MOULDINGS ONE

HISTORIC PERIOD AND IDEAL MOULDINGS

 BY MAK I NG F I N E EXA MPLES OF HISTORIC WOODWORK

AVAI LABLE TO A WIDER A UDIEN CE OF B UILDERS, CRA FTSMEN ,

DES I G NERS , AND EN THUSIA STS, I HOPE TO IN CREA SE

AWARENES S , AP PRECIA TION , A N D PRESERV A TION OF OUR

EVER- DI S APPEA RIN G A RCHITECTURA L LEGA CY.

-STEPHEN TRUDIC, JR.

T H E C ORI N T H I A N ORDER BY A N D R E A P A L L A D I O FR O M S A N FR A N C E S C O D E L L A V I G N A

S C A L E : 1/ 2 I N C H = 1”
MOULDINGS ONE
CLASSICAL AND HISTORIC PERIOD MOULDINGS
T H E C ORI N T H I A N ORDER BY A N D R E A P A L L A D I O FR O M S A N FR A N C E S C O D E L L A V I G N A

S C A L E : 1/ 2 I N C H = 1”
MOULDINGS ONE
CLASSICAL AND HISTORIC PERIOD MOULDINGS

COPYRIGHT REGISTRATION NUMBER: TX 5-927-312

PRINTED IN THE USA

OTTAVI O BE RTOT T I SC A M OZ Z I , T H E BU I L DI N G S A N D DESI G N S O F A N D R E A P A L L A D I O , P R I N C E TO N A R C HI TE C TUR A L P R E S S , 2015
I N V . 1 8 5 9 6-25-5602. R . ( W . 19) . D R A W I N G O F A R C H I TE C TUR A L D E TA I L S B Y MI C H E L A N G E L O B UONAR R O T I
TUNSTA LL SMALL & CH RI ST OP H ER W OODBRI DG E, M OU L DI N G S O F TH E TUD O R P E R I O D , THE A R C HI TE C TUR A L P R E S S , 1930
TU N ST A L L SM A L L & C H RI ST OP H ER W OODBR I D G E , MO UL D I N G S O F THE W R E N A N D G E O R G I A N P E R I O D S , TH E A R C HI TE C TUR A L P RE SS, 1928
BA TTY LA N GLE Y , EXA M P L ES F ROM A N C I EN T M A SON A RY , G E O . H . P O L L E Y & C O . , 1736
RON A L D L A M BE L L , FR E N C H P E R I O D H O US E S A N D THE I R D E TA I L S , B UTTE R W O R TH A R C H I TE C TUR E , 1992
ASHER BE N JA MI N , T H E A RC H I T EC T , OR P RA C T I C A L H OU SE C A R P E N TE R ( 1830) , D O V E R P UB L I C A TI O N S , I N C . , 1989
MI N A R D L A FE V E R , TH E MO D E R N B UI L D E R ’ S G UI D E , D O V E R P UB L I C A TI O N S , I N C . , 1969
CA RL SCHMI DT, GREE K REV I V A L A RC H I T EC T U RE I N T H E ROC H ES TE R A R E A , C A R L F. S C HMI D T, 1946
A .J. B I C K E N L L & W . T. C O MS TO C K , V I C TO R I A N A R C H I TE C TUR E , A ME R I C A N L I FE FO UN D A TIO N, 1975
A.J. BI CKE N LL & W.T. C OM ST OC K , V I C T ORI A N A RC H I T EC T U RE, AME R I C A N L I FE FO UN D A TI O N , 1975
M .F . C U M M I N G S & C .C . M I L L ER, DESI GN S FO R S TR E E T FR O N TS , S UB UR B A N H O US E S A N D C O TTA G E S , D O V E R P UB L I C A TI O N S, 1997
G EO RGE E . WOODWA RD & EDW A RD G . T H OM P SON , A V I C T ORI A N HO US E B UI L D E R ’ S G UI D E : W O O D W A R D ’ S N A TI O N A L A R C HI TE C T O F 1869, D O V E R P U BLISH ING, 2016
P A L L I SER, P A L L I SER & C O . , A R C HI TE C TS , P A L L I S E R ’ S A ME R I C A N A R C HI TE C TUR E , J . S . O G I L V I E , P UB L I S HE R, 1888
THE MU L L I N ER BOX & P L A N I N G C O., T H E M U L L I N E R C A TA L O G O F 1893, D O V E R P UB L I C A TI O N S , I N C . , 1995
ROB E R T W . L A N G , S H O P D R A W I N G S FO R C R A FTS MA N I N TE R I O R S , FO X C HA P E L P UB L I S HING, 2003
THE IONIC ORDER AS CONCEIVED BY MINARD LAFEVER FROM THE TEMPLE OF ERECTHEUS.
AUTHOR’S NOTE
Volume 7, Classical and Historic Period Mouldings, is a

compilation of moulding profiles of various styles and subject

matter that add depth and breadth to the scope of the previous

volumes.

We now have navigated the subject of mouldings and have

completed what we set out to do; to create a resource that

encompasses the world of mouldings. I believe, though, this is just

the beginning of a great journey. The places we explore online,

the books we sift through, and those we visit in person are vast

and serve as an unlimited source of inspiration.

The building blocks of classical and traditional architecture are

mouldings. It’s vital to understand how these parts relate to

one another and the whole. Since transribing my first moulding

in Volume One, my goal has been to help understand this

relationship.

-Stephen Trudic, Jr.

THE DORIC ORDER AS CONCEIVED BY MINARD LAFEVER FROM THE TEMPLE OF THESEUS.
A WORD FROM ARCHITECT, DAVID ELLISON
Stephen and I decided that bringing together some examples of

historical molding profiles and traditional compositions would be

a worthwhile project. We wanted to help people find whatever

knowledge and understanding they could in our past. When he

and I began to develop his catalog of molding profiles, it seemed

like we would be done in a few months. Instead, it’s taken us on

a round-about tour and ended up here.

In this Volume, we’ve passed a milestone highlighting some great

historical designers, their work, and significant historical periods

and stylistic movements. We’ve filled in some of the gaps left by

earlier volumes, and included a section called Ideal Mouldings,

derived from observation of historical precedent.

Our hope is that readers will use moldings to bring nuance and

subtlety to their work, enriching their projects. Having quick and

easy access to this information can be a big help when it comes

to ideas and detailing. The best outcome we can ask for is that

you, the reader, the carpenter, and the designer are informed

and inspired.

-David Ellison
ABOUT THIS BOOK
The drawings in this book were transcribed from the work of

countless architects and surveyors who took an interest in the

work of previous generations and recorded what they found. They

measured and drew the houses and moulding profiles by hand.

Mouldings One has now transcribed them into a digital format and

set them side by side so that a broader understanding of the work

might emerge. We hope that by observing historical precedent in

this way, our work can build upon the lessons of the past.

USE THIS BOOK WITH OUR ONLINE MUSEUM

Once you’ve discovered something of interest in this book, you will

find more detailed information, photographs, and drawings in our

online museum at:

mouldingsone.com/historical-millwork

or mouldingsone.com, and click on the Explore the Museum tab.

This book is only a small sampling of what is available on the

Mouldings One website. We hope you will go online, take your

exploration further and visit our ever-growing collection of

drawings of elevations and historical moulding profiles.

CONTENTS

33-265 HISTORIC PERIOD MOULDINGS (PART VI)

34-53 THE ITALIAN RENAISSANCE

36 MICHELANGELO
48 ANDREA PALLADIO

55-67 TUDOR PERIOD

69-91 ENGLISH NEOCLASSICISM PERIOD

70 WREN AND GEORGIAN

86 INIGO JONES

93-103 FRENCH PERIOD

1 0 4 -147 COLONIAL AND FEDERAL PERIOD

106 ASHER BENJAMIN

116 WILLIAMSBURG
126 WHITE PINE SERIES

149-177 GREEK REVIVAL PERIOD

150 CARL SCHMIDT

164 MINARD LAFEVER

179-255 VICTORIAN PERIOD

180 A.J. BICKNELL

188 W.T. COMSTOCK
192 CUMMINGS & MILLER
206 GEORGE E. WOODWARD
218 PALLISER, PALLISER & COMPANY
228 THE MULLINER CATALOG

257-265 CRAFTSMAN PERIOD

258 ROBERT W. LANG

267-286 IDEAL MOULDINGS (PART VII)

T H E T U SC A N ORDER I N F R O N TI S P I E C E A T Y O R K S TA I R S B Y I N I G O J O N E S

S C A L E : 1-1/ 4 I N C H = 1’
 PART VI

HISTORIC PERIOD MOULDINGS

HISTORY IS FILLED WITH A VARIETY OF MOLDING SHAPES AND PROFILES

THAT DIFFER IN THEIR USAGE, THEIR EFFECT, AND THE IMPACT THEY HAVE ON

ARCHITECTURE. FROM THE DELICATE MEDIEVAL PANELING OF ELIZABETHAN

ENGLAND TO THE MOTORIZED EXUBERANCE OF VICTORIAN EXCESS, THE

POSSIBILITIES FOR EXPRESSION ARE NEARLY LIMITLESS. THE FOLLOWING

PAGES DEPICT HISTORICAL MOLDING PROFILES FROM THE ITALIAN AND

ENGLISH RENAISSANCE, CAPETIAN FRANCE, EARLY NINETEENTH-CENTURY

HISTORICISM, LATE NINETEENTH-CENTURY MASS PRODUCTION, AND THE

ARTS AND CRAFTS MOVEMENT.

ITALIAN RENAISSANCE
A period covering the 15th and 16th centuries in Italy, the Renaissance

marks the transition from the middle ages to modernity. In its broadest

sense, it can be considered to take place between about 1300 and

1600. It parallels the development of European banking and capitalism,

primarily through the Florentine Medici Bank, expanding global awareness

brought about by, among others, Italian explorers Marco Polo of Venice

and Christopher Columbus of Genoa, and advancements in science

brought forth by the likes of Leonardo DaVinci and Galileo. Corresponding

with the fall of Constantinople to the Ottoman Empire in 1453, it was

a period of unique culture, artistic revival, and renewed interest in

classical antiquity. Centered in Florence and later in Venice, the Italian

Renaissance spurred a new awareness of ancient Greek culture, the

development of Humanist thought, and the rebuilding of Rome by Popes

such as Julius II, Guiliano della Rovere, and Leo X, Giovanni di Lorenzo de’

Medici.

MICHELANGELO
Born Michelangelo di Lodovico Buonarroti Simoni in 1475, he has had

unparalleled influence on the development of western art. Well known

for his painting and sculpture, he was also an architect of exceptional

ability and creativity. His designs for St. Peter’s Basilica in Rome, the

Piazza del Campidoglio (Capitoline Square), and the complex of

buildings in Florence surrounding the Church of San Lorenzo remain

among the greatest achievements of Italian Renaissance architecture.

Michelangelo’s architectural work is distinguished by his sculptural use

of moldings to achieve great depth, strength and delicacy.

ANDREA PALLADIO
Born Andrea di Pietro della Gondola in 1508, Andrea Palladio is regarded

as the greatest architect of 16th-century Italy and one of the most

influential figures in Western architecture.

While working as a stone mason, he was found by Gian Giorgio Trissino,

the humanist poet and scholar, who was building a villa meant to house

a learned academy based on the work of the Roman architect, Vitruvius.

Tressino undertook Andrea’s humanist education and renamed him

“Palladio” alluding to great wisdom and useful arts, ultimately inspiring

him to write Il Quatro Libri del Architectura, Palladio’s Four Books of

Architecture.

He measured and drew the ancient ruins in Rome, was inspired by

Sansovino and Serlio, and designed and built what many consider the

most perfect modern expressions of the classical architectural language.

His judicious use of molded profiles was carefully considered, enhancing

the overall aesthetic of a building without overpowering and detracting

from its beauty, strength, and functionality.

 S C A L E : 3 I N C H = 1’

36 I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O
 S C A L E : 3 I N C H = 1’

I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O 37
 S C A L E : 3 I N C H = 1’

38 I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O
 S C A L E : 3 I N C H = 1’

I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O 39
 S C A L E : 3 I N C H = 1’

40 I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O
 S C A L E : 3 I N C H = 1’

I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O 41
 S C A L E : 3 I N C H = 1’

42 I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O
 S C A L E : 3 I N C H = 1’

I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O 43
 S C A L E : 3 I N C H = 1’

44 I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O
 S C A L E : 3 I N C H = 1’

I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O 45
 S C A L E : 3 I N C H = 1’

46 I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O
 S C A L E : 3 I N C H = 1’

I T A L I A N R E N A I S S A N C E / MI C H E L A N G E L O 47
 S C A L E : 1/ 2 I N C H = 1”

48 ITALIAN RENAISSANCE / ANDREA PALLADIO

 S C A L E : 1/ 2 I N C H = 1”

ITALIAN RENAISSANCE / ANDREA PALLADIO 49

 S C A L E : 1/ 2 I N C H = 1”

50 ITALIAN RENAISSANCE / ANDREA PALLADIO

 S C A L E : 1/ 2 I N C H = 1”

ITALIAN RENAISSANCE / ANDREA PALLADIO 51

 S C A L E : 1/ 2 I N C H = 1”

52 ITALIAN RENAISSANCE / ANDREA PALLADIO

 S C A L E : 1/ 2 I N C H = 1”

ITALIAN RENAISSANCE / ANDREA PALLADIO 53

TUDOR PERIOD
The Tudors, Henry VII, Henry VIII, Edward VI, Mary I, and Elizabeth I ruled

England from 1485 until 1603. The period was marked by the “discovery”

of the new world, a doubling of the population, and a transformation of

English religion.

Tudor style architecture represents the final development stage of

Medieval architecture and the beginning of the English Renaissance and

neoclassicism. It includes Elizabethan architecture and the Jacobean

architecture of the later Stuart period. The substantial buildings of the

period were constructed of brick and stone, but we often associate the

style with half-timbered buildings with exposed wood frames infilled with

wattle and daub.

Rectangular, vertically-oriented leaded windows framed with structural

transoms and mullions, oriel (bay) windows, low, and multi-centered Tudor

arches are common architectural features.

Wooden millwork in the form of multi-paneled walls was used as a

finish material and to separate spaces. Carved, foliate and linen-fold

ornamentation was used to decorate the paneling, while small, finely

profiled panel moldings provided detail.

56 TUD O R P E R I O D
TUD O R P E R I O D 57
58 TUD O R P E R I O D
TUD O R P E R I O D 59
60 TUD O R P E R I O D
TUD O R P E R I O D 61
62 TUD O R P E R I O D
TUD O R P E R I O D 63
64 TUD O R P E R I O D
TUD O R P E R I O D 65
66 TUD O R P E R I O D
TUD O R P E R I O D 67
ENGLISH NEOCLASSICISM
From the late 17th century to the early 19th century, interior decoration

and architecture were characterized by a shift toward a new classicism

inspired by the Renaissance. Symmetry, proportion, and classical motifs

become ever more important.

Inigo Jones, b. 1573, d.1652, was a renowned English architect and

designer who was deeply influenced by the classical architecture of

ancient Greece and Rome. Jones can be credited for his contributions

to the development of the neoclassical style in Britain and for drawing

English attention to the work of Andrea Palladio. His architectural

designs established a new classical style in Britain, and have continued

to influence architects and designers to this day. His work remains an

important part of the architectural canon, and his mouldings are still

studied and admired for their beauty and elegance.

Architects who followed Jones such as Sir Christopher Wren, b.1632,

d.1723, William Chambers, b.1732, d. 1796, John Soane, b.1753, d.1837,

John Nash, b1752, d.1835 and Alexander Thompson b.1817, d.1875 each

developed neoclassicism in Great Britain, and consequently, the whole of

the British Empire

70 EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N
EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N 71
72 EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N
EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N 73
74 EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N
EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N 75
76 EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N
EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N 77
78 EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N
EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N 79
80 EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N
EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N 81
82 EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N
EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N 83
84 EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N
EN G L I SH N E O C L A S S I C I S M / W R E N A N D G E O R G I A N 85
 S C A L E : 2 I N C H = 1’

86 EN G LI S H N E O C L A S S I C I S M / I N I G O J O N E S
 S C A L E : 2 I N C H = 1’

EN GL I S H N E O C L A S S I C I S M / I N I G O J O N E S 87
 S C A L E : 4 I N C H = 1’

88 EN G LI S H N E O C L A S S I C I S M / I N I G O J O N E S
 S C A L E : 4 I N C H = 1’

EN GL I S H N E O C L A S S I C I S M / I N I G O J O N E S 89
 S C A L E : 4 I N C H = 1’

90 EN G LI S H N E O C L A S S I C I S M / I N I G O J O N E S
 S C A L E : 4 I N C H = 1’

EN GL I S H N E O C L A S S I C I S M / I N I G O J O N E S 91
FRENCH PERIOD
French style emerged in the middle of the fifteenth century as ideas

from the Renaissance in art and architecture in Italy began to influence

design on the continent of Europe. The architectural achievements of the

Gothic cathedrals by earlier generations combined with the centralization

of power and French court life resulted in the patronage of the arts,

including architecture, on a scale unknown before. French design was

not confined to quoting from the classical but included a more complete

and wholistic vision of complete design. French mastery of stone carving,

boiserie (woodwork), furniture (ebenisterie), etc., and the focus given to

whole works, distinguished French design.

The following pages include drawings of stone masonry and woodwork

from French Buildings that capture the character of the ornate and lavish

designs, the opulence and grandeur of French interiors, inspired, but

not bound by classical precedents. French moldings frequently include

layering and back-cut profiles that create deep shadows and floating

surfaces.

The French period mouldings of the 18th century were created during a

time of significant political and social change which saw the rise of new

ideas about individualism, reason, and natural rights. The ornate designs

of mouldings, and their emphasis on individual beauty and creativity,

reflected this new era of intellectual and cultural change.

94 FR E N C H P E R I O D
FR E N C H P E R I O D 95
96 FR E N C H P E R I O D
FR E N C H P E R I O D 97
 S C A L E : 6 I N C H = 1’

98 FR E N C H P E R I O D
FR E N C H P E R I O D 99
100 FR E N C H P E R I O D
FR E N C H P E R I O D 101
102 FR E N C H P E R I O D
FR E N C H P E R I O D 103
COLONIAL AND FEDERAL PERIOD
Architecture in the American Colonies and early republic was the product

of the many influences upon it, not the least of which were the skills of the

craftsmen and the materials available to them. Architectural traditions

of the colonists’ home countries, notably here, that of Great Britain,

Tudor vernacular timber construction, naval architecture, and English

Neoclassicism in the form of Georgian design each contributed to the

buildings of the English North American colonies and the federal republic

that emerged after American War of Independence.

At the time of the Centennial of Independence in the late 19th century,

it became apparent to many Americans that the architectural heritage

of the Colonial and Early Federal periods was being lost to neglect and

obsolescence. Efforts were made to capture and save the early examples

of American architecture and to promote a uniquely “American Style”

symbolized by these examples.

The White Pine Series of Architectural Monographs was a landmark

publication made initially to promote White Pine as a building material.

It presented drawings, photographs, and descriptions of early American

Architecture to subscribers. The Monograph series was absorbed into

Pencil Points Magazine in the 1930s and has been reprinted several times

since. Many of the contributors to the Monograph Series became involved

in the Historic American Buildings Survey (HABS).

The Historic American Buildings Survey (HABS) collection is among the

largest and most heavily used in the Prints and Photographs Division of

the Library of Congress. Administered since 1933 through cooperative

agreements with the National Park Service, the Library of Congress, and the

private sector, ongoing programs of the National Park Service have recorded

America’s built environment in multiformat surveys comprising more than

581,000 measured drawings, large-format photographs, and written histories for

more than 43,000 historic structures and sites dating from Pre-Columbian times

to the twentieth century.

Asher Benjamin was a highly influential figure in American architecture in the

late 18th and early 19th centuries, known for his influential building manuals on

architectural design and ornamentation. These books were widely circulated

and helped to standardize architectural design in the United States, making

it accessible to builders, carpenters, and homeowners alike. The books were

notable for their clear and concise instructions, as well as their detailed

illustrations of architectural elements such as mouldings, cornices, and

columns. They provided a comprehensive guide to the various shapes and

styles of ornamentation that were popular in his time and continue to be used

today.

Asher Benjamin, along with other architects such as Charles Bulfinch, Thomas

Jefferson and Benjamin Latrobe played a significant role in popularizing the

Federal style, which emphasized symmetry, proportion, and classical motifs.

Benjamin was known for his use of classical motifs in his moulding designs,

which were based on the proportions and ornamentation of ancient Greek

and Roman architecture. Benjamin’s emphasis on proportion, symmetry, and

classical ornamentation had a lasting impact and was widely copied and

adapted.
 S C A L E : 7 I N C H = 1’

106 C OL ON I A L A N D FE D E R A L P E R I O D / A S HE R B E N J A MI N
 S C A L E : 7 I N C H = 1’

C OL ON I A L A N D FE D E R A L P E R I O D / A S HE R B E N J A MI N 107
108 C OL ON I A L A N D FE D E R A L P E R I O D / A S HE R B E N J A MI N
C OL ON I A L A N D FE D E R A L P E R I O D / A S HE R B E N J A MI N 109
110 C OL ON I A L A N D FE D E R A L P E R I O D / A S HE R B E N J A MI N
C OL ON I A L A N D FE D E R A L P E R I O D / A S HE R B E N J A MI N 111
112 C OL ON I A L A N D FE D E R A L P E R I O D / A S HE R B E N J A MI N
C OL ON I A L A N D FE D E R A L P E R I O D / A S HE R B E N J A MI N 113
114 C OL ON I A L A N D FE D E R A L P E R I O D / A S HE R B E N J A MI N
C OL ON I A L A N D FE D E R A L P E R I O D / A S HE R B E N J A MI N 115
 S C A L E : 1/ 2 I N C H = 1”

116 C OL ON I A L A N D FE D E R A L P E R I O D / W I L L I A MS B UR G
 S C A L E : 1/ 2 I N C H = 1”

C OL ON I A L A N D FE D E R A L P E R I O D / W I L L I A MS B UR G 117
118 C OL ON I A L A N D FE D E R A L P E R I O D / W I L L I A MS B UR G
C OL ON I A L A N D FE D E R A L P E R I O D / W I L L I A MS B UR G 119
120 C OL ON I A L A N D FE D E R A L P E R I O D / W I L L I A MS B UR G
C OL ON I A L A N D FE D E R A L P E R I O D / W I L L I A MS B UR G 121
122 C OL ON I A L A N D FE D E R A L P E R I O D / W I L L I A MS B UR G
C OL ON I A L A N D FE D E R A L P E R I O D / W I L L I A MS B UR G 123
124 C OL ON I A L A N D FE D E R A L P E R I O D / W I L L I A MS B UR G
C OL ON I A L A N D FE D E R A L P E R I O D / W I L L I A MS B UR G 125
 S C A L E : 3 I N C H = 1’

126 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 127
128 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 129
130 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 131
132 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 133
134 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 135
136 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 137
138 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 139
140 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 141
 S C A L E : 1/ 2 I N C H = 1”

142 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 143
144 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 145
146 C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S
C OL ON I A L A N D FE D E R A L P E R I O D / W H I TE P I N E S E R I E S 147
GREEK REVIVAL PERIOD
The Greek Revival architectural style, inspired by ancient Greek Temples,

spread throughout Europe and the United States after the easing of

diplomatic relations between Europe and the Ottoman Empire in the

mid-eighteenth century. It flourished in the late 18th and early 19th

centuries and represents the last phase of neoclassical architecture.

Karl Friedrich Shinkel, of Germany, Claude Nicolas Ledoux of France,

and Alexander “Greek” Thompson of Scotland are notable European

architects of the Greek Revival, while William Strickland, Thomas U. Walter,

and Minard LaFever are American proponents of the style.

The following pages include the work of Minard Lafever, an American

architect and author who was active during the first half of the 19th

century. He is best known for his designs for religious and educational

buildings, though his influence on the home building may be more

recognizable to the general public. Lafever’s books, “The Beauties of

Modern Architecture” and “The Modern Builders’ Guide,” which were

published in the early nineteenth century were influential in spreading

the use of mouldings in American architecture and were a widely used

reference for builders and architects.

Carl Schmidt, a prominent architect and architectural historian in

Rochester, New York who lived in the mid-twentieth century, was inspired

to measure, draw and publish documentation of the beautiful Greek

Revival Style houses in Western New York, many of which were based on

the building manuals published by LaFever.

150 G REE K R E V I V A L P E R I O D / C A R L S C HMI D T
G RE E K R E V I V A L P E R I O D / C A R L S C HMI D T 151
152 G REE K R E V I V A L P E R I O D / C A R L S C HMI D T
G RE E K R E V I V A L P E R I O D / C A R L S C HMI D T 153
154 G REE K R E V I V A L P E R I O D / C A R L S C HMI D T
G RE E K R E V I V A L P E R I O D / C A R L S C HMI D T 155
156 G REE K R E V I V A L P E R I O D / C A R L S C HMI D T
G RE E K R E V I V A L P E R I O D / C A R L S C HMI D T 157
158 G REE K R E V I V A L P E R I O D / C A R L S C HMI D T
G RE E K R E V I V A L P E R I O D / C A R L S C HMI D T 159
160 G REE K R E V I V A L P E R I O D / C A R L S C HMI D T
G RE E K R E V I V A L P E R I O D / C A R L S C HMI D T 161
162 G REE K R E V I V A L P E R I O D / C A R L S C HMI D T
G RE E K R E V I V A L P E R I O D / C A R L S C HMI D T 163
164 G REEK R E V I V A L P E R I O D / MI N A R D L A FE V E R
G REE K R E V I V A L P E R I O D / MI N A R D L A FE V E R 165
166 G REEK R E V I V A L P E R I O D / MI N A R D L A FE V E R
G REE K R E V I V A L P E R I O D / MI N A R D L A FE V E R 167
168 G REEK R E V I V A L P E R I O D / MI N A R D L A FE V E R
G REE K R E V I V A L P E R I O D / MI N A R D L A FE V E R 169
170 G REEK R E V I V A L P E R I O D / MI N A R D L A FE V E R
G REE K R E V I V A L P E R I O D / MI N A R D L A FE V E R 171
172 G REEK R E V I V A L P E R I O D / MI N A R D L A FE V E R
G REE K R E V I V A L P E R I O D / MI N A R D L A FE V E R 173
174 G REEK R E V I V A L P E R I O D / MI N A R D L A FE V E R
G REE K R E V I V A L P E R I O D / MI N A R D L A FE V E R 175
176 G REEK R E V I V A L P E R I O D / MI N A R D L A FE V E R
G REE K R E V I V A L P E R I O D / MI N A R D L A FE V E R 177
VICTORIAN PERIOD
Spanning a period of over 60 years, the Victorian “style” is a jumble

of overlapping English and American architectural styles that includes

the Italianate, Gothic, and Colonial Revivals, Second Empire,

Romanesque, Stick, and Shingle styles. It is distinguished as a break

with the neoclassically inspired Georgian, Palladian, and Greek Revival

styles and by its incorporation of mass-produced building products and

ornamentation. Because of the widespread influence of the British Empire

during the nineteenth century, it became something of an international

style, exported around the world to places as far from England as

California, Australia, and Hong Kong.

Construction following the American Civil War is all considered “Victorian”

in the United States and featured steep roofs with ornate gables,

cresting and finials, turrets, polychromatic materials, and wrap-around

porches. There was a proliferation of building manuals prepared by

architects and planing mills providing stylistic direction and inspiration

to a rapidly expanding population with growing affluence. A.J. Bicknell,

W.T.Comstock, Cummings and Miller, George E. Woodward, the Palliser

Brothers, and the Mulliner Company are just a few of the many such

proponents and influencers of the period.

180 V I C TO R I A N P E R I O D / A . J . B I C K N E L L
V I C TO R I A N P E R I O D / A . J . B I C K N E L L 181
182 V I C TO R I A N P E R I O D / A . J . B I C K N E L L
V I C TO R I A N P E R I O D / A . J . B I C K N E L L 183
184 V I C TO R I A N P E R I O D / A . J . B I C K N E L L
V I C TO R I A N P E R I O D / A . J . B I C K N E L L 185
186 V I C TO R I A N P E R I O D / A . J . B I C K N E L L
V I C TO R I A N P E R I O D / A . J . B I C K N E L L 187
188 V I CTO R I A N P E R I O D / W . T. C O MS TO C K
V I CTO R I A N P E R I O D / W . T. C O MS TO C K 189
190 V I CTO R I A N P E R I O D / W . T. C O MS TO C K
V I CTO R I A N P E R I O D / W . T. C O MS TO C K 191
192 V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R
V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R 193
194 V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R
V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R 195
196 V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R
V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R 197
198 V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R
V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R 199
200 V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R
V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R 201
202 V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R
V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R 203
204 V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R
V I C T O R I A N P E R I O D / C UMMI N G S & MI L L E R 205
 S C A L E : 1/ 2 I N C H = 1”

206 V I C T ORIA N P E R I O D / G E O R G E E . W O O D W A R D
 S C A L E : 1/ 2 I N C H = 1”

V I C T OR I A N P E R I O D / G E O R G E E . W O O D W A R D 207
208 V I C T ORIA N P E R I O D / G E O R G E E . W O O D W A R D
V I C T OR I A N P E R I O D / G E O R G E E . W O O D W A R D 209
210 V I C T ORIA N P E R I O D / G E O R G E E . W O O D W A R D
V I C T OR I A N P E R I O D / G E O R G E E . W O O D W A R D 211
212 V I C T ORIA N P E R I O D / G E O R G E E . W O O D W A R D
V I C T OR I A N P E R I O D / G E O R G E E . W O O D W A R D 213
214 V I C T ORIA N P E R I O D / G E O R G E E . W O O D W A R D
V I C T OR I A N P E R I O D / G E O R G E E . W O O D W A R D 215
216 V I C T ORIA N P E R I O D / G E O R G E E . W O O D W A R D
V I C T OR I A N P E R I O D / G E O R G E E . W O O D W A R D 217
218 V I C T ORI A N P E R I O D / P A L L I S E R , P A L L I S E R & C O MP A N Y
V I C T ORI A N P E R I O D / P A L L I S E R , P A L L I S E R & C O MP A N Y 219
220 V I C T ORI A N P E R I O D / P A L L I S E R , P A L L I S E R & C O MP A N Y
V I C T ORI A N P E R I O D / P A L L I S E R , P A L L I S E R & C O MP A N Y 221
222 V I C T ORI A N P E R I O D / P A L L I S E R , P A L L I S E R & C O MP A N Y
V I C T ORI A N P E R I O D / P A L L I S E R , P A L L I S E R & C O MP A N Y 223
224 V I C T ORI A N P E R I O D / P A L L I S E R , P A L L I S E R & C O MP A N Y
V I C T ORI A N P E R I O D / P A L L I S E R , P A L L I S E R & C O MP A N Y 225
226 V I C T ORI A N P E R I O D / P A L L I S E R , P A L L I S E R & C O MP A N Y
V I C T ORI A N P E R I O D / P A L L I S E R , P A L L I S E R & C O MP A N Y 227
228 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 229
230 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 231
232 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 233
234 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 235
236 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 237
238 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 239
240 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 241
242 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 243
244 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 245
246 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 247
248 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 249
250 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 251
252 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 253
254 V I C T ORI A N P E R I O D / THE MUL L I N E R C A TA L O G
V I C T O R I A N P E R I O D / TH E MUL L I N E R C A TA L O G 255
CRAFTSMAN PERIOD
In reaction to the Industrial Revolution, Social theorists like William

Morris outlined a philosophy embracing handcraftsmanship. As

industrialization and mass production produced both alienated factory

workers and a rising middle class, it also spurred the work of artisan

entrepreneur-publishers such as Elbert Hubbard and Gustav Stickley,

who promoted the arts and crafts movement and handcrafted products

through widely read and circulated publications, including The Craftsman

magazine, establishing what we now widely recognize as the “arts and

crafts bungalow” type of house. The Craftsman Style has now become

associated with simple forms and a rejection of classical details in favor of

those that might be made by the home hand-craftsman. In some ways, it

launched the modern DIY movement and all that goes with it.

The following pages include the work of Robert Lang who has written

numerous books on woodworking, including “Shop Drawings for Craftsman

Interiors”, a standard reference for woodworkers. The book provides

detailed plans and instructions for creating cabinets, mouldings, and

built-ins in the Craftsman style for every room in the home. It includes over

a thousand illustrations, photographs, and construction details along with

step-by-step instructions for building bookcases and sideboards to mantels

and wainscoting.
258 C RA FTS MA N P E R I O D / R O B E R T W . L A N G
C RA FTS MA N P E R I O D / R O B E R T W . L A N G 259
260 C RA FTS MA N P E R I O D / R O B E R T W . L A N G
C RA FTS MA N P E R I O D / R O B E R T W . L A N G 261
262 C RA FTS MA N P E R I O D / R O B E R T W . L A N G
C RA FTS MA N P E R I O D / R O B E R T W . L A N G 263
264 C RA FTS MA N P E R I O D / R O B E R T W . L A N G
C RA FTS MA N P E R I O D / R O B E R T W . L A N G 265
 FILLET FACIA

BASIC SHAPES MOULDINGS

STRAIGHT

OF

CAVETTO SCOTIA CONGE

CONCAVE

OVOLO ECHINUS TORUS

CONVEX

A ST R AG AL BEAD THU MB 3/4 B EAD

C YMA R ECTA C YMA REVERSA B EAK

COMPOUND

LINE-ART DESIGN COURTESY OF THE TRADITIONAL BUILDING MAGAZINE, JULY, AUGUST 1993
 PART VII

IDEAL MOULDINGS

WHILE THE RANGE OF POSSIBILITIES FOR MOULDING PROFILES IS ONLY

LIMITED BY ONE’S IMAGINATION, CERTAIN FORMS AND PROFILES CREATE

MORE RELIABLE AND PLEASING COMPOSITIONS. OVER THE YEARS, WE HAVE

RUN MILLIONS OF LINEAR FEET OF MOULDINGS, LOOKED AT HISTORICAL

EXAMPLES FROM ACROSS THE WORLD, AND TRANSCRIBED THOUSANDS OF

PROFILES FROM HISTORICAL DOCUMENTATION. WITH THAT EXPERIENCE,

WE’VE ASSEMBLED A GROUP OF IDEAL MOULDING PROFILES THAT ARE

INCLUDED IN THE FOLLOWING PAGES.

 SMALL FILLETS

SQUARE 3x4 1x√1 2x3 1xΦ 1x2 1x3

268
S4S (SANDED FOUR SIDES) SQUARE AND RECTANGULAR BLOCKS AND FILLETS IN
STANDARD SIZES MAKE UP THE BLANKS FROM WHICH THE PROFILES ARE CUT AND
ADDED TO.

9-1/4 10-by-

7-1/4 8-by-

5-1/2 6-by-

3-1/2 4-by-

2-1/2 3-by-

8 QUARTER

2-by-

5 QUARTER

1-by-

3/4 1-1/8 1-1/2

269
 BEADED PROFILES CAN BE EXTENDED
IN ANY DIRECTION AND ORIENTATION

270
 5209 5208

5225 5210

8230

8124

8066 8064

8139 3048 5012 5004 5020

271
 3104

3105

3101

3102

3099

3339

3290 3217 3238

3321

3240

272
3107 3106 3103

273
274
 5073

3001

3234

275
276
5453 5446 5452

277
 3062

3089

278
279
 5689

8185

3293

280
281
282
283
284
PAIRED MOULDINGS FORM THE
EAVE AND RAKE PROFILES FOR
PEDIMENTS WITH 5’, 8’, AND 10’
HIGH COLUMNS

285
PAIRED MOULDINGS FORM THE
EAVE AND RAKE PROFILES FOR
PEDIMENTS WITH 5’, 8’, AND 10’
HIGH COLUMNS

286
SKETCH PAD
SKETCH PAD
SKETCH PAD
SKETCH PAD
SKETCH PAD
SKETCH PAD
SKETCH PAD
SKETCH PAD
SKETCH PAD
SKETCH PAD
SKETCH PAD
P.O. BOX 15 OR 13813 STATION ROAD; BURTON, OHIO 44021

MONDAY-FRIDAY 8AM-4:30PM, SATURDAY 8AM-12PM

PH 440.834.3420 OR 877.708.4095 F 440.834.3422

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