“Dias Dorados” - A Country House in Early Californian Style

N THE making of “Dias Dorados”, ***Golden Days*** the Ranch estate of Mr. Thomas H. Ince, in Beverley Hills, California, the architect has accomplished an unusual thing. There is the designer who clings with favor to the old motifs, who uses always, with creditable favor, what he deems fine in the study of archaeology. He never profanes an architectural ideal. His work is always pleasing and admirable, but very often, the finest features of his work are not self-creative. Then, alas! there is the designer who scoffs at “precedent,” who makes claims to originality to such an extent that he divests his mind of all that is splendid and inspirational.

      Mr. Roy Seldon Price, the architect of “Dias Dorados,” is not in a class with either of these. He belongs to that class of designers who can be original without offending. His work shows a strong sympathy with the finest principles of design, coupled with a certain freedom-refreshing, human-whimsical, but never bizarre. 

      Early California architecture has been his inspiration. The ranch buildings are built of hollow tile, plaster and rock. The spirit of the pioneers is expressed in the natural rock work and security of construction. The low roof lines and road arches hark back to the simple spirit of the padres. The general crudity of the place is its greatest charm. 

ARBOR BEHIND GARDNER'S COTTAGE, THOS. H. INCE RESIDENCE, ROY SHELDON PRICE, ARCHITECT

  

FROM HALL TO PATIO, THOS. H. INCE RESIDENCE, ROY SHELDON PRICE, ARCHITECT

    
   This building contains thirty-five rooms and ten bathrooms. The living room is 28x45, with East, West and North exposure to city, mountains and canyon. At the west end of the room, picture window, 15x9, gives a beautiful view of the canyon in the distance. On the south wall, a Spanish tapestry conceals a pipe organ chamber. The furnishings are akin to the spirit of the more prosperous early California family. The floors are of hand-hewn oak. On the north wall, a small tapestry conceals a door which leads to a rock billiard room on a lower ground level. The east exposure reveals wading and swimming pools, designed to the lines of a natural lake. This construction has not been completed; neither has the landscaping.***1924*** 

    The dining room, 19x28, looks out into the canyon and into the patio. The fireplace in this room, unaffected and unadorned, is truly a keynote of early California building. A hole in the wall, framed with rough dressed stones, flush with the plaster. Above, a quaint shelf carries a ship model with a concealed rose lamp which silhouettes the tracery of sails and spars against the plaster background. At the ceiling, over this, a trophy case (inspired by the old Spanish food cabinets), with light iron-grilled doors, thru which gleam fine old silver plates and trophies. 

      These grilled doors are exquisite in detail and were made, with other grille work, on the site, by Mexicans, under the architect’s direction and at a surprisingly low cost. 

      On the interior walls of the patio cloister, are painted in dim colors, gay Spanish characters. At one end of this section, two fighting cocks flaunt their dispositions. These paintings appear to have been there for centuries. Just under the cocks, and over the door to the main hall, are the typical Spanish niches, holding quaint miniatures from Mexico. 

      The lighting fixtures in this residence prove well a mistake so often made in recent work-the mistake of repeating the same designed fixture in a room. Mr. Price has not been satisfied with beautiful fixtures, carefully placed, but in each room, by contrast and balance of texture, color and form, he has made his fixtures as interesting as his murals and tiles. 

      The breakfast room, to my mind, is the happiest room of all. The tile floor, now delicately, then more brilliantly shaded in a harmony of colors, is delightful. The furniture is of yellow antique lacquer  with simple, woven buckskin seats. The windows are curtained with unbleached theatrical gauze, trimmed, unconventionally, with colored yarn. This room has a view of the sea, canyon and mountains. From it one steps thru an intimate little garden, filled with flowers and the music of a playful fountain, into a pleached arbor of flowering peach trees. This arbor borders the bowling green. 

      The kitchen has a feature typical of the designer. On cupboard doors, vegetables and a variety of fowl are painted in brilliant color. The general woodwork is stained sage green, varnished flat. 

RESIDENT OF THOS. H. INCE. THE ROCK STAIRWAY LEADS FROM MR. INCE SUITE TO POOL. ROY SELDON PRICE,  ARCHITECT

   The floor plans of the main residence reveal a very compact provision of living space, with out sacrifice, giving the low, simple ranch effect on the exterior.

LOWER STORY, THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

FIRST FLOOR, THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

SECOND FLOOR, THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

ROCK STAIRWAY, THOS. H. INCE , ROY SHELDON PRICE, ARCHITECT

ENTRANCE DETAIL, THOS. H. INCE , ROY SHELDON PRICE, ARCHITECT

UPPER SERVANTS WING, ROOF TILE MADE BY HAND ON JOB, THOS. H. INCE , ROY SHELDON PRICE, ARCHITECT

LOWER ARBOR FROM GARDNER' S COTTAGE TO CHAUFFEUR S ROOMS, THOS. H. INCE RESIDENCE

CORNER OF PATIO, THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

ENTRANCE TO RANCH, THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

PIGEON  TOWER, STUD AN'D LATH CONSTRUCTION, THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

GARARGE AND SMITHY, THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

GARDNER'S COTTAGE, THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

DOOR TO PATIO, POTTERY MADE ON JOB BY MEXICANS. THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

ENTRANCE DOOR AND SCREEN DOOR, THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

WROUGHT IRON GRILL AT THE END OF THE LIVING ROOM, THOS. H. INCE RESIDENCE. ROY SELDON PRICE, ARCHITECT

MAIN STAIRWAY TILES DESIGNED BY ROY SELDON PRICE, ARCHITECT, AND MADE IN MEXICO. THOS. H. INCE RESIDENCE

BREAKFAST ROOM. CEMENT TILES, LIGHTING FIXTURES, FURNITURE DESIGNED BY ROY SELDON PRICE

DINING ROOM, THOS. H. INCE RESIDENCE, ROY SELDON PRICE, ARCHITECT

ENTRANCE TO LIVING ROOM. THOS. H. INCE RESIDENCE, TAPESTRY HIDES PIPE ORGAN SCREEN. WROUGHT IRON, TILES, CHESTS, ETC., ALL DESIGNED BY ROY SHELDON PRICE, ARCHITECT

 Automatic refrigerators, electric ovens, plate warmers, Hoosier cabinets and every necessary equipment have been so compactly planned and built into this kitchen that many steps are saved in a day’s work. Everything seems to be in just the right place. 

      The dining room for the servants looks into the servants’ patio, in which again speaks the human spirit of this house, for the cheer and color of this patio proves to be hollyhocks and lettuce, roses and cabbages, side by side. 

      A beautiful variety of tile, designed by the architect and made in Mexico, has been used in the Ince residence. The base of the main hall and principal rooms are decorated in this manner. The main stair is a fascinating, solid arrangement of color. 

      The leaded glass work is charming and romantic. In the boys’ study windows, medallions in leaded overlay picture the historical high-lights of early California--Cabrillo, Junipero Serra, and the 49’ers. Here and there, peering thru windows, are seen Padres, Spanish youths and maidens. In the reception room a beautiful window of leaded glass encircle a butterfly in vine work. 

      A rock stair leads from a door in the main hall to a motion picture projection room which is part of the basement hallway. Here the designer has let “his fancy roam.” The room is a romantic reproduction of an old Spanish galleycaulked floor, weathered woodwork, rig, sails, ship’s wheel, red, green and yellow ship lights, and tropical seas painted dimply on the side walls. At the far end of the room a leaded glass pirate stands in the door. Over this door falls the screen during projection of the picture. This is an entertaining transition in keeping with the purpose of the room. 

      With all its whims and variety, the design of “Dias Dorados” embodies a definite continuity of thought, a consistency and sincerity of purpose. It conveys the feeling of a real home. It is domestic. 

      The estate comprises 35 acres of cultivated land. The residence is on a hill. A winding road follows a natural slope which leads to the lower ranch buildings. There are the barn, the gardener’s cottage, chauffeur’s quarters, duck house, and pool, trout stream, chicken house, pigeon tower, bunk rooms and fruit rooms. This architecture is certainly a contrast to the now most popular “ Mediterranean” style, with its theatrical, over-formal attempts to tight-lace an American family into a relic of old Spain. “Dias Dorados” is indeed Californian. Crude? Yes, compared to the very nice uncomfortable poses of its elegant contemporaries-crude as Salem houses were compared to Versailles-crude as Abe Lincoln. BY HENRY W. HALL, A. I. A.

***Ince had been planning this home and collecting furnishings for it for years, and the actual building of it took two years. The home featured fire protection and an independent water supply and water softening system. Up to three hundred avocado trees and an equal number of persimmons filled the orchard, and there was a walnut grove and vegetable garden, giving Dias Dorados the resources of a ranch. Beyond the patio was a bowling green and tennis courts, while an aviary and a trout stream added a rural touch. So that everything in the house would look ten years old materials were weathered in various ways. The stucco on the house itself was painted with adobe mud, which was later washed off. The tiles and ironwork were made by Mexican workmen who used the most primitive methods. In the house there was a autograph room which contained many documents and pictures concerned with the early history of California. Mr. Ince's own suite boasted a complete Turkish bath establishment and a beauty parlor for his wife Elinor. ***

Thomas Harper Ince died November 19, 1924. Elinor sold "Dias Dorados"  to Producer Carl Laemmle for $650,000 in 1927. The home was demolished in the late 1960's. The address was 1051 Benedict Canyon Drive. See a color sketch of the dovecote HERE. 

 Thomas Ince: Hollywood's Independent Pioneer a biography by Brian Taves. Dramatization of the intrigue  surrounding Ince's death on William Randolph Hearst yacht "Oneida" -

   Thanks to her husband's prudence, and her own financial care, Elinor was financially well provided for despite outliving him by more than four decades. She turned to real estate, building the Chateau Elysce, managing the property with her son Tom, and creating a successful business even amid the Depression. Elinor sold the Chateau in 1943, and it became a residence for retired actors and artists until, slated for demolition, it was bought by the Church of Scientology.   

  A perverse footnote concerning Ince became known to the film colony when Elinor placed the home on the market following Ince's death - a secret gallery above the guest rooms  had concealed peepholes over the beds. 

"Dias Dorados", THOMAS HARPER INCE RESIDENCE, ROY SELDON PRICE, ARCHITECT

   Roy Seldon Price was originally from St. Louis where he was a draftsman with the firm of Mauran, Russell and Crowell. In the early 1920s he moved to Los Angeles and specialized in residential architecture. To get a idea of the stained glass and tile work created by Roy S. Price click HERE   to visit "Casa Nueva".

   In 1912, a rebel filmmaker named Carl Laemmle founded Universal Pictures as part of his campaign against the then-dominant film industry, which Laemmle called the “film octopus.” To make his films, Laemmle was willing to violate the law: He was personally sued 289 times for intellectual property violations. The mainstream film industry held all of the important patents on film equipment and sued anyone who dared make films without their permission. They litigated to try to weaken the threat from filmmakers like Laemmle who were bringing to America radical ideas like the “feature” film (longer than 20 minutes), credits for actors, and other innovations (such as the chase sequence). 

A City House of Distinction

The armory in the Belmont home presents the aspects of  a baronial hall in feudal times.

HE student of architecture in America or anyone who follows the changes in tendencies in home-building cannot but be impressed with the growing fondness upon the part of architects, as well as their clients, for the manner of building which was in vogue during the days of the Italian Renaissance. The past ten years have seen the building of many great American homes  in this most sumptuous of architectural styles, some of them being in the city and others in surroundings more or less rural. In either case there is a consistent following of tradition, for ancient precedents are not lacking for the building of a great Renaissance palace close to the curbstone of a city street, where its area is necessarily circumscribed, while the old Renaissance country villa, with its formal gardens, its marble fountains, and its general atmosphere of magnificent rusticity, fascinates all who journey to that land of romance and olive groves.

The great gallery in the residence of Mrs. O. H. P.  Belmont, New York, is filled with a priceless collection of antique armor. 

 The Italian palace or villa was built as a setting for life during a glorious and ceremonious age, and its splendid formality of existence is expressed quite as eloquently in the architecture of the period as in the pages of history which record the romance of the age.

But equally beautiful, and perhaps in a way more interesting to Americans, is the form of architecture known as the Georgian style, from which our own Colonial architecture is directly descended. The great masters of English building during the eighteenth century planned their houses as settings for a life somewhat more domestic than that which obtained during the days of the Renaissance; great apartments and entire suites of formal and stately rooms were still the rule, but their grandeur was somewhat  softened  and their stateliness much modified by the demands of English social customs.

The marble entrance-hall.

 Georgian architecture became so identified with English domestic life and responded so exactly to its requirements that it has always held its place in popular favor; many old homes which were built by the great Georgian architects themselves are yet existing to bear witness to their skill. In England, in the cities as well as in the country, there has never been the incessant tearing down and building up and the consequent obliteration of old localities which goes on so unceasingly in New York. A great English family will for generations occupy the same London residence and possess intact the same country estates, and therefore one may wander through entire urban or rural districts which are full of the architecture of centuries ago. In London, particularly, there are many localities, old squares or streets, entirely built up with residences in the graceful and usually unaffected style which the name of Georgian immediately calls to mind. It is therefore something more than a mere suggestion of Belgravia, Mayfair, Hyde Park or some other of the many fashionable localities of old-world London which one receives at the sight of the New York residence of Mrs. O. H. P. Belmont, at Fifty-first Street and Madison Avenue. Its correctly Georgian facade of white stone, with its tall pilasters extending from the lower floor through the height of the two upper stories and supporting a balustrade of stone are true to precedent and suggest English reserve and reticence, hinting only vaguely at the richness and magnificence which one feels sure must be hidden behind an exterior so dignified.

The Gothic Room in the Belmont house contains remarkable tapestries and many other treasures of medieval art

 The residence covers the area of two city lots. The greater dimension is therefore upon the Madison Avenue side of the property, and upon this side is placed the entrance to the house, the main doorway being within a vestibule the opening into which corresponds with the other doorways and the windows of the lower or entrance floor, the main floor being just above. At the very threshold one may realize the possibilities of the Georgian architecture, in which many of the rooms, as well as the exterior, are carried out, for the vestibule opens directly into a large and lofty entrance-hall, paved with stone and walled with beautifully veined marble. Tall columns and pilasters with Corinthian capitals support a ceiling of plaster in geometrical design, and upon one side a marble stairway leads to the drawing-room floor above. Upon the right as one enters the residence is a small reception-room, which is also an informal drawing-room. The walls are adorned with panels and frieze in high relief, and bookcases are built into the embrasures formed by the chimney-piece, while, as an overmantel, two columns support a broken pediment wherein an eagle stands with wings extended. Several of the windows of the reception-room are placed within the slightly curved or "bowed" extension, which is characteristically Georgian.

At the north end of the lofty marble entrance-hall wide doorways lead into the great dining-room. The walls are faced with cream-colored marble upon which is applied decoration in high relief, wrought of bronze and colored verde antique. In this very rich combination of materials and color is the overmantel with its columns supporting an entablature over the chimney-piece. The ceiling is covered with a great circular allegorical painting framed by a wide band of relief in dull gold. The furniture is of old Italian design and the chairs are covered with velvet, while deep Italian lace is used to adorn the sideboard and various small buffets.

A large part of the lower floor is taken up by the most beautiful and sumptuous of libraries. The room is of unusual size, being fifty-four feet in length, and is ceiled and paneled with richly carved wood with cases for books recessed within the panels upon both sides of the room. At one end of the library are doors opening into a stair-hall which repeats the elaborate Gothic architecture of the library and which is lighted by stained-glass windows.

This view of the Gothic room well exhibits the possibility of producing graceful interiors in this style

 Upon the floor just above are arranged the drawing-room and the other apartments of a formal nature required in a large and important city residence. The available floor space has been used to provide a few very large and spacious, rather than a greater number of smaller rooms, and these various apartments open into one another in a way which makes the entire floor available upon formal occasions. The walls of the "Gothic Room" are faced with stone which is carved with the same linen-fold pattern which appears upon the panels of the old doors of carved wood that open into the rooms adjoining.  A great Gothic hooded mantel is the chief ornament of this room, and about the fireplace are many chairs covered with old tapestry. A beautiful panel of antique Flemish tapestry hangs upon the wall over a great carved chest, upon which are arranged several old ecclesiastical statues, old vestments and fragments of embroidery and other relics of centuries ago. Four old lighting fixtures of iron hang at the corners of the room, and with their electric candles add to the quaintness of the effect. The drawing-room has its walls hung with green and gold brocade, with a richly gilded cornice and caryatid brackets. The woodwork and much of the furniture of the drawing-room is gilt; the lighting is supplied from old French gilt sconces hung upon the wall and from candelabra upon the mantel. Between the Gothic Room and the drawing-room there is placed a small foyer, which is really another drawing-room. Here the walls are paneled with wood and slender pilasters support the ceiling. Several old portraits are upon the walls and at the center of the room is hung an old French chandelier of crystal and ormolu.

A corner of the great armory in the Belmont house.

The great stone stairway which leads upward from the long Gothic library ends in what is the most wonderful and beautiful part of a very interesting and unusual residence. In the armory are arranged the large and priceless collections of medieval armor, battle-flags, banners and trophies of various kinds, which were formed during many years by the late Mr. Belmont, and which were removed from "Belcourt", the beautiful and very picturesque residence of the Belmonts at Newport. To prepare fitting surroundings for this great array of antique treasures, the architects of Mrs. Belmont's city home, Messrs. Hunt & Hunt, have built what suggests the armory of a medieval castle upon the banks of the Rhine or the Danube, from which a feudal lord and his mailed retainers might have sallied forth to battle. The ceiling of this large and impressive room is groined and vaulted in stone in the manner of the great Gothic halls of Germany and from the "bosses" or rosettes of ornament where the ribs of the roof converge are hung old chandeliers of wrought-iron, while candelabra, also of iron, are fixed to the walls. At the north end of the armory, and heightening the ecclesiastical or medieval effect which one is apt to associate with a Gothic interior, is a group of five pointed windows filled with stained glass, which shed a subdued and mellow light upon the long gallery, where, upon old tables, are spread many wonderful pieces of armor, trophies of war, the chase, or perhaps of tournaments centuries ago. Here, too, are several old statuettes of wood or of metal, some of men who were warriors as well as saints, and who battled with men as well as fought for heaven. Against the walls of this quaint and medieval room are placed old carved Gothic cabinets or cupboards of oak now dark with age, and several old paintings and tapestries lend a glow of color to the stone walls upon which they are hung.

The smaller of the drawing-rooms.

In the armory there are also several complete suits of armor, and within a few of them are effigies so skillfully arranged and so lifelike in appearance that one half expects to be saluted by an armed retainer of the castle. A magnificent and entirely complete set of equestrian armor is mounted upon the effigy of a horse which is almost covered by the velvet and embroidered trappings, the making of which, history and romance lead us to believe, occupied much of the time of the mistress of a castle and her maidens. From the appearance of the horse, fully covered and armed, and ridden by an effigy of his master, also armed and spurred and with vizor drawn down over the face, and with the bird of victory perched upon the helmet, one may gather a fair idea of the dignity and impressive grandeur of the castle's lord when in the full panoply of battle he led his warriors forth.

The reception-room with its Georgian chimney-piece.

 Overhead, hung from the vaulted ceiling, are many battle flags—banners stained and tattered and marked with the arms of medieval knights and of half-forgotten principalities, which bear a mute but eloquent testimony to the days of service in camp or upon the battlefield which they have seen.

 Aside from the value of the armor as aiding to create a highly picturesque and decorative setting for the life of a great city residence the collection possesses a high importance to the student of history or to anyone interested in the metal smiths of the middle ages and their work. The armorer, a pastmaster in the intricacies of his craft, was a personage of much consequence at any court or castle of medieval days. His glowing furnaces and the well-directed blows upon the anvil of his trained workers produced the trusty swords and the heavy armor in which the castle's defenders were almost invulnerable to attack. The working of iron into steel and the welding and forging of steel into arms, tested and tempered, was an art of practical necessity in earlier days, and the armor which came from their forges is the treasure of museums to-day.

At one side of the armory is a great Gothic chimney-piece of stone, and the light from its deep fireplace illumines what is a strange assemblage of the fragments of the life of other centuries and ages ago, and what seems to be a chapter from the history of romance and chivalry set forth upon a spot which was all but unknown when the armor and the battleflags which are here brought together saw their days of glory upon the field, or about old battlemented portals.

Dining-room of the Belmont house, showing the painted ceiling.

***In 1899, Oliver H. P. Belmont purchased a large lot on the northeast corner of Madison Avenue and 51st Street, and hired two sons of Richard Morris Hunt, Alva's favored architect, to design a townhouse that would hold his growing collections and accommodate his wife's large-scale social events. Oliver Belmont died suddenly in 1908, following complications from an appendectomy, leaving Alva to complete the unfinished townhouse. 

477 Madison Avenue - Mrs. O. H. P Belmont Residence

The three-story townhouse had a pilastered limestone facade reminiscent of London's Lindsey House, and the interior rooms were an eclectic mix of styles decorated by leading firms of the day. While construction was underway, Alva announced that she would build an addition known as "The Armory," an exact reproduction of the Gothic Room in Belcourt Castle, to house her late husband's large collection of medieval and early Renaissance armor. The Armory, which measured 85 by 24 feet, was the largest room in the house and would also be used as a lecture hall for women's suffragists. A branching marble staircase led from the large library on the main floor to the two visible entrances of the Armory. On the north wall of the stair hall was set a stained glass window 23 feet by 18 that depicted Joan of Arc with crusader figures about her. Alva and her youngest son, Harold, took possession of the townhouse in 1909.*** The New York City Organ Project

Staircase

In 1923, Alva sold her New York townhouse, and the next year she moved to France to be near her daughter, Consuelo.

A modern twenty-three story building replaced 477 Madison Aventine in 1952. Click HERE to see building. 

"Winter Dreams in the Gilded Age"

Wed., December 12

Holiday Party 

at the Atria of Roslyn

Historian Monica Randall presents 
"Winter Dreams in the Gilded Age"

Source - 

http://www.roslynlandmarks.org/events.html

Country House of Character - The Former Residence of Mr. James Byrne

What constitutes the perfect country house? Country Life asked this question of several of the leading architects in New York, and asked them to indicate some country houses which they had designed and which, in their opinion, made them distinctive from other houses. It was to make no difference whether the house were a marble palace at some fashionable watering place or a tiny bungalow in the foothills of the mountains. So long as the architect considered it a good example of a country house and, in his opinion it had character, that was all that we asked. ***1919***

***Below is the selection chosen by Architect Grosvenor Atterbury***

IN PLANNING this house photographs were taken of every part of the site beforehand, in order that the house might blend with the landscape as far as possible, a result which was successfully achieved.

The exterior of the house is of brick, which was selected as the most appropriate material. The surface is divided into panels with rough adzed half-timber in the style of the English farm house which, in all its lines, the house strongly suggests. Particular attention was paid to the economical administration of service in designing the servant quarters. The service wing has an outside stairway which, with the groupings of the roof, is very picturesque. The roof is shingled and the house is purposely built low to suit the contour of the country.

In the treatment of the main rooms on the first floor, the woodwork is in chestnut with adzed surface, and the living room has a beamed ceiling with a large fireplace of rough brick with wide joints. 

By the living room a secluded alcove has been arranged so that, if desired, this can be used as a private chapel. A novel and charming idea not generally found in country houses.

The former summer residence of Mr. James Byrne, on Long Island    -     Painted by John Vincent

"Atterbury exhibited some excellent photographs and drawings of an unusually successful house in half timber and brick construction at Locust Valley. L. I."   The  Architectural League Exhibition by Henry H. Saylor - 1908


The house was built in 1906. James Byrne was an attorney. The house was purchased by William R. Coe c. 1913 and burned to the ground in 1918 -  replaced by "Coe Hall".

Click HERE for more on this estate. 

Meadow Spring - Glen Cove - Long Island

A highly restricted and carefully protected residential property within one hour of New York, one minute to Glen Cove Station, and five minutes' walk to Nassau Country Club. Completely improved with Peekskill Gravel roads, water mains with fire protection, and independent service drives. Prospective purchasers of homes or property must be favorably known.

House on Plot No. 3 - 2.169 acres.

House on Plot No. 2 - 3,132 acres.
***"White Acre"***

Rear View on Plot No. 2.

CARETAKERS' LODGE 

Click HERE to view all the homes built at Meadow Spring.