Part 2

A feature which the basic one room and two room plan dwellings had in common was the integral front gallery. The gallery roof framing was part of the roof structure of the core of the dwelling. One might notice in figure 22 that although two gallery columns are absent, the roof is still standing.

The one room type is illustrated in figures 23 and 24. The front view of the circa 1920 house shows a side addition to the original core room. The side view, figure 24, shows that this was originally two rooms deep since the space usually occupied by the rear gallery was enclosed. The roof had wood shingles on wood lath. The shingles were later replaced with sheets of tin.

The two room plan houses in figures 25 and 26 were expanded as the space requirements of the occupants increased. The first example has a rear appendage. Vertical board and batten siding was used on the addition, but an inconsistency in window sash selection occurred. In figure 26 the appendage was built as a shed addition on the side. This large two room house is two rooms in depth. This additional depth allows the roof to be higher, a definite advantage for the reduction of summer heat.

The shotgun type house plan, figure 27, was used abundantly on the river plantations. The typical plan was one room wide and two or more rooms deep. There were front and rear gables. Variety occurred at the front gallery as evidenced in the pair of shotguns illustrated. The gallery might be the full width of the core allowing space for chairs and thus creating an extra “room” for relief from the summer heat of the interior rooms. This gallery also provided a place for social interaction between the occupants and passersby. In contrast with this situation, the porch on the right was of the width necessary only to protect the door from the elements and to provide shelter for those entering. As shown, shotgun houses were often in close proximity to each other. This feature may have had its background in the fact that the shotgun plan had been used in urban situations in New Orleans where property was extremely valuable. However, when the plan was transported to a rural situation, the close proximity characteristic remained.

THE 20TH CENTURY FARM BUNGALOW HOUSE

As the 20th century advanced so did the plans and techniques of constructing the folk house. The bungalow plan was introduced into North Louisiana circa 1915. This plan type was two rooms wide and two or more rooms deep with front and rear gables. The bungalow plan would continue to be a popular house type in the region until the advent of the ranch type plan after World War II.

The dwelling pictured in figure 28 was typical of the bungalow of the 1920’s. As previously mentioned in reference to the shotgun house, the type of bungalow front gallery varied. The contrast may be observed in figures 28 and 29—the nearly full width gallery with hipped roof and the half porch with gable roof. An almost universal feature of the bungalow house was the use of exposed rafter ends.

It might appear that the occupant of the two room house in figure 30 desired to update his dwelling to have contemporary characteristics similar to those of the bungalow. The remaining half porch was similar to those of many of the bungalow houses. The currently popular double window was used in lieu of the usual single opening. And the rear extension created the multiple room depth characteristic of the bungalow.

OUTBUILDINGS

As was the case with the small farms west of the river, so the plantations and farms east of the river required outbuildings. Several examples of these outbuildings are represented.

On this page are shown transverse crib barns; the major openings occur on the end elevations. In figure 31 the typical transverse crib barn plan is evident with the center aisle being flanked by several cribs as shelter for stock. Above the opening is a loft for hay storage. This drawing is also descriptive of the landscape of the delta plantation—broad level expanses of open land in cultivation. Twentieth century communication systems are evident with the dirt road and telephone poles.

In figures 32 and 33 variations of the transverse barn are illustrated. A barn with side shed additions, vertical plank siding and loft storage would have sheltered a wagon in the center aisle (figure 32). A unique solution to the high water problem is evident in the barn shown in figure 33. The structure is raised and provides vehicle and stock shelter in dry seasons, but any valuable equipment could be removed as spring overflows inundated the land.

A LOG OUTBUILDING

Log construction of outbuildings directly on the ground was not a common model of construction in the delta land. The obvious reason was that frequent overflows would tend to produce rapid decay of the wood members in contact with the soil. But a rare exception to this practice was found in the building illustrated in figures 34 and 35. The relatively tall log storage building has continuous timbers as cantilever supports for side shed roofs. Whether these sheds ever had vertical post supports was not obvious on site inspection.

The corner wall detail, figure 35, indicates that the large hewn timbers were assembled using half-dovetail notches. The horizontal logs were so closely cut that a minimum air space between logs remained. Chinking material was not used to fill these spaces.

COMMUNITY BUILDINGS ON THE PLANTATION

A commercial establishment which was necessary in the delta was the commissary. It served the same function as the general store previously described for the hill lands west of the river. The commissary depicted in figure 36 has double doors flanked by large display windows. High windows on the side walls provide light and cross ventilation. This, too, would be a place for exchange of conversation as well as purchase of goods.

The community church would serve the plantation workers and their families. The buildings were generally composed of one large assembly room and classrooms as appendages to the main building. A porch protected the double entry doors. A mark of individuality might have been created in the treatment of the belfry. The church illustrated in figure 37 has a single small belfry, but often twin towers were constructed. In addition to this function as a summons to worship, the bell was often used as a community signal of momentous events such as a birth or death on the plantation.

MONROE AND WEST MONROE, THE TWIN CITIES ON THE OUACHITA...

THE ARCHITECTURE OF THE TWIN CITIES

Field research of the buildings of Ouachita Parish has revealed that there are three distinct characteristic types of architecture. In the western hilly region of the parish is the small farm type, and in the eastern river delta region the rural plantation type prevailed. Both of these have been previously described. The third category of architecture is the urban type, found within the environs of Monroe and West Monroe.

Whereas the rural architecture, with the exception of the plantation owner’s house, tended to be utilitarian and unconcerned with stylistic trends, the urban architecture very often was reflective of the currently popular national architectural styles. The styles most evident in extant residences in Monroe and West Monroe include Greek Revival, Queen Anne, Colonial Revival and California Bungalow.

Styles found in ecclesiastical, civic and commercial buildings include Victorian Gothic and the Classic Revivals of the twentieth century.

Following is a sampling of the various folk and styled architecture found within the city limits of Monroe and West Monroe.

19TH CENTURY HOUSES ON THE RIVER

The Greek Revival house pictured in figure 38 was built circa 1835 as the residence of the overseer for Lower Pargoud Plantation. A companion residence was constructed on the Upper Pargoud Plantation and exists at the end of Island Drive in Monroe.

Layton Castle, figure 39, was begun before 1820 as the residence of Judge Henry Bry. John James Audubon was a guest in the home during his visits to the wilderness of North Louisiana. In 1910 the house was renovated to resemble a European chateau.

The 1882 Cox house depicted in figure 40 was approached through an oak alley facing the road, which later became South Grand Street. In the rear was a flower garden leading to the river.

These examples of 19th century houses were originally constructed in rural farming areas which have subsequently been incorporated into the city of Monroe.

“TURN OF THE CENTURY” QUEEN ANNE HOUSES

The popular circa 1890 through 1910 house style, Queen Anne, had numerous identifying features. A steeply pitched roof of irregular shape often had a dominant front facing gable. Patterned shingles, cutaway bay windows and various other elements were used to avoid a smooth-walled appearance. The facade was asymmetrical, and often it had a partial or full width porch along a side wall as well as on the front.

Queen Anne dwellings were also noted for their decorative detailing. Delicately turned porch columns and decorative spandrels with knob-like beads were common. Spindle work was used on railings, at porch ceilings, and under the roof overhangs at cutaway bays.

The house in figure 41 was constructed with forward gables, a partial porch on the front and a cutaway bay. Decorative elements include the ornamented gables and a spindlework frieze between the porch posts at the ceiling.

Miss Julia Wossman’s house, figure 42, was moved from downtown to St. John Drive in the 1950’s. Note the forward gables, turned porch columns, the wrap-around porch, and spindlework at the cutaway front and side bay windows. The porch also has spindlework, brackets and knob-like beads in the frieze. Gables contain fish scale patterned shingles.

The houses described represent only a sampling of the full range of extant Queen Anne houses in the urban area of the Twin Cities.

20TH CENTURY COLONIAL REVIVAL HOUSES

Houses built after 1900 with the characteristics described as follows have been designated as being Colonial Revival style. A basic characteristic feature of this style was the accentuated front door with a porch supported by slender columns. Doors often had overhead fan or transom lights with sidelights, and windows contained double hung sash with multi-pane glazing in one or both sashes. As the 20th century advanced, windows were grouped in pairs of even units of three.

The Ernest L. Neville house on Hudson Lane, Monroe, figure 43, was erected as a two story house with a dominant front gable with a multi-paned Palladian window, complete with keystone. The half-porch is full height with a railed balcony and Doric columns.

The circa 1914 James Harvey Trousdale house, figure 44, on Hudson Lane is Colonial Revival in detailing, but the dominant, nearly square, configuration resembles that of a 19th century Louisiana raised cottage. Note the full story height raised basement area with the broad entrance steps.

The George Weaks House on Riverside Drive, Monroe, figure 45, was built during the first decade of the 20th century. The full two-story semicircular porch with columns and pilasters has a balustrade and broad dormer at the roofline. The front door is accentuated with square transom and sidelights. Note the elaborate expanse of entry steps at the porch floor. Windows are glazed with multiple upper sash panes and a single lower sash pane.

Closer examination of the Weaks House in the porch detail, figure 46, reveals elaborate Colonial Revival detailing. The columns have Ionic capitals and fluting. The curved entablature with dentils is enhanced further with the application of moulded wood brackets under the roof eaves.

The Neville, Trousdale, and Weaks Houses were built near the river in the area expanding to the north of Monroe. They, along with the Governor Hall house which follows, are examples of the early Colonial Revival period in Monroe.

The Governor Luther Hall Colonial Revival home pictured in figures 47 and 48 was erected on Jackson Street in the older section of Monroe circa 1906. It contains the characteristics of the style previously described—accentuated front door with full pedimented portico supported by slender columns, fan light and sidelights and multi-panes over single pane sashes. The Hall house also contains elaborate detailing in addition to these usual characteristics of the Colonial Revival style.

The detail drawing of the Governor Hall house, figure 48, is illustrative of elaborate, nearly excessive, detailing. The window not only possesses pilaster trim with an entablature and pediment, but also a design featuring interlocking segmental and square panes in the upper sash. The entry door is slightly recessed which allows space for three segmented arches with keystones on Doric columns. And, in addition, the balcony above is supported by four curved fan-like wooden brackets. Note the large scale column bases.

The Travis Oliver house at the north end of Riverside Drive in figure 49 is indicative of the continued popularity of the Colonial Revival style in the cities. Built circa 1930, this two story house, similar to those previously described, has a full porch with slender columns, a small balcony and accentuated front door with an elliptical transom and sidelights. But certain mutations make this Colonial Revival house distinct from those previously described. The lower front windows are wood casement with a semicircular wood fan above. Second story windows are large eight over eight pane double-hung sash. Most importantly, the house is of brick veneer construction. Those previously described have horizontal wood siding. The 1930’s decade witnessed the apparent popularity and desirability of the use of brick in preference to wood as an exterior cladding material.

Although Colonial Revival has been a dominant style for house construction in the Monroe and West Monroe area during the 20th Century, other styles are represented and will be described following.

VARIOUS 20TH CENTURY HOUSE STYLES

During the first three decades of the 20th century, while the Colonial Revival houses were being built in both one and two story versions, other styles were being represented in the Twin Cities. The Tudor Revival, Prairie Style and the California Bungalow received widespread acceptance in the 1920’s and 1930’s. One selection each of the Tudor Revival and Prairie Style are illustrated herein; also depicted is an example of a hybrid Queen Anne-California Bungalow House.

The Tudor Revival style, popular in the United States from 1890 to 1940, received only nominal acceptance in North Louisiana. Characteristics included a simple box plan with extensions, facade dominated by two or more prominent cross gables and windows in multiple groupings with multipane glazing. Also used were massive chimneys with chimney pots.

The Masur Museum on South Grand Street in Monroe was constructed 1929 by Elmer Slagle, Sr. Depicted in figure 50 are the characteristics of the Tudor Revival described above. This stone veneer house has a mezzanine porch in the rear overlooking a formal garden and the Ouachita River.

A Monroe landmark is the 1926 G. B. Cooley house also on South Grand Street. See figure 51. Designed by the architect Walter Burley Griffin, an associate of Frank Lloyd Wright, the plan was laid out to resemble the decks of a steamboat. Mr. Cooley, the owner, was a steamboat captain who plied the Ouachita for many years. The Prairie Style house has 100 windows which may be opened to take advantage of summer breezes.

An interesting Trenton Street house in West Monroe, figure 52, represents a mingling of stylistic detailing. The gable has wood shingles similar to those used in the Queen Anne styles, and the small patterned window panes of that period are reused in a new form. But the exposed rafter ends and expansive overhangs are characteristics of the California Bungalow style.

Thus, Monroe and West Monroe contain a variety of residential stylistic expressions as evidenced in the extant houses.

THE 20TH CENTURY CALIFORNIA BUNGALOW HOUSE

An innovation in housing design and stylistic detailing occurred in North Louisiana during the second decade of the 20th century. The houses of two California architects, Charles and Henry Greene, led to the establishment of a style known as “Craftsman.” Several influences—the English Arts and Crafts movement, interest in oriental wood architecture and training in the manual arts—may have encouraged the Greene brothers to design intricately detailed buildings. Their work and other California residences received publicity in the various national magazines. Thus, the one-story Craftsman house soon became the most popular and fashionable smaller house in the country. In Louisiana these houses have been labeled “California Bungalows.”

The characteristic features occurred normally on the facades, that portion of the house most visible to the public. The low-pitched gabled roof had wide, unenclosed eaves and overhangs and roof rafters were exposed and decorative false beams or braces occurred under the gables. Porches were full or partial width across the front.

The porch or gallery columns had distinctive detailing. Typically, short square upper columns were placed over more massive masonry piers or a solid porch balustrade (skirt). The columns, piers, or balustrades often began at ground level and extended with no interruption to a level above the porch floor.

The California Bungalow style houses constitute the most numerous group of extant styled houses in the Twin Cities. As such, they represent a definite attempt to establish a styled expression of individuality for the houses of the general populace. The examples illustrated on these pages are representative of this style.

In figure 53 a California Bungalow in north Monroe was built with the front gable expressed in the broad three-windowed dormer. Note the extensive dormer roof overhang. The full width front gallery is provided with screens between the straight full height wood columns; the gallery roof overhang contains exposed rafter ends.

Another expression of the California Bungalow appeared in the circa 1930 West Monroe house shown in figure 54. This two story house has a front gable and multiple groupings of windows. But the greatest expression occurs in the one-story gallery. It has a smaller low pitched gable roof with four full height square brick piers and a half height brick pier near the door. The balustrade continues to the side porte cochere, or car shelter.

The freedom of design offered by the California Bungalow style allowed a house form beyond that of the standard simple rectangle, and the West Monroe circa 1920 house in figure 55 used this freedom. The roof contains no gables, the front porch is allowed to wrap around the side, and the rear porch is enclosed providing additional room. The exposed rafter ends support a rather deep overhang. The porch supports are constructed of massive wood posts on half height brick piers.

Yet another expression occurs in the West Monroe circa 1926 house in figure 56. The high roof allows space for attic rooms. Note shed roof dormer.

The California Bungalow style continued to be popular in the region until after World War II when it was supplanted by the “ranch” form house with a concrete slab floor.

A 20TH CENTURY COMPLEX—IN THE CITY

When the J. E. Peters house and auxiliary buildings were built in the late 1920’s and 1930’s, the site was on the southern limits of the city of Monroe, but it subsequently was included within the city boundaries. Thus, today a unique rural atmosphere exists within an urban context.

The complex depicted in figures 57 through 60 contains a two story house, garage apartment, storage or quarters building and a pair of water storage tanks.

The two story house, figure 57, contains four rooms over four rooms and a stair and bath facilities. The one story gallery on the front and side provides ample opportunity for relaxation and relief from the heat of the interior rooms in the summer. Note the absence of a chimney; winter heating would have been provided by the newly discovered natural gas.

In the rear of the Peters house is a 1930’s garage apartment, figure 58. This element is a unique feature in the history of urban residential architecture. The automobile became obtainable by the urban family during the second decade of the 20th century, and it was sheltered in a structure separate from the residence. The garage would usually provide shelter for one to two automobiles.