![]() She designed the rooms one by one, supervised the project, and sought advice from the carpenters she hired. She took inspiration for the house from the world's fairs that were common then. While the home was similar in scope to other homes built then, it was unusual for a woman to look after such a project and, Colin Dickey states in his book Ghostland: an American History in Haunted Places, she could be considered an architectural pioneer of her time. She was known to rebuild and abandon construction if the progress did not meet her expectations, which resulted in a maze-like design. In the San Jose News of 1897, it was reported that a seven-story tower was torn down and rebuilt sixteen times. As a result of her expansions, there are walled-off exterior windows and doors that were not removed as the house grew in size. Multiple levels, up to five, were added to different parts of the home. The design was essentially Victorian, with elements of Gothic and Romanesque features. There was carved wood on the ballroom walls and ceilings. ![]() Woods such as teak, maple, and mahogany were used to make an intricate pattern on the ballroom floor. A large, brick fireplace was framed by two windows that included quotes from Shakespeare. The second floor had bedrooms that each had adjoining sitting rooms and sewing rooms. The wall coverings had a leather or metal appearance, known as Lincrusta wall coverings. The ceilings had mouldings, stencils, and faux finishes. There were chandeliers from Germany, art glass from Austria, furnishings from Asia, and paintings from France. ![]() An annunciator, an early form of intercom, which was a common feature of large homes during this time period, was installed for calling servants.
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