Architect Benjamin Henry Latrobe (1764–1820), of U.S. Capitol fame, was responsible for the design of Decatur House, named for its owner, Cdre. Stephen Decatur (1779–1820). The three-story, Federal-style townhouse was completed in 1819.
This redbrick, square-shaped (indicative of the Federal style) residence was the first in the area known today as Lafayette Square, within sight of the White House. The Decatur House’s exterior reflects the Federal style’s simplicity and symmetry.
The home’s rooms are similar to the British Georgian style that focuses on symmetry and classical elements. This is most evident in such distinct yet subtle and graceful touches as the floral-themed ceilings and the rosettes carved in the moldings. Carefully assembled parquet floors using 22 different types of wood to create one-of-a-kind designs are the focal points in several rooms.
Rosettes carved in stone above windows flank Decatur House’s entrance. Over the entryway’s French lited (clear glass) doors with sidelights is a fanlight pediment window topped with a band of carved stone molding. A wrought iron railing in front of the double-approach is topped with two decorative wrought iron columns and lanterns, adding to the symmetry of the façade’s design. Framing the entryway garden and stairs is a red-brick walkway laid in a basketweave pattern. Photography by Bruce White
Rosettes carved in stone above windows flank Decatur House’s entrance. Over the entryway’s French lited (clear glass) doors with sidelights is a fanlight pediment window topped with a band of carved stone molding. A wrought iron railing in front of the double-approach is topped with two decorative wrought iron columns and lanterns, adding to the symmetry of the façade’s design. Framing the entryway garden and stairs is a red-brick walkway laid in a basketweave pattern. Photography by Bruce White
Matching faux vault niches for housing floor lighting flank the front hall doorway, over which is a shallow dome, in contrast to a full hemispherical (or half-circle) dome. Over the dome is an archway accentuated by wide crown moldings. A chevron-design (stripes that meet in a “V” pattern) parquet floor peeks out from beneath an English-made Wilton carpet. Photography by Bruce White
The “warming room” was where courses were arranged before being brought into the formal dining room. Three wood panel doors provide a dramatic entryway. The center door is decorated by a classical arch balanced on moldings that resemble two fluted columns, with each topped by a carved rosette. Matching wood panel window shutters with brass knobs coordinate with the doors. Photography by Bruce White
An elaborate, geometric parquet flooring design contrasts with a flowery blue-sky ceiling painting in the formal dining room. The 12-armed chandelier’s style is baroque, similar to lighting found in France’s Palace of Versailles. Frosted globes and multifaceted glass prisms form the chandelier. Accessible from the room’s windows is a narrow Juliet balcony. Photography by Bruce White
An elaborate, geometric parquet flooring design contrasts with a flowery blue-sky ceiling painting in the formal dining room. The 12-armed chandelier’s style is baroque, similar to lighting found in France’s Palace of Versailles. Frosted globes and multifaceted glass prisms form the chandelier. Accessible from the room’s windows is a narrow Juliet balcony. (Photography by Bruce White)
The second-floor parlor’s diamond design inset in the parquet floor aligns perfectly with the contrasting glass-light and crystal chandelier overhead. The parlor’s painted 15-foot-high ceiling features motifs of ivy and grapevine overflowing from urns. Floor-to-almost-ceiling windows allow light to flood the room. The room’s gilded mirror is uniquely accented with gilded corbels topped with a marble slab, which serves as an accent tabletop. Photography by Bruce White
The informal family dining room is apportioned with a reproduction 19th-century table set with antique china and silverware. The simple mantel is offset by a two-tone stained parquet floor and a crystal chandelier. The saturated gold and wine hues on the walls and window treatments coordinate with the 1867 gilt-framed oil-on-canvas painting “Horses Quenching Their Thirst, Camels Disdaining,” by artist Erneste Etienne de Francheville Narjot, which hangs over the mantel. Photography by Bruce White
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