their steps and shaped wooden balustrades, sheltered by the boldly projecting eaves, make a charming picture of inviting shade. The gallery is as necessary as the living-room in the Province of Quebec and so the need for the extra width evolved the gallery with posts. Many beautiful types of these are found, some with uprights and balustrades formed in lattice work with shaped wooden arches, as at the Presbytery, Pointe Claire. The verandahs to houses with gabled roofs often give the impression of having been added on at a later date, but in the case of hipped roofs with galleries a more homogeneous effect is obtained. Stonecroft Farm, St. Marie Road, St. Anne de Bellevue, is a good example of the flatter angled hipped roof with cantilevered eaves ; while the same type of roof with supporting posts and gallery carried all round the house is well illustrated by a house on St. Charles Road, Island of Montreal. These have chimneys in the end walls. An interesting variation is at Bout de l’Isle, where the house being square on plan, the roof is pyramidal with the chimney in centre. The Berthelot House, St. Genevieve, with very deeply projecting eaves finished with a classic cornice, is an example of a later type in which the influence of the Greek Revival is seen. In the southern districts are found houses of the American Colonial style, as at Georgeville, Lake Memphremagog, and after the war of 1812 there must have been a considerable intercourse with the United States, which at the time was under the influence of the Greek Revivalists. The Archambault House at L’Assomption shows Colonial influence, particularly in its plan, as does also the Le Moyne Manor at Longueuil, now destroyed.
To trace the growth of the classic tradition, however, we must go back to the days when Monseigneur de Laval established schools of art at Cap Tourmente and Saint Joachim in the last quarter of the 17th century. These schools flourished and developed a stylistic tradition based largely on a study of such books as Blondel’s « Cours d’Architecture » published in Paris in 1774, which gave examples of the « Orders » and contemporary buildings and ornaments. A stone doorway in the House of the Seminary at Petit Cap is an exact reproduction of a drawing in Vignola’s « Traité Elémentaire Pratique d’Architecture, » which was a standard work in France at that time. Late in the century a school where architecture was taught was founded by Louis Quevillon (1749-1823) at St. Vincent de Paul, and another, which included three generations of architects, by François Baillairgé, born in Quebec in 1759 (the son of a carpenter from Poitou), who studied in Paris before starting in practice here. The Baillairgé School seems to have worked at first along the traditional Quebec lines, but later, judging from the design of the N.W. Tower of the old Basilica at Quebec, built in 1844 by Thomas Baillairgé (1791-1859), it would appear to have been influenced by the spirit of the classic revivalists. The Sabrevois de Bleury Manor at St. Vincent de Paul is a good example of the later Classic School, with its refined detail, Doric porticoes and angle pilasters of Greek character.
Except for the high parapetted gable and double chimneys, the typical French Canadian stone house of one storey is almost identical with an old form which is still popular in Normandy and Brittany.
