Indian Camp Plantation House
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Carville Historic District
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| Location | 5445 Point Clair Rd., Carville, Louisiana |
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| Coordinates | 30°11′49″N 91°07′36″W / 30.196944°N 91.126667°WCoordinates: 30°11′49″N 91°07′36″W / 30.196944°N 91.126667°W |
| Area | 60 acres (24 ha) |
| Built | 1859, 1939-1941 |
| Architect | Neill P. Thompson; Henry Howard |
| Architectural style | Classical Revival, Italianate |
| NRHP Reference # | 92001529 |
| Added to NRHP | November 18, 1992 |
The Carville Historic District in Carville, Louisiana is a 60 acres (24 ha) historic district that was listed on the National Register of Historic Places in 1992.
It is known as the Gillis W. Long Hansen's Disease Center and as Public Health Service Hospital No. 66 and served as a treatment facility for leprosy. In 1992 the district included 24 contributing buildings and two contributing structures, most built during 1939-1941 with architect/builder Neill P. Thompson.
The "anchor" for the Carville Historic District is the Indian Camp Plantation House, the antebellum main house of a sugar plantation which is the only surviving building from the plantation. It was
designed and built by New Orleans architect Henry Howard (and perhaps his partner Albert Diettel) in 1859 for sugar planter Robert C. Camp. It is a raised stucco over brick transitional Greek Revival Italianate mansion featuring a central mass with a hexastyle double gallery and flanking two story wings. Fluted Corinthian columns over heavily rusticated pillars support the gallery. Column capitals are correctly fashioned from double rows of acanthus leaf carvings with volutess or scrolls springing from the centers. Rather thin, molded and decorated abacus blocks supply the transition from columns to architrave. / The facade is well detailed with Italianate features, including rows of brackets, segmental openings, and panels. Above the gallery is a busy entablature with a bracketed, dentiled frieze under a projecting cornice and a segmented, paneled parapet. The bracket and dentil motif of the principal frieze continues around the returning entablature to terminate at the juncture of the house and gallery, only to reappear in a modified form of elongated brackets spaced across the wings, down the sides, and onto the rear. Meanwhile, the square, post and lintel fenestration of the central block contrasts with segmental openings in the wings. These features, together with the deep rustication of the central pillars and the heavy cast-iron gallery railings, impart a heavy sculptural quality to the facade. From every angle, front and rear, a certain dynamism emerges from broken up surfaces and contrasting motifs.
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