Interlaced, Paired Ribbons: Guiloche

This is the door of the Hiland Knapp House in N. Bennington, VT.




The drawing below of guiloche (paired ribbons flowing in interlaced curves around a series of voids, usually circular) is half of Plate LII from The Architect, or Practical House Carpenter, 1830, by Asher Benjamin.









This close-up - of the frieze below the transom - shows almost the same guiloche on the door as is in the middle drawing:






But the pattern on the door is not an exact copy, and for a good reason. A 'running' pattern (like the one in the drawing) does not have a beginning or an end. But a front door is the visual focus of a house; it's not on its way to someplace because it is the place.

But, adding a curvy piece above the door emphasizes the whole entrance nicely while complimenting the Ionic columns. So what's a builder to do? A simple answer might be to put one circle of the guiloche smack-dab in the center above the door. But it's still a 'running braid': visually it doesn't stand still, it 'runs'.

The builder of this house came up with an admirable solution: the pattern starts from both sides, so that the ribbons meet in the middle, in an open circle. Now your eye traces the pattern to the circle centered above the door - and stops. Voila!

(The design makes me smile.)

Copying and Plagarism

Over the past few months, I've been reading other people's writing and research on Asher Benjamin. One such scholar, architectural historian Abbot Lowell Cummings, has reviewed all the earlier pattern books (mainly English) that Benjamin copied. Yes, just copied - plate after plate. It turns out that Benjamin made direct copies from what can be found in earlier pattern books, most of them published in England. And at the time, no one seems to have said, "Hey! This is plagiarism!"

I find this interesting in light of conversations I've had about my own work and ownership of intellectual property. When I, an architect who works on old houses, design a new wing, I pay a huge amount of attention to how the existing house was designed. I am mining the existing house for visual knowledge that will help my wing compliment what's there. Sometimes I just plain copy.

But who owns the design that I copied? The original building may not have had an architect, so could it be the property of the carpenter, or the owner? Does it belong to me, because I adapted it? And should anyone even own it at all?

I'm pretty sure Asher Benjamin wasn't deliberately stealing the intellectual property of his predecessors - I doubt people even thought in those terms 200 years ago. I do think he really liked the designs he put in his first books, and he wanted to share what he saw. His own writing - like his paragraphs about light and shadow on mouldings - are so genuine and earnest, that I can imagine Benjamin choosing the plates for his book with the same passion.

So I'm glad no one slapped a lawsuit on him!

How Long Is Your Cubit?

I've found another reason for Asher Benjamin's geometry lessons and the proportion diagrams on his plates.

It turns out that in 1800, the various and different measuring systems used in the western world were quite divergent. A cubit seems to have been standard measured: from your outstretched middle finger to your elbow (about 18"). But a yard might be from your finger to your nose, (36") or to your near or opposite shoulder, (30", and 42" respectively).

I think this is great, since I have been measuring with body dimensions for years - using my own body to discretely measure an interesting space without drawing attention to myself by whipping out a tape measure, or helping a client to tell me how big is 'big' by stretching out both arms and saying, "This big?"

In 1793, Napoleon tried to create a standard, a metric system, with some success. And in 1824, the English made a standard yard, also with some success. The process took a good 50 years to take hold, and today we still have lots of regional variations, not to speak of the gulf between inches and centimeters.

Here in the States people measured cloth, grain, lumber using the system they had learned in the 'old country'. A Pennsylvania carpenter who repairs 18th century houses has told me he can tell a house built by a German from one built by a Quaker by its dimensioning.

Measuring - Proportions

How did carpenters measure in 1797?
What does Asher Benjamin assume his readers know when he writes his first pattern book?

Instructions today for building a simple bookcase  - for example - assumes the carpenter will use  a tape measure and a steel carpenter's square.
By comparison, in 1797, a carpenter had a square and perhaps a folding rule.
 He also had dividers and a compass. He used both to determine dimensions.


 Here are Asher Benjamin's  instructions for the moldings around a door (at the end of the descriptions for Plate 1).  Click the picture  to enlarge it - for easier reading!

He gives no dimensions, just ratios:  'seven or eight parts',  'one fourth or one third wide'.
The reader would have used his compass and dividers to  layout the geometry, to divide a door or window width into  7 or 8 parts.


When Asher Benjamin writes his books, we were still making the parts for a house specifically for that house - no buying off the shelf.
When it came to finish work, each molding added at a door opening or chair rail was made to order, regardless of how it was measured.
Uniform measurements for construction were not necessary until people wanted interchangeable parts. If your yard was 36" and mine was 35" it didn't matter.

Benjamin's introduction to geometry - his first plates - and his descriptions of how to draw the profiles of various moldings show his readers to how adapt his patterns to their specific buildings.

The Country Builder's Assistant, by Asher Benjamin, 1797,  shown above,  is a reprint by Applewood Books, Bedford, Massachusetts, 1992.  The originals, (worn. well used and well loved!) are often available in rare book libraries.

TOOLS

I am curious about the tools carpenters had around 1800. Asher Benjamin wrote for the trade. He was a 'joiner' himself. He knew what his readers were working with. His books will make more sense if I too know what was in those carpenters' tool boxes.
It is not easy to find any information that's not prefaced with, " I think..." The list so far includes hand saws, chisels, hammers, plumb bob, planes, wooden squares, bits and braces.

No rulers, no measuring sticks. This last fact really interests me.

Eric Sloan wrote about early American tools in the 1960's. His books have beautiful pictures, some dates, and basic information. He knew a great deal more than is in the books. I wish he had written more.

INTER-LIBRARY LOAN

I want to know what other people have written about Asher Benjamin. The books I want to read aren't in most libraries, but through the inter-library loan system I can borrow them. So I went to our public library where I can ask for 3 books a week.

The first came yesterday. It wasn't a book, but a reprint of an article, a very good read.

The library tells me that some of the books I asked for can't be borrowed - too fragile or unique. However, I can go to them, and many are at Historic Deerfield in Deerfield, Mass., about 2 hrs. away.

Asher Benjamin built a school there, now a museum - I have seen it. I look forward to seeing it again.

"beautiful variety of light and shade"

Asher Benjamin, 1773- 1843  Builder and  Architect

Asher Benjamin wrote for carpenters. He starts The American Builder's Companion with ten plates of basic knowledge a 'joiner' would have needed in the early 1800's, including how to divide a circle, how to layout mouldings.

Many readers seem to skip this technical part of his books, seeing it as archaic. Sometimes historians are interested in how Georgian architecture changed from using mouldings based on the circle (Roman) to those based on the ellipse (Greek). So they note the plates and move on.

They miss the man who knows how light creates. He cares about what he is seeing so passionately that he figures out how to write about it so he can share it with his readers.
I know first hand that it's not easy to put what an architect sees into words that someone else can understand!

Try this:
" In the Roman ovolo there is no turning inward, at the top: therefore, when the sun shines on its surface, it will not be so bright, on its upper edge, as the Grecian ovolo; nor will it cause so beautiful a line of distinction from the other moldings, with which it is combined, when it is in shadow, and when lighted by reflection.
...the Grecian, or quirk ovolo, ... if it is entirely in shadow, but receive a reflected light, the bending, or turning inward, at the top, will cause it to contain a greater quantity of shade in that place, but softened downward around the moulding to the under edge."

As I read his text, I met the man himself.

The quotes are from Plate IX, Names of Mouldings, American Builder's Companion, 1810.

This portrait is from the Dover Publications reprint, 1969, of The American Builder's Companion, Asher Benjamin, 6th edition, 1827. The Public Library in Greenfield was designed by Benjamin.  I have seen the original portrait at Historic Deerfield, Deerfield, MA, where Benjamin built a school.