drawings. That is of no doubt, due to its having remained with the house. In drawing set standards, the title block is essentially what it sounds like-- a block of space on the sheet reserved for basic information including project name/location, the name of the architect or firm, client's name, drawing scale, the drafter's initials, and the title and date of drawing issues and revisions.

The drawing sheet title block, providing basic information for the project. At right is a photo of architect Robert Rodes McGoodwin. (Photo source: University of Pennsylvania Archives)

Looking in the lower-right corner of the drawing sheet here we see the title block. Some of that basic information includes:

Title: "Alterations & Additions to Frame House at S.E. Corner of Spring Lane and Paisley Road, Roxborough, Phila., Penna."
Owner: Mrs. Samuel F. Houston
Architect: Robert Rodes McGoodwin, Registered Architect

These pieces specifically tie the drawings to its exact current location. McGoodwin is known to have been commissioned by Samuel Houston for a number of residential properties in Roxborough. As described in the previous article on this home, the Houstons never lived in this home but did own it and alot of land in the neighborhood, commissioning the expanded design of this home as part of a larger effort to bring up the standards of Roxborough at-large. The specification of Houston's wife as the Owner might be an indicator that she may have been more heavily involved in dealing with McGoodwin and his associates for this particular house than her husband was. The original date of the drawing was October 19, 1935 and a revision is noted and dated November 12 of the same year. That November 12 date is likely when the original hand-drafted version of this copy was produced. While there is the possibility that this or some version of this drawing was used for construction, there likely were additional drawings for the builder. I believe that this copy is a final or near-final progress copy used by the architects to communicate the design to the owner, thus its having been passed down through ownership history.

Floor Plans

Most people understand what floor plans are. An architectural floor plan depicts the layout of a building, viewed from overhead, as if one were to take a horizontal slice through it about 4-feet above the floor (in order to show doors, windows, etc). Taking a look here at the first floor plan, I've highlighted a number of standard architectural drawing conventions in yellow. Of course, each room is labeled with its intended use "Kitchen", "Pantry", "Living Room", etc. Primary dimensions of various rooms and of the overall addition are provided. Window tags assign a number to each window, which would typically correspond to a window schedule (not seen in this blueprint), which is a list of all the planned windows with their sizes and other pertinent information. Standard symbols show locations of electrical outlets as well as lighting locations.

A few things to note about the layout itself. McGoodwin's task in 1935 was to design an addition onto an existing house. On the blueprint, I can see the original house comprising the rooms labeled "Living Room", "Alcove", "Dining Room", and "Hall" as this resembles a common arrangement of rooms in many earlier vernacular homes. There are other clues here as well which tells us where the old ends and the new starts. At both the top and bottom of the plan, there is a line cutting through the center of the house labeled "Face of Old Studs". The studs are the vertical wood framing members of the original house. To the right of that line, all the walls are "unhatched", meaning they aren't colored in by the draftsman. This drawing convention in this case indicates all of the existing wood-framed walls. To the left of that line, the walls are "hatched" or "poched" (colored-in solid), indicating new walls built of cinder blocks.

This 1935 addition essentially turned a fairly basic house into an upper class or upper-middle-class residence. The addition is setup as the "servant zone"-- it is more or less an "ell" addition, meaning it is not as wide as the original house and relocates the kitchen function there. The original kitchen may have been where the dining room is now, adjacent to the fireplace. A new garage is added onto the ell addition, and a secondary set of stairs has been added at the kitchen for use by servants to travel to the Laundry Room directly below in the basement and to the servant's bedroom above the garage.

There are a few significant differences between the 1935 layout and the current 2016 floor plan of the house. A powder room is now provided at the 1935 coat closet off of the front Hall; the access to the basement remains with an additional door within the powder room. Today of course there are no servants, no service "wing" of the house, and the house merely functions as a residence for only the family itself. Thus, at some point in the past, there was less need for a separate storage pantry at the kitchen; the wall separating the pantry from the kitchen was removed, giving way to the modern trend of a larger centralized kitchen.

The current kitchen. At the far wall are two doors to the staircases which once were used by servants, as well as built-ins original to the 1930's addition. This photo is taken standing at a spot which was formerly part of the pantry. The wall between the kitchen and pantry would have been where the oven range currently sits, cutting to the left across the view in the photo. Photo courtesy of The Sivel Group.

The space marked "Alcove" on the First Floor Plan is now a home office, with access off of the main hall and now closed off from the Living Room. That Living Room was expanded over time by enclosing the porch and filling in the remainder of the depth of the original house with a one-story cinder block addition. This is the area covered in yellow by me on the first floor plan above. The result is the generously-spaced living room existing today.

The current living room. The walls painted in green, and the fireplace, in this photo are all within additions which occurred after the primary c. 1935 renovation. The original exterior wall of the house would have existed approximately at the left edge of the larger built-in shelving, coming out perpendicular and crossing to the back face of the house. Photo courtesy of The Sivel Group.

The most significant difference at the second floor between the 1935 floor plan and that of today is seen in between the two bedrooms marked "Chamber #1" and "Chamber #2" on the Second Floor Plan blueprint below. The alcove to the right of the bathroom has been eliminated by removing the wall between it and the bathroom, effectively creating a large master bathroom off of the master bedroom (Chamber #1). There is still access into this bathroom from the second bedroom.

Scan of Second Floor Plan blueprint, courtesy of the home owner. Although the image is stretched a bit, the Bath and Alcove have recently been combined into a larger master bathroom, seen in the following image.

Current master bathroom. The wall between the original bathroom and the "alcove" / dressing area used to come across where the vanity exists currently. Door to "Chamber #2" seen in the background. Photo courtesy of The Sivel Group.

Two more bedrooms on the Third Floor. They're still there, I saw them. Scan of blueprint courtesy of the homeowner.

Elevations

The term "elevation" in architectural drawing parlance refers to a straight-on view of the exterior facade. On this drawing sheet, we have elevations for all four primary facades of the expanded 1935 house. In this analysis, we will focus on the street-facing (front) facade as well as the backyard (rear) facade.

In the Northwest Elevation above, I have added a few marks in yellow to call out what the architect is conveying with certain drawing conventions. Again, we delineate the extents of the original house as well as those of the 1935 addition. As part of the building's facelift, most of the window openings remained as-is, but some were filled in and others were created new to produce the rhythm McGoodwin sought on the home's exterior. At those new window openings, we see annotation calling out the size of window headers required to span the opening structurally (8"x10", 8"x12"). Also on the elevations we see the basement and foundation construction drawn in lighter, dashed lines, indicating that this construction is below ground level. At the left side of the elevation drawing, each floor level is noted and the floor-to-floor height (vertical dimension between floor levels) is provided. Throughout, building materials are called out with additional annotation: "T&G boards" refers to tongue and groove wood trim; "clapboards" are the horizontal wood siding;"wood lattice" is called out at the side porch area; and on the rear facade of the house, McGoodwin's firm included a "wood and W.I. trellis", W.I. standing for wrought iron. This trellis, as well as the side porch, no longer exist today, so this is a fantastic and accurate depiction of what these features once looked like on the house.

Blueprint copy of the rear elevation, courtesy of the homeowner. A trellis!

Capturing a Home's Evolution

This particular house has lived several lives, taking on a new personality on multiple occasions. Originally, in the 19th century, it existed as a relatively simple home with a Folk Victorian style. Then, in the 1930's, a well-known architect crafted an extensive renovation and addition. Without the blueprints which have survived for 80 years, while we might be able to determine this house's evolution, it would have taken much more detective work. Had this home been significantly altered even further after the 1930's addition, these blueprints would have been invaluable in coming close to understanding the house's history at the particular point in its history. These professionally hand-drafted drawings provide insight into the mind of the architect so many years ago, and hopefully now you might be able to interpret more of what you'd find on a set of blueprints if you happen to locate some for your historic house.

At left: the rear of the house as it exists today, trellis long gone. Photo courtesy of The Sivel Group. At right: the rear of the house prior to McGoodwin's intervention, pre-trellis. Historical photo courtesy of the home owner.

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Saturday Spotlight- 19th Century Folk Victorian (Turned Colonial Revival) in Roxborough

This week's Saturday Spotlight house is one with a storied past, a Folk Victorian in the Roxborough section of Philadelphia. It dates back to the latter half of the 19th century and was renovated and expanded in 1935-36 as a Colonial Revival.

Image courtesy of The Sivel Group

Architectural styles can be tricky sometimes. They change over times, of course, and sometimes a homeowner will want to update or expand a home significantly, incorporating details and stylistic trends of the day. The physical evolution of a home may fool one into thinking that the currently presented architectural style was always so. Fortunately here, the current owner of this home has a few historical photos which their listing agent was kind enough to pass along.

Image of the rear of the house, prior to 1935 addition. Courtesy of homeowner.

The house as shown in this older photo is clearly a folk, vernacular form, presenting as a two-story I-house with a side gable on one side and rear and front-facing gables at the other end. Tales of this house have its origins as far back as the 1850's. The intricate turned porch posts and the brackets at the roof eaves, however, suggest a few decades later to me. While a Victorian-style porch was a very common addition to existing earlier Folk homes of this time period and could have come after the original construction, I'd still wager that this house was constructed closer to the 1870's due to the eave detail. The simple frieze trim over the windows also was more likely to have occurred a bit later than the 1850's. This historical photo gives us a fantastic demonstration of how shutters were actually functional back in the day. Second floor window shutters were louvered, allowing a breeze to enter on a warm day, while first floor shutters were often comprised of solid raised panels to increase privacy. This arrangement was thoughtfully extended and maintained in future additions.

The facade shown in the historic image above is the current rear of the house. Take a look at it compared to a present-day image of the rear facade (below) and notice the asymmetrical window pattern largely intact, albeit with a door replacing one of the first floor windows, another door added, and the cross gable removed as part of an extensive 1930's renovation. Today we see much more of a Revival style, with the original house down to side gables on both ends, now accompanied by lower-height additions continuing the side gable form. Dormers are added on both the front and back at roof level to continue the rhythm of the facade's fenestration pattern. The white German siding set off with dark-painted shutters gives the house a classic farmhouse look.

Current rear of the house. Image courtesy of The Sivel Group

Origins

The home currently sits on land at what is modern-day Andorra, in Upper Roxborough. However, this was not its original location; more on that in a moment. At the edge of northwestern Philadelphia, this area was largely undeveloped through most of the 19th century, with groupings of houses along Ridge Pike surrounded by larger ownership tracts. As of 1875, this immediate area was still referred to as “Manatawna”, a name which persists today in the form of Manatawna Ave. The exact land on which the house exists today is marked by the ownership of a Mr. Sebold in that same year. A structure is shown on the 1875 map further northeast of the home which is the subject of this piece, existing close to the corner of Spring Lane and Ridge Pike. According to the current owner, the original frame structure of our feature house may have been sitting further to the south along the banks of the Schuylkill River at this time, to be relocated to its present site later on.

Aerial image from 1930. The house, pre-addition on its new (and present) site, is marked with the red arrow to the west of Ridge Pike, the main north-south thoroughfare.

In the last decades of the 19th century, local railroad executive and philanthropist Henry Howard Houston began acquiring many of the large tracts of land in Upper Roxborough. Houston had already burgeoned the adjacent neighborhood of Chestnut Hill as an upper class haven, having amassed a wealth of land and establishing his own mansion residence there (Druim Moir). By the time of his death in 1895, Houston’s holdings in Roxborough had yet to be developed to a significant extent. That would change, however, with the efforts of his son Samuel Frederic Houston, who took over the Estate’s real estate holdings. The younger Houston set out to replicate the section as an elite residential area similar to Chestnut Hill, with grand ambition to construct a cross-country parkway from Chestnut Hill, with a large bridge over the Wissahickon Gorge and through Roxborough, connecting to the Main Line to the west. Those plans never materialized, nor did S.F. Houston’s hopes for a massive Cathedral in Andorra a few blocks away from our subject folk house.

Samuel F. Houston, circa 1900. Image courtesy of UPenn Archives

Instead, smaller-scaled plans did materialize in the core of the neighborhood. This occurred largely through Houston’s commissioning of professional architects, such as Robert Rodes McGoodwin, to design elegant residential houses, including what is now the Renfrew Center further down Spring Lane. This, too, is where the tale of the white folk house picks up. According to the owner, the original house was relocated from its location along the Schuylkill River to a new foundation on its present site on Spring Lane. The house, missing from a 1910 property atlas, may have been moved to this site shortly thereafter. It appears with its smaller, original footprint in a 1930 aerial photograph (seen above). A large-scale renovation and addition was then executed by R.R. McGoodwin, commissioned by Samuel F. Houston’s wife. The Houstons never lived at this home, but merely commissioned its expansion. Fortunately, building plans have survived for this work and are in the care of current ownership. The addition and alterations nearly doubled the footprint of the house, to its current 4,930 sf, and altered the exterior style to its present appearance.

Left: The title block portion of a drawing sheet for the addition of the house, courtesy of the owner. Right: Robert Rodes McGoodwin, architect of the modified end result. Image via UPenn Archives.

1950s to Present

This house continued its expanded existence into the next few decades and eventually came under the ownership of George S. Greene, a financial investment banker. Greene performed some alterations of his own, hiring contractor William Milton in 1959 to remove an existing porch (in the location of, and perhaps the same porch shown at the left side of the historical image) and to add a small one-story cinder block addition. This addition is manifested as the infilled-corner portion at the far right of the house when viewed from the street.

Building permit drawing for small addition, 1959.

Ownership changes continued through the latter half of the 20th century, with a Harry & Susan West selling the house to Frank & Elizabeth Blair in 1973. Mr. Blair was a medical physician. The Blairs owned the home until 1991, at which time they conveyed the property to Paul Tucker and Mary Rugala who held it for the next twenty years. 

The current owners have owned the home since 2011 and have performed a number of tasteful modern improvements, including upgrades to multiple bathrooms and a master bath. Yet, at the same time, the historic character of the house itself has been maintained, and it awaits a new owner to carry on the legacy.

Interior images courtesy of The Sivel Group

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Re-Examining the Previous Layouts of the House

As far as I have been able to discern thus far, the floor plan layout of my house has gone through at least four significantly different iterations. I took my first shot at one of these previous layouts several months ago, after discovering evidence of a now-abandoned kitchen at the back of the house. In hindsight, those conjectures were incorrect after further investigation. Now, given the benefit of a lengthy conversation recently with long-time owner Catherine Cantlin's daughter-in-law, I take pause to examine what I know in terms of the layout history. The evidence gathered has been documentary, anecdotal, and physical. The first floor has always been the only real occupied space, with the unfinished basement below and the attic above. What follows is my present understanding of how the layout has changed throughout ithe house's roughly 93-year history.

Original Layout (c. 1923 to 1940s)

During its first 15-20 years, this house was one of the only ones in existence on the block, and it was a very modest home at roughly 750 square feet. Although I do not believe it was a mail-order kit house, the design may have been found in a pattern book I have yet to locate. This kit model sold by Montgomery Ward in 1930 is very close to what I believe to be the original layout of the house. Here is my own sketch:

Throughout its existence, the left half of the plan has generally contained living spaces, while the right half has contained bedrooms. Originally, one entered from the front porch into a modest-sized living room. This room has always held a view through a large cased opening into what is now the kitchen but was originally the dining room. Beyond the dining room was an enclosed kitchen at the rear of the house, off of which was an exit to the backyard. These functions in these locations were confirmed by the Cantlin daughter-in-law. Just to the left of the back steps was an exit staircase from the basement (a set of steps which still exists today but is entombed beneath my living room). I consider it a pretty safe assumption that the stacked staircases to the basement and attic remain today in their original locations. On the right side of the house, the main bedroom was off of the living room, with a second bedroom at the back, and the house's only bathroom was sandwiched in between the two.

New Rear Addition; Duplex Phase 1 (1940s to early 1960s)

Perhaps ironically, I am a bit less sure about this iteration of the layout than I am of the original layout. The lack of clarity rests primarily in whether or not the rear addition was completed in one or two phases, and when. What I do know, positively, is that a rear porch, which constitutes the upper-left corner of the floor plan, was enclosed in 1946 to create more interior space (due to receipt of a copy of that 1946 building permit). The construction and design of the addition lead me to believe that the entire addition inclusive of the un-enclosed porch was built at one time, prior to 1946, with that porch enclosure occurring later. To date I have not been able to locate backup documentation. Here is what the plan may have looked like both before and after the porch was enclosed:

I believe that the gabled, primary portion of the addition may have included a third bedroom to the left and a second kitchen to the right. Off of the new bedroom would have been the porch-- and once enclosed, it expanded the size of the bedroom. During this time period, John and Catherine Cantlin's children were reaching adulthood and the parents portioned off half of their newly expanded house, creating a duplex for their family members. The second unit was not fully closed off from the main unit at this point, as it was family living there. According to their daughter-in-law, all three of the adult children lived in the apartment at some point. The left-side (main) unit contained the connected living/dining room, the original kitchen, and the near rear bedroom. The right-side apartment contained entry from the rear into a new door at the new kitchen. Then, progressing towards the front past the attic steps was the apartment living room, which could also double as a bedroom if required. The original bathroom may have been shared across both units during this time period-- the door opening accessing the hallway from the dining room may or may not have existed. Lastly, the original primary bedroom was now the main bedroom for the apartment.

Kitchen Relocated; Duplex Phase 2 (1960s to 2001)

Also according to the Cantlins' daughter-in-law, Catherine made some further changes after husband John's death in 1961. Most significantly, the house's original kitchen was converted into a new second bathroom. Permit records confirm this change and provide a date of November 1963. If there was indeed access to the original bathroom from the dining room at this time, it was closed off at this time. Kitchen cabinetry and plumbing was installed along the left-side wall of the dining room, turning it into an eat-in-kitchen.

The remainder of the duplex is as described in the previous iteration. The sketch above shows the Cantlins' newer rear bedroom expanded into the area of the porch enclosure.

Re-Birth as a Single-Family House (2001 to Present)

After Catherine Cantlin sold and vacated the house towards her later years, a young couple took ownership and set to work re-establishing functionality of the house as a single-family home.

The function of living room was relocated to the larger back room of the house, into what was previously Ms. Cantlin's bedroom. The second rear door off of the apartment kitchen was filled in. When exactly this kitchen was converted into a bedroom is unclear at this time, but the daughter-in-law reports that the house was still presented as a duplex when she helped sell the house in 2001, so it likely was not abandoned until that time. Both bathrooms were updated, and I believe it was during this ownership that the window at the original bathroom was filled in. An exterior deck was built at the back of the house, covering over both sets of concrete steps.


What exists now is a 3-bedroom, 2-bathroom single-family home of approximately 1,100 square feet. For now, this layout works pretty well for us. We'd like it to be perhaps a bit larger, and I have some designs in my head, but we'll get to those in due time. This house is over 90 years old and has seen significantly more change than I realized when I set out on my research. Yet, the journey and the in-progress results are fascinating, as the house has shifted and morphed along with all of its occupants.

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Finding Physical Evidence: Original German Siding

With a 90-year-old house, even without all the historical research I have conducted, it would be clear to most anyone that the house has undergone physical and aesthetic changes over such a time period. Owners renovating historic and century-plus old homes find evidence of former floor plan configurations, old hardwood floors, and other old or original building materials all the time. One might think that the most likely time to find such physical evidence is during a significant renovation project. While that may indeed be true, sometimes finding a major score of an original building material is as simple as poking your head into an access panel in the attic...

The Current Asbestos Siding

As I have mentioned several times, my house is clad in asbestos-cement shingle siding. The word "asbestos" is a dirty word these days, as it should be since it is a well-known carcinogen. However, prior to this knowledge and up to the 1970s, asbestos fibers were used extensively in the 20th century as a major component in all sorts of building materials, touted for increasing durability and fire-resistance. In this type of exterior siding, asbestos fibers are embedded into a tile of portland cement. Since asbestos house siding is a non-friable ACM (asbestos-containing material), there is no great rush for homeowners to go to the expense of ripping old asbestos siding off of their homes. Left in tact, there is generally no hazard. Earlier asbestos siding can date back as early as the 1920s, with the material becoming more prevalent in the 1930s and hugely popular in the 1950s.

Asbestos-cement siding on the side of my house. At this area, a window had been covered over. The owner at the time mixed the wavy bottom style in, which is a mismatch to the earlier flat bottom shingles. This newer wavy bottom shingle may also be a more modern fiber cement product without asbestos.

Asbestos siding is also today seen by many as an unattractive siding material. It most often came in white or shades of grey (especially prior to WWII), with either a straight or wavy bottom profile, and many times has a faux wood-grain pattern on it. If painted to create a cohesive color scheme with the trim and other materials, asbestos siding can look just fine and even quite nice. I happen to think that the previous owners of my home did an admirable job with the previously-white siding, painting it an olive green and accenting with magenta shutters and a storm door.

Yet, I know for sure that this not the original siding to the house. Although asbestos siding was available in the 1920's when the house was built, wood siding still prevailed during that time period. My siding has the faux wood-grain pattern, which was not available until the late 1930's. This siding no doubt came sometime later on many years after the home's construction.

The Original Siding: Wood "German" Siding

Knowing that there was a major addition to this house, occurring no later than 1946 with the enclosure of a rear porch, it hit me like a lightning bolt one day a few months after moving in. Why not check the attic, in the unoccupied portion where the addition is? I have a walk-up attic housed above the original portion of the house, and there is an opening at the top of the attic steps, providing access above the ceiling at the addition. If I poke my head through the access opening and look back at the outside face of this wall, I would be looking at what was original the rear exterior facade of the house.

Looking up the attic steps, the exterior wall to the right was originally the backside of the house. The access opening is to the right of the window, sort of visible, with a board over it.

I grabbed my utility worklight and headed upstairs immediately, and found it:

Original German wood siding, on what used to be part of the exposed exterior rear wall of the house.

This is what is commonly known as German siding (also known as "cove lap" or "Dutch lap" siding). Whereas wood clapboards and beveled siding are installed by overlapping the upper course over a lower course and nailing through one or both boards, creating an angle to shed water, German siding is a type of "drop siding", milled from wood in a profile that gets nailed flat onto the exterior sheathing. German siding has a coved profile that creates an attractive relief pattern and locks adjacent courses together. It was widely popular in the late 19th-century, especially in the Northeast.

Diagram of German lap siding, courtesy of www.dictionaryofconstruction.com

Image of a building with German lap siding, courtesy of www.cranesiding.net

So now this has me excited. I now know what originally clad the exterior of the house. Don't forget, also, that the 1946 building permit for the rear porch enclosure indicated that this portion of the house too had German siding:

Clip from the 1946 permit application to enclose the rear porch-- notice the words "german siding" at bottom right under the section calling for building materials used.

Originally after making this discovery, but before I received the permit document, I assumed that the replacement to asbestos siding occurred on or around the time that the addition was built. However, the permit proves that this portion of the addition was also clad in German siding in 1946, and makes it highly probable that the earlier German siding was still extant at that time. Now it is more likely assumed that the asbestos was put on in the 1960s, giving it some temporal distance between the Cantlins' spending money on more new German siding in 1946. Asbestos began to become more regulated by the EPA in the 1970s, although sale of this type of siding did continue into that decade.

So, Is There More Underneath the Asbestos-Cement?

Short answer, I don't know, and won't unless I begin to take some of the asbestos siding off (safely and with proper precautions!) along with the building felt directly underneath it. I can, however, posit that it is likely that there is old wood siding there. First, removing an existing siding is an additional expense and was (and still is) often skipped when re-cladding a house. The Cantlin family probably did not go to this expense. Further, when vinyl siding is added over top of an existing siding, the additional depth it creates begins to cause window trim to become recessed within the vinyl trim (yuck). The same thing does not happen with asbestos-cement shingles, since they are only about 1/8" thick. Notice on pictures of my house that the original wood window trim still has a bit of dimension to it between the siding and the front face of the trim.

Window trim is not recessed as it is in vinyl cover-ups.

Diagram from Asphalt and Asbestos-Cement Shingle Residing, by James McCawley, published 1940.

Look also at this installation diagram above for this type of asbestos-cement siding from 1940. The likely method of installation included placing a building felt over top of existing wood siding, then nailing in the asbestos siding directly over that. Although this same method could easily be done over sheathing after wood siding is removed, it is quite possible that the wood siding remains. In areas on my house where asbestos siding has been chipped, cracked, or broken in a few areas, I see either black building felt or another asbestos shingle (i.e. at the bottom course). In a few areas, such as when i try to peek underneath the bottom course or look at gaps in these same locations, I do see wood, but this could easily be sheathing or a wood nailer.

Possibly some more older wood siding, exposed beneath the bottom course of asbestos shingle.

I THINK all or most of the original wood German siding lurks under there, but I can't be sure. Yet.

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Saturday Spotlight-- Circa 1893 Brick Folk Victorian in Harleysville

This week's Saturday Spotlight house is a brick Folk Victorian home right on Main Street in Harleysville, PA.

Image courtesy of real estate listing by Connie Hunsberger, BHHS Fox & Roach Realtors

Folk Victorian homes are characterized by classic and simple home forms, adding Victorian detailing and spindlework, often with a front porch. They are distinguished from those homes commonly labeled as Victorian or Queen Anne since they take on traditional and vernacular shapes and forms. With the spread of railroad systems throughout the country by the mid-to-late 19th century, woodworking machinery was more widely used, allowing the decorative trim and wood detailing popular at the time more easily available for homeowners.

This example is approximately 2,400 square feet and was originally constructed with a two-story L-shaped plan which presents as a five-ranked, side-gabled facade on Main Street. The overall form resembles that of a Georgian Revival style but is detailed quite differently. The Victorian gingerbread porch with its turned posts are the main feature, and the blue-painted raised panel wood shutters originally provided desired privacy at the first floor. The windows throughout are placed in shallow brick arched openings, with the top header exhibiting additional Victorian ornamental detail. An approximately 200-square foot wood-framed addition was constructed at some point to fill in the L-shape on the first floor in the rear, with more turned posts continuing the character of the original home.

Image courtesy of real estate listing by Connie Hunsberger, BHHS Fox & Roach Realtors

Origins

Early ownership history has been difficult to nail down immediately, as 1900-1930 census records did not help me out with addresses of those residents enumerated. However, county records estimate that the home was constructed in 1893. As this brief history of the nearby and well-known Harleysville Hotel describes, Sumneytown Pike (Main St Harleysville on this stretch) was constructed in 1735, and vastly improved road conditions performed in 1848 allowed Main Street to flourish with the construction of new homes and businesses, including a general store, small clothing factory, and a feed store in addition to the Hotel.

By the time this home was constructed, the town had a population of a few hundred people. The 1893 estimated construction date appears to be accurate to within a few years based on examination of early atlas maps. The home appears to have been built on land formerly owned by Henry C. Delp, who was listed in the 1880 census as a farmer, but in 1900 as a "market man", perhaps having established a store along the main road. The census records from Harleysville, by the way, read like a list of surnames from my high school (I grew up in Harleysville)-- Gottshall, Kulp, Ziegler, Clemens, Moyer.

By the way, there also exists a wood-frame barn at the rear edge of the property, built supposedly around 1890 even before the house. Although this is just speculation not based on records, it is possible that this barn could date back to the property being owned by the Delp family.

Image courtesy of real estate listing by Connie Hunsberger, BHHS Fox & Roach Realtors

1970s to Present

This brick home has changed stewardship three times in the last 40 years, having been sold in 1976, then just a few years later in 1983, and most recently in 2002. It is currently on the market, looking for its newest caretakers. The interior rooms of the one-story wood frame addition have the exposed brick of the original exterior at this part of the house, which gives the inside of the home a nice nod to its history.

Image courtesy of real estate listing by Connie Hunsberger, BHHS Fox & Roach Realtors

Image courtesy of real estate listing by Connie Hunsberger, BHHS Fox & Roach Realtors

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