International studio (57.1915/1916)

Scenes on Pembroke Park, near PPilmington, N. C.

suggest the grim Crusader who crossed mailed
legs in mortuary stone.
It may be said that the kings, too, are of a
quainter type than those of the seventeenth
century, and the arches under which the figures
stand resemble early Norman work.
One of the doors is marvellous in its beauty and
interest. The carving is of careful workmanship,
and the designing is in the domain of picture
making, for each panel represents a scene from one
of the plays of Shakespeare. Romeo stands under
Juliet’s balcony, and Falstaff is the rotund victim
of Windsor’s merry wives. And it was not long
after Shakespeare’s time that the door was
carved.
It is probable that no such panelling as this
exists elsewhere in America. An expert at a
certain large museum declares it unique, and sighs
with regret that his museum does not possess it.
Scenes on Pembroke park
NEAR WILMINGTON, N. C.
) BY SAMUEL HOWE
The estate of Mr. Pembroke Jones in
North Carolina is a delightful excursion among
old forms, old memories, old ideals. It shows
skilful adaptation to modern needs without en-
tailing serious loss of individuality. The scheme
is large in idea but small when we consider the
magnitude of the estate and that several thou-

sand acres of live oak and magnolia trees are let
severely alone.
This is a mountain house, a basilica, a hunting
box. We call it in our general phrasing a bun-
galow, because the word has a certain modern
significance. At first view, it is singularly un-
obtrusive, quiet. The bungalow is in three bays
with a vaulted roof, subdivided with penetrations
and pendentives, serious, calm and spacious.
This means comfort within. It is heated by two
great fireplaces, one at each end, for morning and
evening finds the warmth of a wood fire, an admir-
able addition to the savoury perfume from the open
casements and from the sea, which is not very
far away and towards which in an irregular
fashion the live oaks upon the amphitheatre
side naturally point.
Remembering the amphitheatre of the Villa
Borghese and the way in which the seats for the
spectators are constructed tier upon tier for the
enjoyment of the games, the terraces in front of
the bungalow have been so arranged as to foster
the same general idea. The southern view re-
lates to an area of a much larger scale, illustrating
the conscientious way in which the trees have
been made welcome to the scene. This means
that the general plan changes in outline. It is
not the proportion of a hippodrome but rather
the extension of a terrace entailed by a change
of levels. It is instructive to note the manner in
which the outline and detail of the steps are made


THE BUNGALOW BEFORE THE FORECOURT WAS COMPLETED

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