As you drove slowly along the country road, did you ever stop to consider the many possibilities for development that lie hidden in the old Colonial farmhouses found here and there? Some are situated quite a distance from the main road, while others are placed practically on its boundary line. Many of the types are disguised by the unattractive additions that have been built to accommodate the growing needs of their occupants. Others, with sagging roofs and weather-beaten exteriors, stand mute witnesses of the days when our country was making history for itself. Some of these unattractive old dwellings in their early days sheltered the most ardent patriots of our land, men whose gallant deeds have made them famous, and who now lie forgotten.

Fortunately for us, these old houses were not all built in the same century, but present a variety of types which makes them all the more interesting both to architect and house owner. The age of the house is clearly defined in its design. Many of the earliest examples were framed in white pine, a wood whose lasting qualities have been plainly shown through their power to withstand the ravages of time. Others were constructed of stone or brick and are equally interesting in character. From an architectural standpoint, most of these houses, no matter how dilapidated their condition, show good lines. To be sure, these are often hidden under poor surroundings, for as the families grew larger and additions became necessary, the new parts were often badly placed. This makes it hard for an inexperienced eye to detect where the old house leaves off and the additions begin. It must be remembered that the early tillers of the soil took little interest in their homes save as shelters for themselves and families, and chose for their buildings material that lay nearest at hand. All their ready money was expended in the building of large and spacious barns to house their cattle.

There is a wealth of possibilities in the reconstruction of old farmhouses that are easily recognized by the experienced eye of the architect. The study of lines which determine the size and design of the old building is most interesting and teaches a lesson in old-time architecture which is extremely fascinating. The adaptation of the house to new and different purposes, the creation of a picturesque result wholly unlike and yet following the lines of the original building, calls into play not only skilful designing but careful planning.

Many of these old houses contain fine woodwork which is often hidden under layer upon layer of hideous wall-paper bought with an eye to price rather than good taste. The fireplaces are sometimes bricked up and plastered over to permit the use of a modern "air-tight"; the wainscot and molding are buried under coats of unattractive paint and give little impression of their value until the original walls and woodwork lie bare. Some houses, more especially those situated near the coast and erected during the period of commercial prosperity, were built by ship carpenters and wood-carvers during dull seasons. In these, one comes occasionally upon a wonderful old fireplace or perchance a porch that shows artistic carving. Many of these old dwellings naturally show original treatment, and it is to these that the architects of to-day turn for details to be introduced into the modified Colonial house. They were built by men who were forced to use their brains, since they were unable to turn to books for ideas.

As originally built, many of them stood with their backs to the road, their long, sloping roofs sweeping to the ground, their front doors opening on to extensive farm lands. Before the door usually stood the father and mother elm, their graceful branches seeming to hover protectingly over the dwellings. Many of the trees were there when the houses were built, while others have replaced their worthy sires and contribute a bit of landscape picturing that adds much to the attractiveness of the home.

In these old houses, more especially those that are past complete restoration, the architect of to-day frequently finds choice old woodwork. Sometimes it is a rare bit of pumpkin pine such as is seldom seen; again it is a fine old wainscot, or a wonderful staircase that has been saved from the ravages of time. Often some of these details are introduced into another remodeled farmhouse to replace parts too far gone to be used. The growing vogue of the country home has led to the restoration of many of these old-time farmhouses and has saved many a valuable structure from falling into decay. Fortunately the appreciation of their possibilities came before it was too late to save them from destruction, although many that could have done service were allowed to go to ruin. There are, however, many fine examples still standing, and some of these have been altered to suit modern uses. Little wonder the old farmhouse has come into its own, its attractiveness after remodeling making it available for summer or all-the-year-round uses. To-day there is scarcely a farm or country resort that does not show one or more of these old-time buildings in their new dress. Some have interesting history connected with them and are associated with legends that have been handed down from generation to generation. Often the house has been photographed to show both its former appearance and the results of the restoration. Some owners, however, have given little thought to the original structure, and it is left to the imagination to picture the house as it used to be.

It was six years ago, while hunting for a place to locate a summer home, that Doctor and Mrs. Homer Gage of Worcester, Massachusetts, discovered at Shrewsbury a simple little farmhouse, showing no claim to architectural beauty. It was such an unattractive, plain, little building, that only the experienced eye could discover its fine lines. This house stood close by the dusty highway; the fence which formed the boundary line had fallen into decay, while the farm lands, run down through hard usage, showed no trace even of an old-fashioned garden, such as many of the housewives of the earlier day so loved to tend. The house was built before the Revolutionary War, being erected in 1760, and was considered in those days to be a good example of what a farmhouse stood for. Surely it was an excellent type, considering the usual lines in the New England farmhouses of that day,—this small, unpretentious dwelling, whose entrance door out of plumb and windows irregularly placed made a curious combination that was in reality fascinating and appealing.

It was two stories in height, with an attic under the eaves,—a hot little place during the summer months and cold in winter, but good for storage of furniture and unnecessary household belongings. The roof had a pitch at the back and sloped to meet the kitchen, which was only one story in height. Two sturdy, six-foot chimneys had been built on one side of the house, as stoves were unknown in those days. The frame was of white pine, well seasoned, and the timber hand-hewn, with the mark of the adze plainly showing in the beams, for it was built when honest labor prevailed and was as stanch as in the days when the bush stuck in the chimney or ridge-pole showed that the carpenters' work was done. The farm buildings were connected with the main house and comprised a barn, hen-house, corn-crib, and byre, all huddled together in the most compact kind of way. It had not been occupied since Doctor Brown, the original owner, paid his last visit and left the house to its fate. The interior was not as dilapidated as in most old houses, being in tolerably good repair. And so, with little alteration, it was used as a dwelling house, while the new home which was being built near the center of the estate was erected.

After the cellar was built and the foundation partly laid, the work on the new house was stopped. There was something about the old clapboarded farmhouse that appealed so strongly to the new occupants that they fell under its charm and decided not to supplant it by a modern home. But the house stood too near the road; there was no privacy and no freedom from dust. It was of such solid construction, however, that its moving could be easily accomplished. So, slowly but surely, it slid down the hill and finally rested on the foundations which had been designed for the summer house.

Under the direction of Mr. George Hunt Ingraham, the remodeling was begun. The old lines of the roof were left unaltered, and although more room was needed, dormers were left out in its reconstruction. Nothing, the new owners felt, could so destroy the lines of the house as to break them with intrusions such as this. The long, unbroken skyline is one of its greatest charms, and even the long slope at one side, reaching down and over the one-story kitchen ell, has been carefully retained and adds not a little to the harmonious effect of the whole structure. At the front was added a small porch showing Colonial treatment, in the center of which hang graceful vases filled with iris. The same latticed effect was carried out across the front of the house in the space between the windows of the first and second stories. On either side of the main dwelling, outdoor living-rooms were secured by the introduction of screened piazzas, the roofs of which were painted with water-proof paint. One of these living-rooms opens on to a water-garden with its arches of roses at one side of the house. It is fitted up with willow furniture, in the coverings of which is introduced the prevailing flower, the iris, which is also shown in the table cover and the shape of the vase filled with the same flowers. The opposite porch is also fitted up as a living-room and overlooks the home garden. The exterior of the house is painted white with conventional green blinds, the chimneys following the same treatment, while the windows remain unchanged. The massive stone fireplaces were not taken out, although the old kitchen chimney had to be altered slightly in order to meet present needs. The house to-day overlooks extensive grounds and is embowered in a wealth of rambler roses and iris. It resembles the old house in its lines but shows in its remodeled form a most wonderful effect and reveals what beautiful results can be obtained by correct restoration.

The house is named "Iristhorpe," the name being chosen by the mistress of the house, who since her childhood has taken great interest in the iris because of a fairy tale told her by her grandmother, in which the flower was supposed to be the home of the fairies.

With modern methods of living, it would have been an impossibility to retain the old house in its entirety. More room was needed, and a service department was an absolute necessity, but in its enlargement such careful attention was paid to carrying out the lines of the original type that to-day it is almost an impossibility to find where the old house leaves off, and the new one commences. In the old structure, as it stood facing the main road, there were three rooms in a row on the first floor, with the kitchen ell attached at the rear, and the upper part of the house cut up into small rooms. In remodeling, these rooms were changed over into morning-room, living-room, and library, and occupy the entire front of the house, just as they did in the original building. They are connected with doors so carefully placed in line that they give one the impression of greater space than is really found at Iristhorpe. At the rear, the old kitchen was converted into a most attractive hallway and stairway, with closets and lavatory located at the farther side.

The dining-room, which is at the rear of the living-room, has been added and conforms in every respect to the original design of the old house. Back of this are the service rooms, which are admirably planned and equipped with butler's pantry, servants' dining-room, kitchen pantry, rear hall, and stairway, together with a kitchen. In the remodeling, the second story was divided into four servants' bedrooms, a bathroom, and a large sewing-room at the rear. An interesting feature is that this department has no connection on the second floor with any other room in the house.

The porch door opens directly into the living-room, which has never been changed from its original place in the old house. Its central feature is the old fireplace, which has been opened at the opposite side into the new dining-room. This was originally the old kitchen chimney and contained the brick oven. It has been bricked in for modern use, and here, as throughout the house, the iris motive prevails. It is shown in the graceful andirons, in the coverings of the Sheraton wing chair, in the sofa pillows, and even in the lamp-shade. This room contains fine woodwork, which is, in fact, a noticeable feature of every part of the house, and the Colonial idea has been carefully carried out in all the furniture used.

The library opens out from the living-room at the right, and from that one passes to the outdoor living-room. On the opposite side of the living-room is the den or morning-room, with glass doors which open on to the porch. Here again the iris is always the motive of decoration. In this room particularly the old paneling has been retained, as have the old strap hinges and latches, which, when missing, have been replaced by others of like design. This room was originally the doctor's office, and in the cupboard was found, at the purchase of the house, some of his old stock.

One of the most interesting rooms is the dining-room, which contains an old brick oven and paneling so exactly corresponding to the character of the original that at first glance it is impossible to differentiate between them, either in age or workmanship. The window sashes, with their small well-shaped panes, give to the room an appropriate scale, and the old iron and brass hinges and latches lend an effective tone. The iris, charming in nature and no less decorative in its conventionalized form, appears here and there in the carved woodwork and always gives a delicate twist to the Colonial design it embellishes. The beamed ceiling carries out the old-time idea, while wonderful Japanese panels have been inserted in the finish over the fireplace, and huge iron andirons show an exact reproduction of the fleur-de-lis. This flower is found also in the cushions of the Chippendale chairs, the decoration of the table, the china, and in a beautiful Japanese screen of most graceful design that hides the service entrance into this room.

The white woodwork is a noticeable feature of the interior, where harmony has been so carefully maintained that on entering one feels as if he were in a really old house, rather than one restored. It should be noted that in the architectural treatment, especial consideration has been given to lighting and air; the windows have been distributed so that the light is concentrated, giving the rooms an effect of cheerfulness that could not be obtained otherwise. Even the hanging of the curtains, which are of the Colonial type, adds to the charm of the house.

The bedrooms, on the second floor, of which there are four, show the same low stud that is characteristic of the lower floor. They are small but most conveniently fitted up, even to the conversion of a small closet, which the architect had considered impractical for use, into an extra bathroom. Every bit of available space has been made usable.

An unusual feature is the guest house, which has been created in the second story of the large stable which stands at one side of the estate. This is especially useful for week-end parties. The loft has been converted into a suite of bedrooms, pool-rooms, and a screened veranda that can be used for sleeping accommodations.

Iristhorpe might be called a conventional farmhouse, one of the type met with on almost every country road. It has no exterior adornment of any kind, but is a fine example of how a picturesque building can be evolved from an unattractive one, and is probably one of the best examples of remodeling that can be found. The house is typical of the best American architecture, and credit should be given the pioneer who first laid the foundation of the old farmhouse. As Iristhorpe now stands, its graceful lines cannot be improved upon, and clever as the alterations undoubtedly are, the great fascination that grips us as we view the house arises from the fact that it is a part of the early architecture, when hewn beams were first primed together, and when dwellings were erected that would endure for centuries.