Richard Jones, whom we have already mentioned, and who from his cleverness in small matters, and an entire willingness to exert his talents, added to the circumstance of their being sisters’ children, ordinarily superintended all the minor concerns of Marmaduke Temple. Richard was fond of saying that this child of his invention consisted of nothing more nor less than what should form the groundwork of every clergyman’s discourse; viz. a firstly, and a lastly. He had commenced his labors, in the first year of their residence, by erecting a tall, gaunt edifice of wood, with its gable towards the highway. In this shelter, for it was little more, the family resided three years. By the end of that period, Richard had completed his design. He had availed himself, in this heavy undertaking, of the experience of a certain wandering eastern mechanic, who, by exhibiting a few soiled plates of English architecture, and talking learnedly of friezes, entablatures, and particularly of the composite order, had obtained a very undue influence over Richard’s taste, in everything that pertained to that branch of the fine arts. Not that Mr. Jones did not affect to consider Hiram Doolittle a perfect empiric in his profession, being in the constant habit of listening to his treatises on architecture with a kind of indulgent smile; yet, either from an inability to oppose them by anything plausible from his own stores of learning, or from secret admiration, Richard generally submitted to the arguments of his coadjutor. Together, they had not only erected a dwelling for Marmaduke, but they had given a fashion to the architecture of the whole county. The composite order, Mr. Doolittle would contend, was an order composed of many others, and was intended to be the most useful of all, for it admitted into its construction such alterations as convenience or circumstances might require. To this proposition Richard usually assented; and when rival geniuses, who monopolize not only all the reputation, but most of the money of a neighborhood, are of a mind, it is not uncommon to see them lead the fashion, even in graver matters. In the present instance, as we have already hinted, the castle, as Judge Templeton’s dwelling was termed in common parlance, came to be the model, in some one or other of its numerous excellences, for every aspiring edifice within twenty miles of it.

The house itself, or the “lastly,” was of stone; large, square, and far from uncomfortable. These were four requisites on which Marmaduke had insisted with a little more than his ordinary pertinacity. But everything else was peaceably assigned to Richard and his associate. These worthies found the material a little too solid for the tools of their workmen, which, in general, were employed on a substance no harder than the white pine of the adjacent mountains, a wood so proverbially soft, that it is commonly chosen by the hunters for pillows. But for this awkward dilemma, it is probable that the ambitious tastes of our two architects would have left as much more to do in the way of description. Driven from the faces of the house by the obduracy of the material, they took refuge in the porch and on the roof. The former, it was decided, should be severely classical, and the latter a rare specimen of the merits of the composite order.

A roof, Richard contended, was a part of the edifice that the ancients always endeavored to conceal, it being an excrescence in architecture that was only to be tolerated on account of its usefulness. Besides, as he wittily added, a chief merit in a dwelling was to present a front, on whichever side it might happen to be seen; for as it was exposed to all eyes in all weathers, there should be no weak flank for envy or unneighborly criticism to assail. It was therefore decided that the roof should be flat, and with four faces. To this arrangement, Marmaduke objected the heavy snows that lay for months, frequently covering the earth to a depth of three or four feet. Happily, the facilities of the composite order presented themselves to effect a compromise, and the rafters were lengthened, so as to give a descent that should carry off the frozen element. But unluckily, some mistake was made in the admeasurement of these material parts of the fabric: and as one of the greatest recommendations of Hiram was his ability to work by the “square rule,” no opportunity was found of discovering the effect until the massive timbers were raised on the four walls of the building. Then, indeed, it was soon seen, that, in defiance of all rule, the roof was by far the most conspicuous part of the whole edifice. Richard and his associate consoled themselves with the belief that the covering would aid in concealing this unnatural elevation, but every shingle that was laid only multiplied objects to look at. Richard essayed to remedy the evil with paint, and four different colors were laid on by his own hands. The first was a sky blue, in the vain expectation that the eye might be cheated into the belief it was the heavens themselves that hung so imposingly over Marmaduke’s dwelling; the second was what he called a “cloud color,” being nothing more nor less than an imitation of smoke; the third was what Richard termed an invisible green, an experiment that did not succeed against a background of sky. Abandoning the attempt to conceal, our architects drew upon their invention for means to ornament the offensive shingles.