Longfield

'Longfield is significant as a notable and picturesque site and house in Bristol's outskirts; as a very good and only slightly altered example of Gothic Revival architecture interpreted in wood; as a building attributed to Russell Warren; and for its initial and continued association with the Delloll, Gibson, and Knowlton families.

Its probable architect, Russell Warren (1783-1860), was a figure of more than local importance. Rhode Island-born and self-educated, he had a career that spanned--and his work included--all the styles of six decades ... from the federal period of the early 1800s through the twenty-five-year dominance of the Greek Revival, and on into the romantic Gothic and Italianate styles of the late 1830s through the 1850s. Varren began his practice in Bristol, working chiefly for members of the DeWolf family and at first designed in a free version of Federal style, then in the Greek Revival manner. He also worked in Providence (e. g., the Arcade), Newport, and elsewhere in Rhode Island, in Fall River and New Bedford in Massachusetts, and in Charleston, South Carolina.

In the mid-1830 he spent a year in New York with the noted architectural firm of Town and Davis, which in that decade had begun to popularize the Gothic style--particularly as it could be applied to country houses or "cottages ornés." What was learned at Town and Davis was later used at Longfield, which is indeed a sizeable "cottage" and is a major surviving example of the "Stick Gothic" style-- with sawn, angular trim, pointed openings, etc. in the state.

The house reflects the expert but still provincial character generally typical of Warren's work (also to be found in the work of others during these years). There is the traditional XVIII-century rectangle with a long center hall (not the "interesting" and sophisticated irregularities found in the work of Waxzen's short-time colleague, Davis). Externally the basic and old-fashioned rectangle achieves variety and surprises only through the steep gables, the pinnacles, chimney pots, window labels, and the porch protrusions with their sawn ornaments. Internally the use of mixed stylistic detail is characteristic of nearly all of the Gothic and early Italianate villas of the late 1830s into the 1840s. There is some molded

Gothic trim, but the caged newel and scrolled stair-end brackets recall the Federal period, while the trim and marble mantels in some rooms are derived from pattern books showing Greek Revival detail. In accord with Andrew Jackson Downing's then-popular and much-publicized theories of the pictorial relationship of house and landscape, Langfield was originally painted light red with darker red trim.

Part of Longfield's importance stems from its ownership. The house was built on DeWolf land for Charles Dana Gibson (who married Abby DeWolf) and it is still held in the same family. The grandson of the builder was the artist Charles Dana Gibson who graphically chronicled the "Gilded Age." His sister, Josephine Gibson Knowlton, châtelaine of Longfield, was among his models for the still-remembered "Gibson Girl." Longfield was a center for social and artistic gatherings until Josephine's death in 1969. She has recorded the history of the house and the family in Longfield (1956) and in Butterballs and Finger Bowls (1960).

The acreage of the original "long field" given by the DeWolfs to Charles Dana Gibson and his bride is now diminished, and most of the varied outbuildings have been altered or destroyed, although Longfield itself still remains an imposing and picturesque house on its tree-shaded lot.

In combination with adjoining and opposite properties, the environment of Longfield is comparatively unspoiled, but ranch houses and shopping centers are being built along this side of Hope Street and Longfield has been put up for sale. This fine house, with its immediate neighbors, is worth protecting against highway and development encroachment.