with exquisite Gothic detail, and its walls are festooned with vines and carvings wrought in the stone." Colt added a gatehouse cottage which connected to a large Medieval iron gate and gateway at the front of his property, followed by a stable (later the Inn at Phillips Mill). He also built his Gothic Revival style artist studio where he painted. The studio was built using the wooden trusses of a ruined English abbey that Coly dismantled and shipped to New Hope. Across from the studio, he built a Gothic Revival iron forge where he crafted iron furniture. He also built a brick Tudor Revival style woodworking shop where he made wood furniture and chests detailed with Gothic–style tracery. Across from the woodworking shop, he built a Norman Revival cottage which he used as his dog kennel. The grounds included brick walkways and a sunken garden that he designed. In 1919, he added more buildings to the Little English Village that he called the Gothic Shops; there he exhibited and sold his garden furniture, ornamental ironwork, tooled copper, leather work, and carved wood chests, doors, and painted furniture. He also sold custom-order fireplace implements, folding screens, lighting, and metal trays. All items were made on site by Colt or his employees. His workers also were batiks, handweavers, picture framers, and rug makers. Art In addition to his traditional crafts, Colt also painted in oils, favoring coastal views of Shinnecock, Long Island, and landscapes of Bucks County in the impressionist style. In 1916, Colt joined William Langson Lathrop, Rae Sloan Bredin, Daniel Garber, Charles Rosen, and Robert Spencer to form The New Hope Group. He exhibited with the New Hope Group in 1916 and 1917 at the Arlington Gallery in New York City, Carnegie Institute, Cincinnati Art Museum, Corcoran Gallery of Art, and the Detroit Institute of Art. He also exhibited at the Art Institute of Chicago, the National Academy of Design, the Pennsylvania Academy of the Fine Arts, and Phillips Mill. At the time of his death, he was preparing for an exhibit with Architectural Society of New York. Legacy In addition to Colt’s paintings, examples of his furniture and wooden chests are in museums and private collections. However, after Colt's death, the purchaser of his property destroyed most of the paintings he found there, not understanding what they were worth. As modern art historians have noted, this had made it