The Architecture of Colonial America — Context and Discussion

Diction and the Language of Craftsmanship

Eberlein's word choices reveal a deep engagement with the materiality of colonial buildings. He describes mantelpieces as 'an integrant portion of the room,' using 'integrant' to emphasize their structural and decorative unity. The phrase 'household shrine' elevates the fireplace to a sacred center, while 'quaint imagery' and 'master builder' evoke a nostalgic reverence for earlier craftsmanship. In discussing paint colors, he notes 'various shades of greys, blues, drabs, brownish yellows,' a list that grounds the analysis in specific, observable details. This lexical precision extends to architectural terms like 'Ionic pilasters' and 'base course,' which are used without explanation, assuming reader familiarity.

Dialogue with Architectural History

The author frequently invokes the voices of earlier architects and historians, creating a layered dialogue. He quotes a passage describing how Sir William Chambers 'dealt it the most crushing blow it had yet received' by prioritizing 'minute detail' over 'fine proportion.' This indirect speech conveys a critical stance while attributing judgment to historical sources. Eberlein also references 'Gibbs, Kent and Ware' as authorities, positioning his work within a tradition of architectural commentary. The use of 'we frequently find' and 'we are in better luck' creates a shared perspective with the reader, as if touring buildings together.

Descriptive Patterns and Visual Emphasis

Eberlein's descriptions often follow a pattern: naming a building, noting its stylistic type, then highlighting a distinctive feature. For example, 'At the Highlands, in the Whitemarsh Valley, we see the front of the house adorned with tall Ionic pilasters rising from base course to cornice, which is itself elaborately wrought.' The verb 'adorned' suggests ornamentation as deliberate choice. He contrasts this with Upsala, where 'the Adam mantels have remained untouched,' using 'untouched' to imply authenticity. The description of paint layers at Graeme Park—'the first coat of paint was grey, and no other colour ever adorned its panelling'—uses 'adorned' again, linking color to aesthetic intent.

Structure and the Reader's Journey

The book's structure moves from general principles to specific examples, with chapters organized by region or style. Eberlein signals transitions with phrases like 'Before proceeding further in the course of comparison,' which guide the reader through comparative analysis. He often concludes sections with a summary remark, such as 'The illustrations show the rest of the house and make further specific comment unnecessary,' deferring to visual evidence. This structural clarity mirrors the architectural order he admires, reinforcing his argument that design reflects social and economic conditions.

Readers attentive to Eberlein's authorial choices will notice how his diction, dialogue with historical sources, and descriptive patterns shape the narrative. The text rewards close reading of its technical vocabulary and evaluative language, which together construct a persuasive argument about the value of colonial architecture. For those interested in the intersection of language and material culture, this work offers a rich case study in early twentieth-century architectural criticism.