Rather, it relies on scale and form, and the beauty of the classical elements themselves, more than upon the applied ornamentation to portray the prominence of the original residents.

Thus, Silva, as had other foreign-trained architects, succeeded in integrating classical education with the traditional elements of the Spanish Caribbean.

[4] An ample gallery raised on a local-stone podium spans the width of the facade, the central one-third portion projecting forward approximately six feet in a square form.

Defining the porch is a series of Corinthian columns raised upon a concrete balustrade, one at each intersection of two perpendicular planes.

Each bay is intricately articulated in the same manner: a circular arch defined by an ornate hood mould with floral and festoon plaster ornament above.

Plaster ornaments composed of two small, circular medallions flanking a larger, central one decorate the areas between bays 1-2 and 3–4.

Interior spaces are large and generally have high ceilings and the floors are covered with Loza Islena (Native ceramic tile) in intricate designs.

The overall character of the interior spaces has not changed nonetheless, and the exterior of the premises remains faithful to the original design.