Univ. of Virginia students Amy Finstein and Astrid Livingston

On the ‘dumpling’ formation in Jamestown that supports the Barnacle, built in1886 by Charles Bevins.

Berkeley Villa (1910)

Ogden Codman’s elegant design for his cousin Martha’s home, pivots on this wonderful rotunda.

Casino Court (1871)

McKim Mead and White’s first commission, the Newport Casino of 1879, began when New York Tribune owner James Gordon Bennett built it as an alternative to the Newport Reading Room—where his behavior was deemed unacceptable by other members.

Newport Casino (1879)

Recent received a complete reshingling in five different patterns, brightening the façade considerably.

Indian Spring (1890)

Until recently, Richard Morris Hunt’s Indian Spring great house was hidden behind a tangle of brambles and overgrowth that Frederick Law Olmsted Jr. once landscaped to form a regal entrance to the stately summer cottage.

Kingscote (1838)

Richard Upjohn's prim Victoriana received embellishments by Tiffany and housed artist Maitland Armstrong, when Stanford White decorated the dining room addition in 1881.

Oakes Memorial Hall

Richard Guy Wilson covers the finer points of H.H. Richardson’s Oakes Memorial Hall at Easton.

Round House, Jamestown (1888)

Some claim that the Round House is a Charles McKim design; others argue that it is just another unattributed whimsical summer cottage, certainly much too modest to compare with McKim, Mead and White’s elaborate interior treatments.

Richard Guy Wilson and Summer School participant, Dr. Sarah Butler

The house may have been inspired by Fort Dumpling, a fieldstone tower built in 1800.

Berkeley Villa (1910)

Richard Guy Wilson shows Chicago Archicenter guide Henry Kuehn what to look for in Ogden Codman’s marvelous rotunda at Berkeley Villa.

Unitarian Memorial Church, Fairhaven, MA

Robert Reid designed this elaborate altar window for Charles Bingham’s Unitarian Memorial Church.

Watts Sherman House (1874-1876)

Although this façade features Dudley Newton’s addition to Henry Hobson Richardson’s stunning design, the house’s southern exposure clearly demonstrates the exuberant Victorian predilection for texture and ornate surface treatments.