2 15 4146 https://omeka.wilkes.edu/omeka/files/original/3b00acb5d4926aaa79ea98c652bf651a.pdf 2a62b96b9198d9935442d2a3ffaa9910 PDF Text Text ��Manuscript 2024 - 2025 Wilkes University The Manuscript Society ��1947 Foreword With this issue of the Manuscript, a new publication is launced on the Bucknell University Campus in Wilkes-Barre. Those who have been responsible for its coming into being earnestly hope that through your efforts and the efforts of those who come after you that this magazine will develop into a college tradition of which we may all be proud. The Editors ��The Manuscriprt Society Editorial Board Advisor Dr. Mischelle Anthony Executive Director Sydney Ahrberg Assistant Editor Dan Stish Layout and Copy Editor and Edition Illustrator Jacob O’Boyle Social Media Director Jazmin High Supreme Overlord The Craven And a special thanks to all of our contributors and vollunteers for their hard work and dedication for this edition! �Table of Contents Jacob O’Boyle Ode to The Valley 8 Elysium 9 Leah Smith My Heart’s a Work in Progress 10 Murdock 12 Cass Heid He’s Not Here Right Now 14 Avenge Me 15 Supply and Demand 16 Unwoven 17 Dan Stish A concept 18 sapphire blue bottles 19 crown of thorns 20 Bright Judas 21 Grace Cairns Overdue 22 Above 23 American Dream Reality 24 Amelia Murphy Friend of Bees 26 Light Leads the Way 27 Adventures Unknown 28 Jeffrey Prescott C@T 29 6 �Sydney Ahrberg Femicide Buddy Breena Kravabloski Etude: Caged Rumination William Chad Stanley Meanwhile, in the Barnyard, Things Stay the Same (Reprise) Kylie Kilvitis No one La fleur de la mort Tyler Savitski ross Sleep Is For The Death Valley Bleed Orange and the night is enormous Encounter Dorrian Nelson If You Could See Me Eleanor Burrows This Heart of Mine Life’s Music Shawn Carey You’re Dead Liv Serkosky What is it Like to be Honest with Yourself? Liz Keller When She Was Here - A Sestina 30 32 34 37 38 39 40 41 42 43 44 45 46 48 49 50 52 7 �Ode to the Valley O, mountain home, cradle of my birth, full of melancholy fools mired to mirth. Sullen peaks, worn by time, you leave me much to ponder and pine, for full of desire, friend of mine, you hold me here, grasp solid, yet delicately fine, like a handcuff shackle on a slave in the mine. But mistake not this frustration for hate, as it isn’t your fault you can’t fill my plate. You’re a victim too, of our dire state, an affliction which all of Appalachia can relate. So I suppose I won’t run no, from your clutch I won’t slip, though I’m not the girl with golden hair but the saucer with a chip. I do love you so, so I’ll go down with the ship. I try to see your glory, but it’s only in days gone by, in stories of yesteryear, in a last breath’s sigh. Should I carry on then? To live your lie? That it will all be fine as we all slowly die? As the fire consumes and smoke burns the eye? When I’m finally at your funeral will you expect me then to still cry? 8 - Jacob O’Boyle �Elysium Please take me there, that place of no fear which holds me so tight, like strong arms, so near. Old growth oaks, thick and strong, stocked up with acorns for yond winter long. To its flowering fields, lands of plenty, where the golden grasses never leave my heart empty. And of the sweet meadow betwixt the wooded hills grows the richest winter wheat of which the granary fills. So I may sit in its heights where the soft blue sky may watch me. I’ll breathe relief’s sigh and lounge forever lazily. Ah, yes, deliver me there, country so fair, as for when I’m not with you, I may only despair. ‘Til I run down those hills where the grass grows thin, a rocky grimace like a stubbled chin. And off to its midlands down by the coast; here is where I love to rest my head most. Oh, but the forest lands do hold my heart, for when I venture there, I never wish to part. - Jacob O’Boyle 9 �My Heart’s a Work in Progress I wake up to a broadcast of mistakes and worries, The past and present in an endless tug o’ war. Never a break when it comes to the battle of the brain and heart. My fingers fly across the keyboard as I type Assignment after assignment, but I still want to write About a story of a superhero or maybe a new world. The overpriced coffee and microwaved egg sandwich is not enough My heart yearns for something more. Like getting lost At a Barnes and Noble. Whether I am gawking at a magazine cover featuring Pedro Pascal Or analyzing the graphic novel section only to buy yet another Batman title. Or maybe, I can take myself out to dinner Like that one time at Chili’s. Red in the face, I think I fell in love. They say love don’t cost a thing But it’s a heavy-handed Shark Tank pitch as far as I’m concerned. I take a look at the crowd around me, I see nothing but a masquerade of misery. People together that shouldn’t be like puzzle pieces forced into each other. But of course, love is chess and I’m playing Uno. 10 �But, I like Uno, so why should I feel ashamed? Because grandma said she wants to see a boyfriend at the table next Christmas And my friends are all getting married. The bell rings and the rope is pulled The brain and heart are at war once again. The world spins me around and I feel numb. Numb from the repetitive song and dance I know it already, can the radio stop playing it? This is why I use Spotify. I know the kind of music I like It’s certainly not the same you enjoy So why can’t the heart want what it wants? My heart says it wants pizza and another Empire Strikes Back rewatch. Sorry grandma, don’t expect a boyfriend next Christmas And sorry girls, but there’s no dove calling my name. But maybe, I can bring a new book. And maybe, I can start a new meditation technique. Just maybe, I can love myself. - Leah Smith 11 �Murdock The devil is real and he’s in me. This war in my head is more than I can take. Bodies all around, more than just casualties. Blinded by the smoke, my world is on fire. Trust is a gun that fires back Like Russian roulette I spin the barrel, It doesn’t matter where it’s pointed, The bullet hits me nonetheless. Close friends to bitter enemies, Sometimes it’s hard to tell which is which But I take the scissors and cut and hear them All fall down into an endless pit of souls I’ve let go. My hands are busted leather with bloodstains Painted over beads of sweat. No matter how many times The devil’s work is done, it’s never enough For me or him. “Let the devil out,” I hear my father say, But when he’s out, trouble comes and takes no prisoners Except me for I am his vessel, this unstoppable machine Of blood, sweat, and tears that never gets a break. Smash! Crash! Bang! Cries are elevated, silencing my screams. 12 �The system is broken and I fight back Gloves on, I throw haymakers in the form of words. Ears ringing, the dust never settling, I turn around and hear The cheering of a little boy, a small victory, a mirage of joy. Morning coffee and walks in the park A brief reprieve but he calls to me “Let the devil out,” In the blackest pit of my gut I know I am chained. Chained to the words of my father, The father, The devil, The pleas of friends washed away in the fires of my fury. Guilt devours me but I sit in it’s stomach The acids are my tears that never dry I swim but I still sink to the bottom Where I know I’ll be buried in darkness. Pride is all of me Though I call it justice For me, for them, for everybody. Though, it is blind. Regardless, the devil’s work is never done. - Leah Smith 13 �He’s Not Here Right Now Lord, please grant me the serenity to accept the things I cannot change, long-ago conversations that send me running like air raid sirens the clanging of bells. Somewhere, a watchtower casts a lustful beacon that reveals my skeleton, and I wake up gasping for air on an island in the middle of the North Sea. - Cassie Heid 14 �Avenge Me If pain demands to be felt, Let mine in The next time it knocks And sit with it like you would With a friend fallen on hard times Cry my tears In a somber baritone Trembling under the weight of your sorrow And punch the walls with fists Better fit to handle the rage That chokes me May I taste bitter enough For you to start wars in my name Instead of Fulfilling the prophecy Told by your comrades About my warnings Written in blood And all that Failed to prosper When they stole from me - Cassie Heid 15 �Supply and Demand And when you finally receive your flowers, be sure to hang them upside-down in the back of your closet so you can save them for later - they seem to be in limited supply these days. In the meantime, buy your own Grow your own from packaged seeds And sink down to your elbows in the soft earth Like a reprieve from the scorching sun And wipe the beads of sweat from your brow with the back of your hand While the well-intentioned, Well-meaning, Innocent People who are too wrapped up in their own little lives To put down their binoculars and wave While they watch your progress from their kitchen windows Are operating flower shops in their own garages unbeknownst to you. They have the most exotic, fresh-cut blooms on hand And they can’t wait to present them to their front porch company Who hate the soil. - Cassie Heid 16 �Unwoven Affirmations spoken in the mirror leave my mouth in broken wisps that fall to the floor. It shouldn’t be a crime to desire a bond strong enough to weather the occasional downpour. But the spider does not speak to her prey in empty platitudes - “I am not everyone’s cup of tea.” She knows how few appreciate her silk, preferring what honeycombs have to offer: She spins anyway, and traps the flies That swarm your empty jar. - Cassie Heid 17 �[a concept] - Dan Stish 18 �sapphire blue bottles I measure time by the growth of pine, and the ripening of juniper berries. When I am gone, though shall not be long, bury me beneath that willow of fairies. - Dan Stish 19 �crown of thorns oh darling you can love me, but you have to make it hurt. love me like a nail loves a wrist; like a father loves his son and a god his people. I shall snap under your teeth like the crimson skin of pomegranate seeds, burst against the tongue - Dan Stish 20 �[Bright Judas] on this night—the moon glimmers like thirty pieces of silver, pressed into a palm. - Dan Stish 21 �Overdue In my heart is a warm, candle-lit library I keep dusting it, keep candles lit, even as they burn under my skin I’m always sitting at the check-in Waiting for you to come in and reminisce with me I’m watching as your eyes get bluer and you grow and keep getting more pretty While my hair will gray and bones will disintegrate With the hope I sat with, always making me wait - Grace Cairns 22 �Above You enamor me My energy is spent trying to capture your beauty More faithfully than the pursuit of money Colors fade in photographs, you do not give beauty away You know it’s yours Always mine to see Never to keep You’re free Way up there, untouched by humans’ folly Witness to the birds singing, flirting with the trees Colors live in unison Your brush strokes reveal nothing but truth and grace In all this daily glory that you paint Your message to the bleeding earth, You say you want us to live in peace A beauty so great, defying photograph and poetry If we’d just watch and listen and see You show us how we can live in peace - Grace Cairns 23 �American Dream Reality America, you’re top dog Bred to fight Teeth sunken in to the neck of an abused innocent Patriarchy paid by conquest Pride. While your victims plead for your mercy with the remaining light in their eyes Overwhelmed with things to own up to, you whitewash the blood painted on the wall, but it still shows through They came with entitlement and stole, now the power struggle builds from within And the trajectory of the people is once again altered by the ruthless conquest of so few Hiding the truth while we do as we’re told Stand, put your hand on your heart Love this land where all are equal Where we’re all so thankful that the helping hand of the white man gave us free speech, Stop. now, And think. On what principle was he shamed for taking a knee? His speech was not free, and another one, He couldn’t breathe. Used his last words to plead… His speech was not free. America, don’t you realize? Blindness to the truth, the unmet ideals they’ve fed to us since we were two That’s the real threat. When the losing dog whimpers, they say she wouldn’t be anything without his helping hand Even as her body breaks in his grasp. And we’re taught to be grateful that our forefathers were faithful And no one mentioned to a little kid how they took valuable cultures, and ripped out their staples There was no room at their bountiful table For ideas wider than the scope of their corner of the world 24 �Then they came in with crime-rate statistics and scape-goated the misfits The “War on Drugs” was really the “War on Those They Won’t Let Rise Above.” AMERICA-listen to me now One feels no need to drag others down when they know self love. Don’t take my word, just ask the criminal how they valued their life itself. Stop the stigma and shaming and guide the fighters in the hallways not to a cell, but to help Everyone is a person with problems, not a problem incarnate Treat everyone as such, don’t make sensitivity feel dangerous That’s how you heal the whole country’s health. Start the healing from within, learn the truth about everything that happens And then maybe we could all see clearly again Where instead of leveling up by shooting imaginary lives on a computer screen, our children would play kindly and make real friends I have a vision of what the world could be, if conquest was not the goal of our country… We could show how to peacefully lead and be truthful when we celebrate treating everyone equally If we are courageous enough to believe, this goodness could reach overseas America, you’re a top dog Bred to fight Take your blinders off and fight for the freedom that is equally right Unsink your teeth from the innocent you brought into your fighting ring Learn the truth, and make real peace, freedom, and equality, the real American Dream. - Grace Cairns 25 �Friend of Bees - Amelia Murphy 26 �Light Leads the Way - Amelia Murphy 27 �Adventures Unknown - Amelia Murphy 28 �C@T Ornery cat, pondering a wall, eyeing a festering sheetrock sore. From it, a dead thing exits. Cats see spirits and regard them as they would a beetle, a shadow, a ray of light, a red pinpoint reflected in porcelain sclera. One feline goes for the throat; claws pass through an echo of flesh. No substance there, so the cat retracts its claws. Out with the spirit! Just like the cat, once flung by the neck For vandalizing saucers and rugs. Let the spirit pass to the ferals. They may have it, and chase it north, over sheets of leaf and bone. - Jeffrey Prescott 29 �Femicide “A woman or girl is killed by someone in her own family every 11 minutes” - United Nations Office on Drugs and Crime I think to be a woman is to be angry. An anger born when Eve ate the fruit and understood she was loved by Adam the way a shark loves the blood in the water stemming like ribbons from an injured seal. You lose your girlhood and become woman as you read the stories every day. Every hour. Every minute. MURDERTORTURERAPE The anger rises in your throat, choking you like he choked her. choking you like the men who silence her story. “Bet she cheated” “What did she do?” “Lol” Choking you like the tears stuck in your throat: powerless to save her, to avenge her, even to cry for her. 30 �You feel you might explode. Your heartbeat rattles inside your chest, shaking like frostbitten fingers with every breath. To be a woman They say to yell “FIRE!” because no one will come if you yell “RAPE!” Yet they flock like hungry dogs when you yell “I FOUND HER NUDES!” Suddenly running to a naked woman isn’t so hard. Junko Furata. Leda. Ana Mendieta. Katherine Howard. Sally Hemings. Elizabeth Short. Nicole Brown Simpson. Lucy. Betsey. Anarcha. Callisto. Philomena. Lucretia. Mary Ann Nichols. Annie Chapman. Elizabeth Stride. Catherine Eddowes. Mary Jane Kelly. Gisèle Pelicot. Kristina Joksimovic. Rebecca Cheptegei. Nika Shakarami. Bianca Devins. Matoaka. To be born a woman is to understand why your sisters ask to be cremated when they die. - Sydney Ahrberg 31 �Buddy My Grampy wants to be cremated when he dies. It’s a nice thought. He lives right by the beach, A perfect place To scatter the remains of what once was a man. Except he hates the beach. The sand strips skin from your toes As seagulls snatch chips like Some comically bold pickpocket And the scorching sun burns cancer into your flesh. He’d hate to rest there for eternity. My family has joked In the late hours of the night That we’ll have to spread his ashes Not at the beach, but At Market Basket, his favorite grocery store, Alchemized into Mahket Basket Through the rasp of his thick Boston accent. Where he drives When the sun is just a sliver above the mountains. Upon his return, he excitedly announces That he’s remembered and purchased your favorite snack. 32 �Or we could spread him at Fenway Park. Forever mixed in with the powdered dirt Kicked up as players slide to home, Clinging to the undersides of cleats Like hitchhiking burs on a dog’s fur. He was always the best player, after all. And if you listened closely, When the ump made a bad call, You would hear faintly From the ground below: “Ah, Christ! What are they doing?” We stay up late laughing, Discussing places we could lay him to rest. The dump, the set of The Price is Right, The elevator he got stuck in that one time. I think it’s our way of pretending He’ll always be in these places. Ignoring the impermanence of life And the futility of forever As though there won’t be a day His spot on the couch is empty, And nobody is sneaking their dog food, And my Nana buys the groceries. - Sydney Ahrberg 33 �Etude: Caged Rumination Calluses do not numb the sting of metal on skin. That much, I had come to realize. The misconception was born from those with mountainous egos, pride that could scale even the tallest buildings– or careless nerve damage. “It does not hurt,” they would say, “I have played for so long, I cannot feel it anymore. Only the music, in my soul.” Then, said woefully successful musician and mindless entourage would chuckle, slipping deeper into self-indulgent reverie. Now in my musings, either I was entirely correct, as I often have been, or my own calluses had faded enough to leave me bitter. Hunched over in an old, creaky pew, my eyes followed the swirls of notes on a too-small, smudged paper. I had known this song once, the Cardinal mentioned. Performing it many times for whatever ceremony was in demand. Still, no matter how many times the melody was shown, my recently-addled mind could not read its notes. Not quickly, at least. After healing, I was swiftly thrust into efforts to regain my skills. At the ripe age of six, old enough to swallow the fear of frightening gothic sculptures in the hallway, I was brought into the church. Today, sitting in the aisle, the same stories were repeated to me. The Cardinal, and his swarming ducklings of altar boys, tried and failed not to breathe too closely down my neck during their sentiments. They were young, curious, and my hair had grown since last they’d seen. “You know,” began the eminent man. “Your mother was the one fond of the harp.” I kept my eyes on my parchment, silently wishing to whatever deity we worshiped not to be swept up in this topic. Yet much like egotistical musicians, graying men enjoyed hearing themselves talk. The Cardinal continues, much to my feigned concentration’s dismay. I glossed over the notes again, slowly deciphering. C... A… It must have been a grim sight. A twenty-something (two? three? I cannot recall) year-old prodigy, born into an affluent family such as mine, struggling with music theory like a child holding a plastic recorder for the first time. All because of a good knock on the back of the head in a highway wreck. And here I was, sitting in a church, thanks to the advice of the “good” and gossiping congregation, waiting with bated breath to watch me overcome tragedy. “You were an attentive young boy, and your father couldn’t convince you to pick a more…” the elderly man paused, “traditional role of service. But of course, our savior accepts the gift of music from all willing. We were overjoyed to have a young pupil play for mass. And look at you now, grown and brilliant. Even your old man came around, eventually, seeing the light in your eyes.” I fiddled with my un-numbed fingertips again. C… A… G… The Cardinal shooed away his lingering young ducks, their white robes hitting against sprightly pairs of legs which each knew when to make themselves unseen. Then, the man slid his way onto the seat beside me, knees seeming to resist in the same way 34 �as the wood. A pitying sigh followed, and I felt a subtle weight twist through my chest. When the sanctum was otherwise vacant, a hand patted against my shoulder. “My child, the weight of your loss must be immeasurable.” The loss in question, I’m uncertain of which. From what I’ve learned, my life has recently been riddled with much. My parents, my previous knowledge, a few items from the accident, and so forth. Details I’ve been told, yet could not feel sorrow for. And despite the copious sums of money I was now riddled with, my greatest currency these days was condolences. Had I truly loved my mother so dearly, to give my time to this place? To this instrument? Or was my participation here simply what was expected of me, and I had aimed to kill two birds with one harp? Was I gentle, then? Or calculating enough to seek praise and good standing in society? To attract the whimsical eye of young girls in my worship school? Did I still dare to please even the graves, forever outside in the churchyard? Holding back the urge to flinch, my body instead goes entirely stiff. Then, as if remembering how to breathe, I shake my head. “...It will come back to me, when my hands are on the strings. It has been doing so in other instances, I’ve found.” Muscle memory resided in a different part of my brain. The phenomenon was often seen in retired musicians with dementia, and with the extent of my damages, I was no better. The other man rubs his hand, shaking his head. “It was not the song, of which I was referring to.” My patience is exhausted. I stand, feeling a confusing amount of guilt and subsequent vindication, leaving the elderly holy father on a bench in his own domain. Still, I did not come that day to listen to the same sympathies I’d heard a thousand times before, and entertain the company of any more ghosts whose names I did not know. Instead, I moved towards the fourty-seven stringed, towering instrument. Tall and terrifying as a gargoyle or seraphim in the annex. Suddenly, I felt like a supposed-six year old, wishing to turn and hide from monsters that aren’t there. Yet were I to step back, I’d have to deal with the encouraging words of a stranger, and somehow, that was worse. In the interest of getting this over with as painlessly as possible, I sat on my second bench of the day. This one, smaller, with a height enough for my legs to rest comfortably enough around the soundboard. There were few things I could remember, yet educated guesses weren’t too far out of my reach. As a child, I can imagine my frustration with the pedals. Understanding which does what, how to change positions, and balancing the coordination between hand and foot. It evaded me now, too. I can imagine my father, who’s face I cannot recall, eager to take every frustration as an opportunity to persuade me to another outlet. Yet my mother might have encouraged me, coaxing my determination with her fondness to hear another song. 35 � Imagining these things, I tried– try not to do, even now. Amnesia is a fickle thing, especially when the damage is enough to leave the mind like snapped strings. Even a broken wire could be played to some capacity, if stretched far enough. Out of tune, and no better than rubber bands instead of steel or nylon, but capable of sound. Yet I hate the sound, his rubber life impeding mine, when I can replace the peg instead. But I had no idea how to. On my own, away from that damned church. So while I had no clue what I was doing, I lifted my fingers to the strings. Plucking a few combinations, trying to find C. Putting faith in the repertoire of my mind that had been left intact, though difficult to kickstart. Upon finding the semi-familiar sound, my hands wandered again. …C… …A… …G… …E… The combination was enough. Without warning, I was swept away. Joints stiffening and plucking like a haunted virtuoso. From illiterate, to intricate glissandos, I was powerless to stop the possession. Uncharted, forbidden, and stinging against the pads of my fingers. The song was complicated, layered, and felt impossible to me. Yet by the time my besiegement had come to an end, the Cardinal had returned to my side. “By the grace of his light, you’ve remembered!” Sweat against my brow, I wiped away the signs of strain- fear. I did not dare to correct him. That I was merely exploiting the skill of someone foreign to me. How could this be holy? Another pat against my shoulder, the man flashed a bright, faithful smile. “I’ll let our director know you’ve come around. This is wonderful news! Praise be!” Then, the elderly man scurried off. Likely to proclaim my good health, that I was returning to my old self. Or, in more realistic terms, that I was useful to the congregation once more. That I would come again, over and over, to be their symbol of light and beautifully woven tragedy. My hands shook before me. Ears ringing, vision swirling- the weight of a new truth crushing down. This is what the rest of my days would be. Pretending, exploiting, sinning against even myself, under the roof of a god whom I did not believe in. Could not believe in, not anymore. Imitating the man who’s life I had once known, yet was never coming back. But with enough time, I thought, calluses could form on even a dead man walking. And one day, when I was bold enough, the guilt would coat evenly beneath their scars. When they stop hurting, I will leave his memories buried beneath the same tree in the graveyard, beside his mother and father. And I will escape. - Breena Kravabloski 36 �Meanwhile, in the Barnyard, Things Stay the Same (Reprise) Vote fox again, said fox again (as again, said Fox again). But fox, said chicken, You have eaten all of my children. Said fox said that still shows how smart I am. - William Chad Stanley 37 �No one Rivers form from my eyes Slowly pulling me under No one can hear No one can hear my cries My world crumbles beneath my feet Slowly dragging me to its depths No one can see No one can see the struggle The air vanishes around my face Slowly taking me with it No one can see No one can see me break Fire surrounds my body Slowly burning me down No one can hear No one can hear my screams - Kylie Kilvitis 38 �Le fleur de la mort Life crumples away in the vase Lively petals wither away to nothing However there is a sense of grace Never has there been such loving Death is but a splotch of gray But only for a minute As the world as its way No one can dispute, Colors fall peaceful Within a safe eye Lives fall easeful As the dead fly The Death’s flower It withers beside them As it’s guilt can overpower, Even the brightest gem A beauty like no other Bouquets all a flutter As one falls under cover With no more clutter Colors shine away As afterlife takes place And though it might convey A small pain trace Once one fades The beauty is unbounded Pinks and blues of different shades Leaving all astounded The pain is a speck of nothing Blackness will fade away Soon you shall be something The colors will rise again in May “C’est la vie”, Is all they say Of beauty of losing an amie As colors shine in a gray - Kylie Kilvitis 39 �ross - Tyler Savitski 40 �Sleep Is For The Death - Tyler Savitski 41 �Valley Bleed Orange - Tyler Savitski 42 �and the night is enormous - Tyler Savitski 43 �Encounter - Tyler Savitski 44 �If You Could See Me If If If If you you you you No No No No could could could could one one one one I I I I could could could could If If If If you you you you No No No No see see see see could could could could me, me, me, me, see see see see what would that make me? would you see the pain? how much did you see? was my shell in vain? me, me, me, me, still still still still see see see see them, them, them, them, could could could could see see see see me, me, me, me, one one one one I I I I could could could could If If If If you you you you could could could could see see see see so so so so I I I I engineered the facade disappeared from them all became someone more broad watched the old me just fall through the eyes of a stranger I became what they wanted the old me was a danger the new me became haunted might that help me heal? would I gain control? would that make me feel? would you see the whole? me, me, me, me, still still still still see see see see them, them, them, them, could could could could see see see see me, me, me, me, for as long as I remember so to me, it never mattered I pursued countless endeavors but that reality shattered they would glance with no worry I embrace neutrality they have just never known me I hate their mentality I’d be unprepared I would be ready would you have cared? would you still need me? - Dorrian Nelson 45 �This Heart of Mine There is a heart that beats in my chest. Beats 1, 2, 1, 2, on and on As my chest rises and falls. Thump-thump, over and over Rapid as I try to quell the rising panic Slow and steady as I find peace. There is a heart that beats in my chest. A heart that has too much love to give And not enough people to give love to. Sincere in its passion and depth But fragile and easily cracked and shattered Like glass on the edge of a table Precarious and unsteady. There is a heart that beats in my chest, A heart that wants and a heart that needs But a heart that cannot express why A heart that cannot express how A heart that cannot make its voice heard Because it hurts too much to listen. There is a heart that beats in my chest, A heart that betrays emotion Every chance it gets A heart that is young and foolish A heart that takes everything too seriously A heart that cannot lie to itself even if it tries. 46 �There is a heart that beats in my chest And though I try to listen Though I try to understand There are times when I cannot fathom How someone could say “follow your heart” When I know my heart will only lead me astray. There is a heart that beats in my chest, A heart that is wild, a heart that is illogical By all accounts my heart should not decide But I make decisions because in my heart I believe them to be right. I care too much to let my heart be silent, But my heart must be silent for my own sake. My heart holds words that I will never say Because if I said them it would only break. There is a heart that beats in my chest, A heart that will continue to beat Until it cannot beat anymore That will continue to love Until it cannot love anymore And this heart will live in my chest As it beats a steady rhythm For as long as I live. And I can try to deny it, Try to fight my heart but I know Deep down My heart will always lead the way. - Eleanor Burows 47 �Life’s Music Do me a favor, if you can. Let your mind be quiet, as quiet as it can be. Listen to your breathing, The soft inhale and exhale. A sweet rhythm, Echoing in the empty branches of trees, Their leaves scattered on the ground, a crunch, another beat with each step In the whisper of wind, curling through streets Tousling hair, rustling clothes It has its own beauty I think you know what I’m getting at here You know a rhythm You know a beat you know the music that nature gives us In a crash of waterfalls, Not unlike a cymbal striking in a great symphony A birdsong, lilting, bright So early in the morning A reminder of the sweet sounds we ourselves can make - Eleanor Burows 48 �You’re Dead You tell me you’re dead, that you died many years ago You tell everyone the same thing. You were on the receiving end of a brutal attack, one that left you as a husk of your former self. You frame yourself as the victim. Singing songs about how everyone and everything is against you. How you’re the casualty of an unjust society. You target your “attacker,” seeking revenge for what they have done to you. You won’t rest, not until you’ve won. I know you’re lying. The blood you bleed isn’t your own. The songs you sing drown out the voices of others. Your wounds are self-inflicted, most of them barely piercing skin. The masses are fooled. You convinced them that you speak the truth. That we should feel bad for you. I won’t listen. - Shawn Carey 49 �What is it Like to be Honest With Yourself? At six I was playing with the boys, Fighting nightmares and guarding secrets. At ten I was afraid to make new friend, I was scared that I would grow too close. I couldn’t move and I couldn’t breathe. A lost cause, I thought this was God’s punishment I trek along the forest path, punishment Seething in my bones for the anger of boys. I’m trapped in the meadow that can‘t breathe. I look back at the house, sinfully silent secrets. Nineteen, the taste of vodka burns in my throat, I’m so close To the memory of visiting here with my friends. I grew too fond of the girls who were just friends. I lost against the dragon in the wood, ten and facing punishment. I prayed to a god I didn’t believe was real, never close Enough to the castle, the walls guarded by boys. That castle, my former home, she built from my secrets. The roof came crashing in, and at twelve I lost all senses to breathe. 50 �Dust like sparkles cover the floors of that house, trying to breathe. I light candles in the windows and welcome my friends. We sit like witches around a table, dangling secrets. I know my lies are locked away like finch as punishment New summer dress, she talks about her crush on a college boy. I can feel my hands tremble as I grasp anger close. This house of ivy was once furnished and loved, close Enough for me to feel safe, to feel able to breathe. We were finally old enough at thirteen to play chess with boys. I grinned brightly at the sight of my giggling friends. But, that was not what I wanted; that was my punishment. I hid in the corner of the dining room bleeding secrets. I stare out the window of the pale house of secrets. Now grown, I learned to hold who I love close. Outside grass blades sing of my past punishment. Trapped in this room, I’m sobbing, choking to breathe. They’ve all gone to college, now they have new friends. I was always different, I never liked the boys. This house carries the secret memories of boys. I kept my cards close, but finally admitted to my friends. There was never any punishment; I like girls, and now I can safely breathe - Liv Serkosky 51 �When She Was Here - A Sestina A home for flowers, our haven to grow in the lush streets of our faraway town with lakes of sand, dunes of crystalline blue and the leafy arbor of our dear youth where the sun shined bright on those August days spent in rainbows. This love cannot be lost. Ensnared by biting barbed vines, truly lost until you set me free to bloom and grow by your side. Fragrant, pinkish melons, days spent in our plastic palace, modest town market or cozy homes. How blessed, youth rich with bliss and ceaseless heavens of blue, and then December came, deforming blue skies to subdued greys, our floral beds lost to weiss powder, melting views of Her youth. She was breaking, Her soul screaming to grow into the artist every face in town demanded She be. Still silence for days until we found Her. In a mere few days our technicolor truths befell rime bluegrey slush, smothering our faraway town. Her fractured visage hung heavy; life lost. “How horrific!” they cried, “Her time to grow forfeited! Robbing Herself of Her youth!” 52 �Love was lost in the swift sparks of our youth once eternal, now January days pass as I am frozen, inept to grow in our wry plot void of your pink and blue hues that once bathed my leaves in light, now lost as I wither on bare paths of our town. And then March came, but the seasons in town never seemed to shift, and landmarks of youth lie in ache for our return, but they’ve lost each beam of light shared together on days of warmth and sweet salty spray of the blue sparkling shore. They cried, “He will never grow!” And then August came to town. Yet to grow from tragic youth, we’re still haunted by blue skies lost as our years drift by like brisk days. - Liz Keller 53 �Biographies Jacob O’Boyle is a senior biology major with a minor in English. He harpoons gay wood trolls for sport. Only the gay ones. There can only be one. Me. Leah Smith is the News Editor for the Beacon. She writes short stories and reads comic books in her spare time. Leah’s not-so guilty pleasure is watching WWE. Her top three favorite wrestlers are Cody Rhodes, Seth Rollins, and Rhea Ripley. Cass Heid has a B.S. in Earth and Environmental Science, an M.A. in Creative Nonfiction, and an M.F.A. in Creative Writing, all from Wilkes University. She is an essayist, poet, and academic scholar who’s work appears in The Handy Uncapped Pen, Elephant Eyes, and the horror scholar’s anthology, No More Haunted Dolls: Horror Fiction That Transcends The Tropes, which was published by Vernon Press, and nominated for a Bram Stoker Award. Her work is also forthcoming in the poetry anthology, Pennsylvania Bard’s Eastern PA Poetry Review 2025. She lives in Swoyersville, Pennsylvania, and has been collecting crystals since she was seven years old! Dan Stish is a senior graduating with a dual major in English and Biochemistry. He is going on to pursue a chemistry Ph.D at the University of Illinois Urbana-Champaign. He spends his free time arguing with his reflection in the mirror, which has yet to lose a debate. Grace Cairns loves being outdoors; walking amongst trees, swimming, and basically doing anything else when the weather is nice. Amelia Murphy once journeyed from the wilds of Alaska to the far reaches of the eastern seaboard. Some say the road bent for her, guided by whispers of the Fae who admired her fearless spirit. 54 �JP is a Library Technician at Wilkes University. He enjoys walks on Back Mountain Trail, where he pretends the neighboring highway does not exist. Sydney Ahrberg is a junior English major who is irrationally convinced she could befriend a bear if provided the opportunity. Breena Kravabloski is a TTRPG player and hobbyist writer, with an inprogress fantasy project of over thirty thousand words. Eleanor Burrows is a senior Marketing major with a minor in Hospitality Leadership. Her first love of poetry came from reading Shel Silverstein poems with her grandmother, a particular favorite being “Long-Leg Lou and Short-Leg Sue”, and her teachers throughout K-12 who supported her creative writing development and creativity. Liv Serkosky is an honors Theater Arts major with History and English minors. They are currently a junior. They’ve been in the performance industry since a child and performed in, and worked on, close to fifty shows. They are also a singer-songwriter, actor, and director. Dorrian Nelson is a Wilkes University freshman in the graduating class of 2028. He is currently double majoring in Political Science and International Relations. When he does write, Dorrian tends to storytell in a manner that provides various understandings or interpretations to his pieces. This is so he can provide both the mystery of what idea he is truly presenting to his audience, and to often make the audience’s personal experiences in their own lives play a role in their own personal interpretations of his writing. Kylie Kilvitis is a junior neuroscience major who taps into her creativity with dance and poetry! She is currently working on a poetry book for herself and a dance minor! Liz Keller is a second-year Political Science major and a huge nature lover! At heart, she’s a mountain goat wandering the Montana hills. 54 �Firethorns Solanum pyracanthos Poison Ivy Toxicodendron radicans Multiflora Rose Rosa multiflora English Ivy Hedera helix Morning Glory Ipomoea tricolor ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Manuscript: Literary Magazine, 1947-present Subject The topic of the resource The Manuscript Society of Wilkes University has been publishing its creative written and visual art magazine, Manuscript, continuously since 1947. Currently, the student-led editorial staff publishes one issue per year, and copies are complimentary. Publisher An entity responsible for making the resource available Wilkes Manuscript Society Format The file format, physical medium, or dimensions of the resource PDFs Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 1947-2020 Description An account of the resource The Wilkes University Manuscript is a student-run literary magazine, published by the Manuscript Society since 1947. It is currently published once a year. Individuals may submit creative fiction, creative nonfiction/short personal essays, poetry, photography, drawings, paintings, digital art, and music compositions. Submissions are open to all Wilkes University students, faculty, staff, and alumni. Rights Information about rights held in and over the resource Anyone can read or obtain copies of any of the material for research purposes, but if the researcher wants to quote from the materials, they will need to obtain copyright permission from the <a href="https://www.wilkes.edu/academics/colleges/arts-humanities-social-sciences/humanities/manuscript/index.aspx">Wilkes University Manuscript Society.</a> Type The nature or genre of the resource The Wilkes University Manuscript: Literary Magazine is arranged chronologically. The series ranges from 1947 – present. The magazine is currently published in the Spring only, but has previously been published seasonally, each semester. The series also includes a folder with supplemental materials from the Manuscript Film Society in the 1970s. The folders include a date range which may hold more than one issue of the magazine. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes Manuscript, 2024-2025 Date A point or period of time associated with an event in the lifecycle of the resource 2024 Type The nature or genre of the resource Literary Magazine Creator An entity primarily responsible for making the resource English Department https://omeka.wilkes.edu/omeka/files/original/1a5683b28e7e08e1df1609c085a59c38.mp4 f942301e02665760af43ad0d644bd9fd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes University Documentaries Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Osterhout Free Library: A Very Busy Place Documentary, 2014 Date A point or period of time associated with an event in the lifecycle of the resource 2014 Type The nature or genre of the resource Documentary Film Description An account of the resource This DVD is part of a series of documentaries produced by Wilkes University Communications Department in conjunction with the Wilkes University History department on the history of The Osterhout Library in Wilkes-Barre, Pennsylvania. Future support for documentary production was also provided by a generous grant from Edward J. Meehan, Esq. that established the Wilkes University Oral History Project. Creator An entity primarily responsible for making the resource Wilkes University History Department and Communications Department. Produced and Directed by Mark Stine and John Hepp. https://omeka.wilkes.edu/omeka/files/original/5d7267c4bf2a9f34bf092dba84d41501.mp4 1889a6e4bd0a4e962ee3fb9443620de0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes University Documentaries Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Trolleys of the Wyoming Valley Documentary, 2012 Description An account of the resource This DVD is part of a series of documentaries produced by Wilkes University Communications Department in conjunction with the Wilkes University History department on the history of trolleys in the Wyoming Valley. Future support for documentary production was also provided by a generous grant from Edward J. Meehan, Esq. that established the Wilkes University Oral History Project. Creator An entity primarily responsible for making the resource Wilkes University Communication Department and Wilkes University History Department Date A point or period of time associated with an event in the lifecycle of the resource 2012 Type The nature or genre of the resource Documentary Film https://omeka.wilkes.edu/omeka/files/original/dc4f78a23f789804a48241e39bbe205b.mp4 ae73bb7c8e9227bdb974a71f0cc64ce6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes University Documentaries Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Did You Boscov Today? Memories of Department Stores of Northeastern Pa, copyright 2012 Creator An entity primarily responsible for making the resource Wilkes University Communications Department and Wilkes University History Department Date A point or period of time associated with an event in the lifecycle of the resource 2012 Description An account of the resource This DVD is part of a series of documentaries produced by Wilkes University Communications Department in conjunction with the Wilkes University History department on the history of Boscov's department store. Future support for documentary production was also provided by a generous grant from Edward J. Meehan, Esq. that established the Wilkes University Oral History Project. Type The nature or genre of the resource Documentary Film https://omeka.wilkes.edu/omeka/files/original/ff408d36e1397f7cb973243410a33699.mp4 adbcb63ff47745abba9477ad278c2b89 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes University Documentaries Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes-Barre: A Bicentennial Celebration, 1806-2006, 2006 Description An account of the resource This DVD is part of a series of documentaries produced by Wilkes University Communications Department in conjunction with the Wilkes University History department on the bicentennial history of Wilkes-Barre. Future support for documentary production was also provided by a generous grant from Edward J. Meehan, Esq. that established the Wilkes University Oral History Project. Creator An entity primarily responsible for making the resource Production of the Thomas P. Shelburne Television Center at Wilkes University and Big Fish Productions. Producer: Andee Sarantino, Executive Producers: Mark Stine, John Hepp. Script: Nick Zmijewski, Andee Sarantino Date A point or period of time associated with an event in the lifecycle of the resource 2006 Type The nature or genre of the resource Documentary Film https://omeka.wilkes.edu/omeka/files/original/1f27544162e38b8c1e73f14f0131ed1b.mp4 0665b094cc38b8d464255254a63511ea Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes University Documentaries Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Iron Horses: A History of Railroads in the Wyoming Valley, 2012 Description An account of the resource This DVD is part of a series of documentaries produced by Wilkes University Communications Department in conjunction with the Wilkes University History department on the history of railroads within the Wyoming Valley. Future support for documentary production was also provided by a generous grant from Edward J. Meehan, Esq. that established the Wilkes University Oral History Project. Creator An entity primarily responsible for making the resource Wilkes University Communications Department and History Department Date A point or period of time associated with an event in the lifecycle of the resource 2012 Type The nature or genre of the resource Documentary Film https://omeka.wilkes.edu/omeka/files/original/c1089bad556fd97bee1bfb0f2bb54bfa.mp4 91211a2413df435f0aa42e6c11bf87bd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes University Documentaries Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Revitalization of Wilkes-Barre: A Wilkes University Communications Department Documentary, 2012 Creator An entity primarily responsible for making the resource Communications Department and History Department Date A point or period of time associated with an event in the lifecycle of the resource 2012 Type The nature or genre of the resource Documentary Film Description An account of the resource This DVD is part of a series of documentaries produced by Wilkes University Communications Department in conjunction with the Wilkes University History department on the historical revitalization of Wilkes-Barre. Future support for documentary production was also provided by a generous grant from Edward J. Meehan, Esq. that established the Wilkes University Oral History Project. https://omeka.wilkes.edu/omeka/files/original/8586153d78b100a3fcc6bc70088a3b23.mp4 7d18d3b31c90f81826f011ac00b3b855 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes University Documentaries Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes-Barre: The Economic Road of Change Documentary, 2012 Description An account of the resource This DVD is part of a series of documentaries produced by Wilkes University Communications Department in conjunction with the Wilkes University History department on the historical economic change within Wilkes-Barre. Future support for documentary production was also provided by a generous grant from Edward J. Meehan, Esq. that established the Wilkes University Oral History Project. Creator An entity primarily responsible for making the resource Communications Department and History Department Date A point or period of time associated with an event in the lifecycle of the resource 2012 Format The file format, physical medium, or dimensions of the resource Documentary Film Type The nature or genre of the resource Documentary Film https://omeka.wilkes.edu/omeka/files/original/8c5cc8819587c215178e81d7d57bbf6e.mp4 60b9763c987e60cd41a95cc502204ae6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wilkes University Documentaries Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Pharmacists Documentary, GFO Production, 2012 Description An account of the resource A Wilkes University documentary on the history of pharmacists, created by the Pharmacy department and Communications department. Producers: Andrew Calhoun, Gary Ferentino, Jim Culhane, Andrea Frantz, Mark Stine. Writers: Jim Culhane, Steph Dluge, Natalie Scarantino, et.al. Creator An entity primarily responsible for making the resource GFO Production Date A point or period of time associated with an event in the lifecycle of the resource 2012 Type The nature or genre of the resource Documentary Film https://omeka.wilkes.edu/omeka/files/original/386bd5fc8bb3ebbab43503b423bcb64c.mp4 3edc0cc54fec40ad8efb2cea438c56f6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bucknell University Junior College digital materials Description An account of the resource Bucknell University Junior College photographs and materials from 1933-1947. Creator An entity primarily responsible for making the resource Bucknell University Junior College Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bucknell University Junior College Flyboys Oral History interview, Homecoming weekend (Fall) 2007 Description An account of the resource Oral History interview conducted in the Fall 2007 during Homecoming weekend by Communication Studies Professor Andrea Frantz with original Flyboy veterans John Agrin, Jim Lynch, and Arnold Rifkin. This interview discusses these veterans experiences within the Cadet program and during World War II. Creator An entity primarily responsible for making the resource Communications Department Date A point or period of time associated with an event in the lifecycle of the resource Fall 2007 Format The file format, physical medium, or dimensions of the resource MP4/Video Type The nature or genre of the resource Oral History Interview Film https://omeka.wilkes.edu/omeka/files/original/e10823cb0357046de53e4fcce6af16fe.pdf e789e2ec882c810ab6819fa2f8494188 PDF Text Text i" UPWARD U ROUND „ S 1*1^ �Wilkes Universit/ Upward Bound Summer 2025 Students (Top to Bottom; Left to Right) Oliver C-» Fareed W.> Miguel V.» Noel F» Samuel K.» Daralice N.» Natkaneal P., Tijan N.» Julian R.» Napaj Justin T.» Maily V., Coraliz G.» LaureliS A.» Nolan N-» Niekajak T.» Aniyak H-, Alexa V., Darcia B.» Travis K » Kyanie A., Breasia S.» James l.» Daklila S.» Abigail F.» Ginny C.» Nagge F.» Sara B.» Genesis R.» Hansel H » Helena A., laila M.» Helen H.» Jennifer B.» Brooke R. ��TEAM GWEN Rfl: KAYCEE Nathaneai James Niehajah Aniyah Laurelis Breasia Hansel Darcia (not pictured) ��TEAM CHEF RB: ODKIfl f TJ X Travis gr; Noel Jenny Ginny Helena Brooke Alexa �TEAM EZEKIEL M: NATE Julian Abigail Danika Rylee Maily Sara i * V'. Helen �M: FELIX Oliver Coraliz Daralice Miguel i Sam Justin Hazel Dahlila �TEAM RANK 1ST ND 3RD 4TH STH TERM GWEN TEAM DJ TEAM CHEF TEAM EZEKIEL TEAM ALEJANDRO - 115 14 IIS �IAEKAWANNA tOAl MINE ���HIGH CETC33 ������■‘WjosJ 'Av'J dfino! MSI? V SW" ��11mSWjjb nJrw 1' RE ' 7 -JLJiSSL ; "'- ; ^y S ikt Boar cnuist || ua ����CRAZY OLYMPICS • ® �������������HISPANIC �- r z o y j u tJ n d H n o a 0 * n AldM dUMIflli �������SUPEOIVR tess Own Jus^j^ T©<a»©^© B®sfe §mcb@2 I ©s B^gt Gii(?te»ce ©owik© CC^c^O’/ Niehajah Trout and Bg Bl?©©k@ Corahz Garcia Daralice Nunez Nolan Best Bromance Best Upward Bound Spirit N©@H Fernandez and T©<aD©(^^© (Ma^^e Fleming Most Dramatic Most Athletic Most Artistic Alexa Var^o F®t?®®d Williams Noel Fernain ta f'^ijoSfe FlriewidUj; Napaj Montrose Oc^[p)[?©v®d Miguel Valle MW G^: Sara Bueno to �superlative; Most Chronically Online M©§£ Changed Oliver Conover Genesis Rivera Aragon Organized and Prepared laila Monroe (GlGg Noel Fernandez :J;\L gx'jjQC Oliver Conover Ggccggg V G-p^'GG Justin Toalongo o Biggest Hater James lewis Nagge Fleming fc© Ad> O©§£ fe@d Nolan Nye Ofikd’D^ to SOddjs) o OokeOj; £© b® Danika Kane d©£§ Hazel Lozada BokeOj; to save the planet laila Monroe �SUPERLATIVE? M©f© , vbst fjfltety £© h©d © ■ :k©§£ fcd > fed SflCk Nagge Fleming c - \>© fk ( .© Oliver Conover Hazel Lozada § §£ OflCwG^ fe© bdC©^d (:©[©©©§ Dahlila Sanchez ^>© b@ me Justin Toalongo .: © ■ UUGl© Most likely to build Nagge Fleming/ Laila Monroe £ime machine Napaj Montrose Most likely to be abducted by aliens Justin Toat ^go Most Sikely £© own 0©© cats Noel Fernandez �flUTOGRHPFK/ tlGNUTURE! �AUTOGRAPH!/ SIGNATURE? �41 JND � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Upward Bound scrapbooks, 1970-2025 Subject The topic of the resource Scrapbooks Description An account of the resource A collection of photo scrapbooks from the Upward Bound program from 1967 to 2025. Creator An entity primarily responsible for making the resource Provost's Office Date A point or period of time associated with an event in the lifecycle of the resource 1967-2025 Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English Type The nature or genre of the resource Scrapbooks Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Upward Bound Scrapbook from Summer 2025 Creator An entity primarily responsible for making the resource Upward Bound Date A point or period of time associated with an event in the lifecycle of the resource Summer 2025 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Scrapbook https://omeka.wilkes.edu/omeka/files/original/25bc2f4281c7df45788670554601d2e3.pdf 44d2c4724e9ddd7583193f454bd51670 PDF Text Text r Thursday! Friday! Saturday! · EXHIBITION OF MINIATURE ROOM SETTINGS from the eolle_ ction of Mrs. Dwight Fisher This interesting display consists of 10 rooms and more than 800 articles. See it in the special exhibition area at the foot of the escalators in the SAV-ON Basement. No charge. (Contributions will be gTatefully accepted for the benefit of local hospitals): · .- ~,.z,'"""-w-~...:. Wyoming Valley'$ Own Department Store ~ �MINIATURES AT RITTER'S STORE One of the finest contributions to charity we have heard of in some time is that of Mrs. Dwight Fisher, of Dallas, who is showing , her miniature collection at Ritter's Stationery Store, in Bloomsburg, this Friday and Saturda:v, October 30 and 31st, from 9 A. M. until 5 P. M. for 1ii1e benefit of the Bloomsburg Hospital Auxiliary. Mrs. Fisher has shown her miniatures all over this part of the country, gratis, as her contribution to charity. Whatever contribution you wish to make will be gladly accepted. 1 One Inch In Size These miniatures re housed in six different settings ranging from a lovely penthouse, a Victorian living room, an Eighteenth Century drawing room, an authentic Dutch kitchen, a country st re, to a game room complete with a bar. The articles in these miniature rooms average an inch in size. Mrs. Fisher has been collecting these intricately carved models of period pieces for the last eight years. Each detail is perfect. The Victorian drawing room is articularly beautiful, with its rose satin drapes, crystal chandelier, carved chairs, vase with miniature plumes, and colorful afgan and bear rug. The country store has its potbellied stove, tiny pieces of anthracite coal, meat cutting block, and sawdust scattered over the floor, a true reminder of the "good old days." The post office in the store is complete with mail in the ~1xes. A canopied bed of mahogany in the colonial bedroom, with a tester top, and period furniture is very attractive. The Dutch kitchen has a spattered dash floor which Mrs. Fisher did herself. . . Outstan~mg is tI?-e dower chest de~orated m the bright pattern of unicorns and horsemen a copy of Christian: Seizer's chest in the Metropolitan_ M~seu111:, New York. Another q~amt item is a mam1:r1y ben~h of simulated rosewood ~1th gratmg and rockers. There 1s_ a green Boston rocker and an ollve green settee and dough tray. 1 The antique shop will delight ] you with its miniature gems of 1 old items including an old-fash- J ioned yoke, tea cannisters and Hitchcock chair with rush seat. A t pretty flower dome, ingeniously . r fashioned by Mrs. Fisher of a but- .. ton and test tube, is one of the unusual items in the Victorian.. room. The Penthouse is done in the E Chinese motif with fresh flowers I scattered about in tiny bud vases. r Each detail of the collection is carried out with care. I All the Berwick women, thei1 1 husbands and friends have been cordially invited to visit this beau. tiful display. We are certainly planning to go, and hope to see you there. You will not only be 1 helping a. good cause, but wil1 have a most enjoyable time, also, Don't forget Friday and Saturday of this week from 9 A. M. to C 5 P. M. at Ritter's Store, Blooms- t burg. t THE END 1 �.Miniature House Furnishings ,To Be Shown at Church Bazar Collection of miniature furnishings owned by Mrs. Dwigh Fisher will be exhibited at the holiday bazar of Women's Association of First Presbyterian Church today in the church house from 11 a. m. until 4 p. m. Complete furnishings, scaled., - -- - -- - - - - - - to size,. i11ustrate vario_us peri?ds Home-made baked goods, toys, of .design. Included is a tmy candies articles of dhildren's ' . antiques shop. Mrs. J. F. Sallada is general wear, aprons and holiday decora·o.hairman of the bazar which is tions will be available at variopen. to _the :public .. Mr~. John ous booths headed by Mrs. HarM. R~ne_himer 1s president of the old w. Bryson, Mrs. James I. associat10n. A . Homemade soups and sand- lexander, Mrs. Frank Speicher, wiches will be served cafeteria- Mrs. Henry Bailey, Mrs. Earl W. l style. Mrs. Jack W. Miller, Phillips, Mrs. Earl Smith, Mrs. luncheon chairman, has an- Thomas H. Kiley, Mrs. William 11ounced the menu will include F. Cutten, Mrs. Thomas F. Heftwo kinds of soup, assorted sand- fernan, Mrs. Ralph Frost, Macy wiches, pies and beverage. L. Jennings, Mrs. Mortimer Serving on the luncheon, com- Goldsmith. mittee are Mrs. Albert Sher- A white-elephant table also bine, Mrs. Quentin R. Walters, will be featured. Mrs. Francis Fry, Mrs. Robert Mrs. J. F. SaJJada is general F. Dilley, Mrs. Robert E. Ogren, chairman. Mrs. John M. Riners. Forrest H. Jones and Con- himer is president. ie Lizdas. ' Public is invited. �Be Sure To See the MINIATUR ROOM EXHIBIT TODAY O LY At Ritter's Stationery Mrs. Dwight Fisher has brought this interesting and unusual exhibit to BICGmsburg, with proceeds to the BLOOMSBURG HOSPITAL AUXILIARY. YOUR ATTENDANCE AND FREE-Will . , CONTRIBUTION Will BE APPRECIATED �L.L. 'Fou are Invited to vlslt the MINIATURE ROOM EXHIBIT Thursda9- Frlda9- Saturda9 April 29, 30 - Ma" l on th,e Th•rd Floor An unusual and interesting display in miniature (scale 1 inch to 1 foot) by MRS. DWIGHT FISHER of DALLAS, PA. /0 Eight Unique Room Settings • The Antique Shop • Pennsylvania Dutch Kitchen • Victorian Living Room • 18th Cenfury Drawing Room • Country Store · •· Colonial Bedroom • Penthouse • Game Room Sponsored by The Junior League. voluntary contributions will be accepted by the League's Welfare Fund. ANOTHER WILLIAMSPORT DAYS FEATURE �CIVIC CLUB EXHBIT-Dr. Mary B. Harris, 1:ight, president of the Lewisburg Civic Club, and Mrs. James B. Harris of Wilkes-Barre, a former Lewisburger , chat in front of one of the rooms in tht miniature collection shown last week by the c1v1c club. Mrs. James Harris assisted with the collection and preparation of the unique exhibit, owned by Mrs. Dwight Fisher, of Dallas, Pa. An offering was accepted for charity. \.L . . ."' ~ -a ~~ - �I-lo 6yisf With a Heart Mrs. Dwight Fisher Will Display Her Fascinating Miniature Rooms For Benefit of Crippled Children on Mrs. Dwight Fisher Pioneer Road, Dallas, will display her fascinating "miniature rooms'' on the second floor of the Boston Store Thursday, Friday and Saturday for the benefit of the Wyoming Valley Crippled Childrens' Association and the Wheelchair Club, Inc. There will be no admission charge, but donations will be turned over to the two charitable institutions. Mrs. Fisher started her hobby<t,i•- - - - - - - - - - -- 10 years ago and it now comprises 10 rooms, completely fur- shoefly pie as he peers into the nished to the most minute detail q u a in t Pennsylvania Dutch in scale of one inch to a foot. kitchen. The tiny primitively Handmade furni~hings and bric- decorated settee, rockers and a-brae for the tmy rooms come doughtray are reproductions of from all over the world, but authentic pieces and were done many have been made by Mrs. by Frank Bittenbender and his Fisher her~elf. The~e .are hun- daugbter, Mrs. Mary Nelson of ~reds of tmy furmshmgs, 535 Park Place, Kingston. In this items to be exact. room Mrs. Fisher has captured Mrs. Fisher has displayed her the true charm of the Pennsyl• miniature rooms in many cities vania Dutch decor. thyoughout the state, alway.s Foot-Warmer Too without charge, as her contn? bution to charity. The <;:olomal B~droom boa~ts The Victorian Parlor is truly a canopied bed, Hitchcock chairs a room which typifies that age and a ?an~-decorated dow.er of elegance and beauty. Fres- c.hest wh1c~ 1~ a copy of Chriscoed ceiling, flowered wallpaper tian Sel~er s m the New York and carpeting create the setting ~etropoht~n Museum. Other for the elaborate Victorian fur- items of mterest are the wagnishings. Upon close scrutiny, on-wall clock and the foot sheet music of "Melody in F'' warmer. and "Spring Song" may be seen The Early American Room is on the upright piano; a granny reminiscent of the Pilgrim A miniature Early American room, one of Hannah B. Salzman, director of Crippled afghan is thrown over the sofa: homes with its beamed ceiling 10 to be displayed by Mrs. Dwight Fisher Children,s Association; Lucille Amico, CereWhite bearskin rug and marble ~nd enormous fireplace; furnish- Thursday, Friday and Saturday at the Boston bral Palsy Clinic patient; Mrs. Raymond T. top tables, rose satin drapes and mgs are of warm-toned pine and Store for benefit of Wyoming Valley Criplace curtains complete the pie- maple. Of special interest are pied Children's Association ·and the WheelRussell and Kenneth Bittenbender, associature. A glimpse into the hall be- the tiny pewter pieces displayed chair Club, is pictured with from left, Mrs. tion directors. . . . yond reveals an open stairway, on the hutch cupboard and can-. hatrack and umbrella stand. die stand with candelabra. Tpe Antique Shop 1s ~ fa- Upon close observation one may As one mentally steps int The Country Store and Post Mrs. Fisher has not over- vonte of many and antique- see the tiny fireplace fender. the Pent House with terrace, h Office . will bring back fond looked the contemporary Ameri- loyers yearn to browse th rough The local point of the library is surrounded by the truly modmhemones to many. The wall can decor in her miniature dis- t~is clutter;\ roor, ~v~r t1.~0 is the high stained-glass win- ern Chinese decors· the simplici p ~ne-probably used by the play and the game room is typ- p1~ces mus . e p ~ce . m 1s . . . . '. . . entire neighborhood-the chop- i ca 11 y modern-day American room each time 1t 1s displayed. dow which seems to shed its . ty of design 1s stnkmg. A cit ping block and sawdust covered Hunt-scene w a 11 paper, pooi Velvet Drapes deep-toned lights upon the hun- !skyline is seen in the back floor, the overhead fan and spi- table, bar and present-day ac- The lSth Centur Drawin 1dreds of books which line the ground. mls of f}ypaper are typical of cessories are found in this room. . Y . _g ,walls - all painstakingly macte l The display will be open t the old-time general store nowl~n ingeniou~ . Person has fash- 'Room IS eleg_antl~ furm~hed 1~ by Mrs. Fisher. A tall ladder lthe public during hese_ hours: I10ned a cellmg light fixture /mahogany with 1mpress1ve 011 would enable one to reach even Thursday, 12 to 8:3fJ; Friday, 1 almost obsolete. paintings and blue velvet drapes. !the highest shel~. to 5:30; Saturday, 10 to 5:30. One can almost smell the .from\ wagon wheel. 1 1 1 �SUNnAY INnEl'ENT)ENT, WIL!rnS-~A SECTION FOU'.R-l'ACi! FOUR Authentic Library Mrs. Dwigh~ Fisher's Collection to Be Seen Hospitals To Be Aided From Display Latest beneficiaries of Mrs. Dwight Fisher's unique hobby wil'l be the auxiliaries of Mercy, N es- bit1t Memorfall, W1iilikes-IBairre Genera1I, and Wyom1i,n g Vaili1'ey hoispIi11;1ail s. 11he Miinliatuire Rooms Co'liiei'c~iion, c·ompris1ing ,a panorama of Aimet1i-can 1Iilf e f1r0im Ithe l 8Vh Cen tJury down rto tlhe present, wfilll be on dliiS1play 'llhuirs·day tlhziougih Sia,turd,a,y , ·iin itlhe 'l Io wer level[ of the Hoston Store, and t!he pulbllllIc is ~inviilte1d Ito enjoy iit WiltJh'ou,t any admiission ciha1r1ge. AllI1 f,r ee w!ill11 donations willll be tu,rned over ito 1the auX1ill\iaries. Vli1sIilUing hou1rs will'! lbe as foll · Lows: 11huirsda,y, 12 1ll'oon 100 8:30 P. M.; F1rii'CLay and SaituriCllaiy, 10 A. M. if:Jo 5:30 P. M. General dha/ilrman <)f tlhe Idhar• iltJai]:j!e project 'i•s Mrs. Mallioo'l m Bums1M1e. OommInu·ees lfirom eadh of 1Jhe beneflilcJiiary aux1illI.iiairties are cooperaiUng uin tlhe Joiint evenit. Authentic "House of Am,e'l'ica" Tlhe Mlin'i•airure Rnoms COl!llec. tlion has !been halil ed ,as one of the moS1t un1iique and rema,r ka• ble undertakJi,ng,s in itthe l}lQlblby wortld. Begun 'i n 1947 by Mrs. Fisher ias a reorea1diona11 ipwr1su1iit, the coillleotiiIon I.hJas lbuirge•oned from one room to lits p resent 10. Its growing fame has now rea·dhed the sltJage of natlionia'l and iI l'temaitti1onaIl aIttten,tion Vlia the Felbma1ry 1962 i•s1suie of ..Hdl)b'ies, 11he MaigazJine for Ool'lectors." As Mrs. Flislher proceeds wil~h plans for oonttiinu,aa perfedtlion and exipansli ,on of ~he c01J1J eot1ion-now 1tooaIl,I1ing a•n amaZJing 1,000 s·e'J)araite itemslilbs fame anid vanue as a wn~que ar t t reasu re wtillI1 keep mou,n1t,i,ng. 1 What It Is • Here is one of the rooms-an authentic home library-of Mrs. Dwight K. Fisher's IO-room Miniature Rooms Collection which will be placed on free public display, Thursday through Saturday, for benefit of four local hospital auxiliaries. Accurate in every sense, the .library features a resplendent stained glass window, a Gothic ~iling, book shelves, and other accouterments of a genuine manorial library. Entire room measures only 17 inches in Iengt'h, 1O inches in depth. m Ii 1tevalllly hlistorlb\11 V'aJlue, 1!he pleasure of To put ilt lbrie~J,y , Mrs. F1is'her': pliooes (tJhe number koops girow- i1nv,aIlu,a1Me aid'dlrniIons Miniialtuire Riooms Cdl1!Ieot1iIon 'i:s iing a!lll 1!he ft11me) a,re sudh ItiiIn y firom ail'l over itlhe wot11'd. V1iewti'IlIg •i!t, and fille iclharii'talble I nothli ng less tihan an au,t1hentiiic ittems as a potibeilll,y ,S/tove, fll,y. J1t afil adds u,p Ito a unlique uIse to whiidh I~he dlis,pliay Its dediminli1a'ture r eprodudtlion, a•ccui11a,te paper daniglhing from lfilie ceillIing, Amerjlcan treiaisure, one 1dhat lhais caJted, ail'! make Idhese m'iin iIa1tur es to •t'he tJi Inliesit degree, df the his- gorgeiousily u1pholls1tered fomli ~ to he seen it;o 'be lbeHevetd. Ibs tirull y •1.11ifo sii ze" lin 1tim1p ortance. toriIoa'l way of ililfe of Amerfrca, tu,ne, upr1i,gthit p1i1anos , beaded •c ur- ====".'"=:= ==== ============ ===-== from eartly c·Oi1'onfall days, dowin t,a!in'S, newiS1paipers (dhait oan lbe .-_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ 1 , I to Itlhe present. read), oanOlpy lbe'd, duieilllli ng pi1sEadh of t1he 10 rooms porloraiys bolls, a IC/l•Qlck ,~halt goes, lSVhCent!he ,s·et,bing, furntilture, . and cus- ;uiry cthandet~rer, ,s·e t of 512 playtoms of Almeri'can oivti,Jli:z.a'tiion 1,t- mg icairds, Itimy iafigthans, m1musseil1f. As sucth, eXipe.z1ts p•oliilllt oUlt, cwle Iou,p1bo~ rds! ta!blles, •dha'irs, the colllleotiion italkes on 1dhe sltat- reail an1t'hmd1lbe ,1,n Idhe ,coal! buckure and s'ig,nI1I~1Ioa,noe of natJi•ona1l elt. '.11he aut'henldiic 1IiIS1t ~·s a lbreaitih'hiisltory, raither 'tlha,n just an a'r - taIk11ing one. t!is•tik ih'dblby, How Gathered Tlhose who know s1tress that 'I1he marvel Olf :tJh'e iodllleotii on shouI:d ar,dhaeol-ogfiIs'tis, aeons iIs maginIi,J:1ied when •its ~·s ,conslidhen~e, uneaIndh juslt ithlis one coll- ere!d dhlaJt some of 'dhese peiifeot1ecltll'On, they cou'l d reconsltru,ot l Iy •reiprt(>'duiced Ii tems are as sma!lI1 from 1t1t enou•gih fia1ots about tJhe as one..,s·ixteen1Vh olf an 'iinClh. ~ays and mannens of Amer'iioan How d!iid Mns. Fisher get evFill Coupon for Free Brochure 11fe to eV1alluaJte itwio cenlturli'es of erytlhli•nig 1tJogedher? Mudh of itt r our eviolluIm,on. she made !herselllf, sudh as •the Write or Call VA 4-2288 : 11he 10 rooms ~nolude: A •coun- au1NrenltliIc f1i,repilia1ce made from I 45 Public Square, Wilkes•Barre, Pa. I try s1tore and post offli'ce, an diiny sitones dn !her own dr1iveI l~tih _ CEm'tU'ry draiwing room, way. Some 61tems lha_V'e been fabNAME .................................... , •••.••••• : Vl11dllot11an ~l~bt1ing room, odlon1i,al r1nca1ted by prof~s slJ1ona~ ~raftsI l b~d1room, P~nins'ytlvanli•a Duitch m~n, ,suIch a•s. a _tJ11ny ~ai1IndJ1ng 'by ADDRESS •••••••••••••••• I • • • • • • • • • • • • • • • • • • • • • • • • • : ~11t•c:hen, ,a n•ll1que sihop, modem Nil'Ocdl? Co~d1gilI1a, Wrl'.l<e~-~arre ,. I I game room willlh lb~r, modern p~t1brai11t ard1 srt. Ot1her 1_ndl1vf1duail TOWN • • • • • • • • •.• • • • • • • • • • • • • • • • PHONE • • • • • • • • • • • : penthoUISe, ea,111,y Aimerfj,oan kfitdh- Pl'~ces h~ve been co~Itr1rbu,t'ed en and a ~Ii1brary. f.t11'ends. 11he odl'letddron features 1 When You Care Enough to Select the Best 1 1 1 ~ Culture BRADFORD School of BEAUTY You May Become Financially Secure for Life 1 ---------- -----------------------1 1 byl I _ __ _ _ _ _ _ _ .-i _ _ _ _ _ _ _ _ _ .., _ _ _ _ _ · --- .. _ _ _ _ _ _ _ _____________ , �FOURTH ANNUAL ANTIQUES SHOW Sponsored by the Woman's Auxiliary PRINCE OF PEACE EPISCOPAL CHURCH Dallas Pennsylvania DEALERS Primo Berrittini Ma:.n Street., Dallas:t Pa .• Mrs~ c~ S0 Forvo Mrs~ Phillip Morgan The Red Door - Wyoming Ave,~ :, Kingston. Pa. Mrs., Donald Bt, Foster York Ave., West Pitts-ton, Pao E9 R~ and Isabelle George Erie St o, White Haven, Pa. 415 Mrs. F,dvrin Hogg 388 Wttrren Ave c, Kingston. Pa. Mrs. Frederick Po Hought0n-8choolh0use Antiques Furlong, Pao · Mr " and Mrs <) Daniel R., Merrill La Plume, Pao The Reynolds Montrose 9 Pa. Frank Smith East Stroudsburg, Pa. SPECIAL EXHIBIT Mrs. Dwight K. Fisher Miniature Rooms �COMMITTEE Chairman Mrs. H. Robert Weaver Co-Chairmen Mrs. Charles D. ,Flack Mrs. Henry F .. Doran Admissions .Mrs. Floyd Sanders Announcements Mrs.: Edward Ratcliffe Dealers Mrs(': Jonathan c. Flowers Mrs ., Jonathan c. Valentine Lighting Mrs-;» Algert A!ltonaitis Program Mrs. Jack H~ Stanley Valentine Publici·Ly Chni:J:mnn l\Te-m.;pap6rs Rac.io Te:e-vis ion Reception Snack Bar }1!'·s ·~ Paul Daily Mrsci Ros1,yell Fe:tterson Mrs o 8htj le.on Piv8n3 Mrs,;. William R._.,_ Wright Mrso Clarence A. Woodruff Couplets Club Mrs ,. Edwin Roth Mrs~ Ralph Ao Smith Mrs. Arthur Be-veridge �February, 1962 HOBBIES-The Magazine for Collectors 123 MINIATURIA FOR SALE Collectors: Fine miniature furniture in 1 u scale. Send 60c for illustrated catalog. - Eric H. Pearson, 18 West 66th St., New York 19, N .Y. 03006 MINIATURES made to order. Alllmala, figures, antique furniture, circus llema. Portraits carved or painted on Ivory. Hi>rmanla Anslinger, South 3%0 RAlph, Spokane, Wash. ap3863 JACK NORWORTH famous exhibit collection ot ten thousand mtnlaturea to be sold intact. Norworth, Box 114. Laguna Beach, Calif. mh6006 MINIATURE ITEMS for doll houses and collectors. Send 25c for illustrated catalog. Wanted: old miniatures.-M & J Miniatures, 1507 Schaer, No. Little Rock, Ark. mh34-83 ROSE MODEL SOLDIERS from England. Send 50c for fine catalog containing wealth of material and information. - A. M. Bulllung, 2430 Gladiolus St., New Orleans 22, La. f3614 TINY COLONIAL kerosene lamps that rE>ally burn. Adorable. Pair $3.25.-.Sages, 43 Poplar, Mt. Carmel, Pa. mh3652 THE LIBRARY has a very beautiful Gothic ceiling with a great stained-glass window in the background. The drapes by the window are crimson and blend in with the two high-back tapestry chairs. The 1book shelves hold many volumes. Notice the ladder in place to reach the very top shelf. The knights on the top reminds one of a fairy(a,nd castle. The chandelier with its finely designed chain, and the prayer bench, all make this an outstanding room. Second TINIEST ivory elephants and smallest coin from India. In plastic holder, $1.50. Incredible. Collector's item. - Sages, 43 Poplar, Mt. Carmel, Pa. f3633 DOLL HOUSE furnishings in 1" sea.le. Chandeliers, bird cages, dinnerwar e, mllk glass miniatures, lamps, wine glasses, hand-blown for sale. Period furn., rugs, mirrors, etc. Also many antique items In various scales. Send 25c tor current lists . .Mall order only. The Doll Questers, Box 44-551, Miami, Fla. ap3407 NATIVITY SET: 13 pieces, standing rtgures 5" tall, skilfully hand-carved from the wood of the olive tree, only $15. - Esso!'s, Sistersville, \V. Va. f3863 FOR SALE: Collection salt and pepper shakers, between 2,00-0 and 3,000 sets, some rare and valuable. - Fannie Seipp, 611 12th St., Sacramento 14, Calif. t3004 MINIATURE antique flat iron and trivet. Cast iron reproductions 2¼" long, complete set 50c postpaid. Pair cast iron miniature horseshoes free with three s ets. - High, 1219 Girard, Wyomissing, Pa. ap3464 THE ANTIQUE SHOP'. Looks like a real one for it even has the cigar store Indian · over by the stove. This is the type of a store we love to find, hoping to pick up some unusual miniature. The items hanging from the rafters look so real and the tiny store up on the shelf is so interesting . There are over 150 items in this one room. Third 1 ·- Teaset, doll, gold/ white, Viet., 14 pcs. ____ $15.00 Teaset, doll, Moss Rose, 11 ,pcs. __ ________ __ 8.50 Teaset, doll, Floral, 17 pcs. _______________ 7.50 Teaset, sm. doll, M.G., 15 pcs. _______ ___ __ 3.00 Teaset, dollhouse, Pewt., 13 pcs. ____ __ ____ 7.50 Coffee set, dollhouse , Pewt., 3 pcs . _______ _ 3.50 Dinner set, doll, blue/white, 30 pcs. Dinner set, doll, blue flora l, 18 pcs. ______ 12.50 Part dinner set, Dlhs. dee. wd. 16 pcs. __ 12.00 No lists. Postage extra fc MINIATURES Complete Line Including wall telephones, trivets, coffee mills, paperweights, tea sets, silver boxes, animals, dolls, fans, foods, tools. Also pencil sharpeners, tape measures and agate marbles. New items daily. JOSEPH GRAY 6117 N. Winthrop Chicago, Ill. ... -·- ·- lh i • THE TOY SHOP Verne House Antiques U.S. Route 9 Croton-on-Hudson, N. Y. EXQU !SITE hand-made miniatures, F' scale. Violin bow, $4.50. Cello and bow, $6.50. Mounted deer head, $2.50. Postage extra. Doll house lists, 25c. - The Doll Questers, P.O. Box 44-551. Miami 44, Florida. mh3694 r--;;;:;;;;-;:;;~~~--·1·· I i I i be sure you stop at Old Tucson and see Stuart Manor Antique Shop and Colonial Apartment, Toy Shop, 2 Victorian Roo:ms. I i i i 1° (In Miniature) 10 miles ou,t from Tucson, Ariz. I Mrs. Maxine Wittenmyer, manager ape j !8 •:•.---o,.._.o....,o....,o.-o ..... o.-o,....o....,04a119-o.....o-.,ct!• �122 February, 1962 HOBBIES-The Magazine for Collectors MINIATURIA Conducted by REV. STUART A. PARVIN Mrs. Dwight Fisher's Period Rooms By REV. STUART A. PARVIN THE VICTORIAN PARLOR. How well our hobby friend has given the real feeling to this overdone ·room of our not-too-long-ago parents. It seems that every available space is filled with the family souvenirs, books, pillows, baskets, dishes, and vases, like the one on the little table filled with plumes. See the old hanging newspaper ,rack, the ·heavy drapes, and the ornate cover for the old piano. The floral wail paper and the many objects give the impression that it is a room really enjoyed. T'HE COLONIAL BED-ROOM is cool and serene looking with its four poster with the light frilly canopy and dust ruffle. The wing chair, with its colorful covering, a,nd stool with the book on it, overlooks the garden by the window. (Window not seen in the picture) By the bed stands the brass bed-warmer with its finely turned handle. The dower chest with its ornate painting, and oil other for,nishings blend to make it a room where one wouldn't need a pill to doze off into ''the land of nod.'' THE PENNSYLVANIA DUTCH KITCHEN, with its large fireplace, was at one time the main room of the house. Here the family gathered for most of the day, for here was found the warmth and the food that one needed. The stones for the fireplace came from Mrs. Fisher's drive. She built it and even added the little shelf with the tfoy print ruffle. The many cooking utensils ore of pewter, ,pottery, and wood. Can you see the corn hanging in the fireplace? The dough tray, Boston rocker and the Mammy bench are all done by a Mr. Bittenbender who used the same colorful designs as on the larger pieces that he makes. Miniature Rooms of Mrs. Dwight Fisher, Dallas, Pa. -Photos by Ace Hollman Studios, Wilkes-Barre, Pa. A little boy was asked to define the word spine and he gave this for an answer: "Spine is a long, limber bone. Your head sets on one end and you set on the other." In these days of remote control we do spend a lot of time on that one end of the spine. It seems tha.t some of the articles for our page will have to be done by remote control. It is fun to see these miniature displays, but it is also interesting to read of them, and to meet their creators by correspondence. This month we go out to Pennsylvania to the home of Mrs. Dwight Fisher in Dallas. Since 19-4.7 Mrs. Fisher has been collecting and assembling her 10 period rooms. The scale she uses is the one thart most all of us love- on e inch to the foot. As you can see by the pictures, she uses the most minute detail. Some of her furnishings she has made. Others of the miniatures have come from all over •t he world. Mrs. Fis:her is not only enjoying the collecting and building of her fascinating hobby but she uses it as a means of raising money for charity projects that are very close to her heart. Another example of how our hobby friends go out of their way to give of their time and talent to making a better wor Id. Notes On the Fall Show By JOSEPH H. GRAY Do you believe in magic ? We do. There IS such a thing you know. When you have seen a conventional, empty hall converted in 24 honl's into a fair y castle of beauty packed with thousands of wonderful objects of art and antiquity, how can you deny the existence of magic ? Of course magic has another name, which is "hard work." To achieve such magic requires that hundreds of dealers must labor for months accumulating these beautiful things and then spend many laborious hours unpacking and displaying their treasures. The people who come to view these displays have no idea what such shows involve. The greatest concentration of the most important dealers in the country is that assembled at the Conrad Hilton Hotel twice a year at the semi-annual Chicago Antiques Exposition and Hobby Fair. Here come the most discriminating buyers ifrom our 50 states. It is always our great pleasure to (Continued on page 127) � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital exhibits for the Dollhouse Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dollhouse newspaper clippings from Mrs. Mignonette Fisher's dollhouse Creator An entity primarily responsible for making the resource Various newspaper publications Date A point or period of time associated with an event in the lifecycle of the resource 1940s-1970s Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Newspaper clippings https://omeka.wilkes.edu/omeka/files/original/8af25f80a5f364fb6c446574a51460a6.pdf 955dfc1e52e5b6016fbce1b375719f10 PDF Text Text ��������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital exhibits for the Dollhouse Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dollhouse black and white photographs from Mrs. Mignonette Fisher's scrapbooks Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Photographs Creator An entity primarily responsible for making the resource Mignonette Fisher, 1895-1968 https://omeka.wilkes.edu/omeka/files/original/86a65a97d7805916a62ffa8a5ec3fdf9.pdf 9a3567abbf05b2768eef396038bcdb81 PDF Text Text �HANDBOOK TO THE AMERICAN ROOMS IN MINIATURE designed and produced by Mrs. James Ward Thorne . Th orn e , 84 , widow of o·,e d. Narc1ssa Ward Heir James Thorne, M~;t~op:netryher life creating a worldw · miniature rooms m the Lillipu\ famed collection o~ precise in e':'ery _detail, iro. l kitchen to tian Toby Jugs m a co oma ard the diminutive replica of a Fragon . f in a Louis XVI salon, some~am mg d. thousands on a single times spen mg . ch· setting; of a heart attack; m icago. \ and presented by her to The Art Institute of Chicago TIME, JULY 8, 1966 ILLUSTRATION APPEARING ON COVER IS OF THE WEST PARLOR, MOUNT VERNON, VIRGINIA �COPYRIGHT, 1941 THE ART INSTITUTE OF CHICAGO Photographs by Unlston-Ilughes Chicago Fourth Edition Color Plales on covt'r courtesy of lV. W. Norlon e,- Co., Tn c., New York Cily �FOREWORD when we are all becoming acutely conscious of the value of our American institutions and I traditions, the present series of rooms by Mrs. James Ward Thorne has a particularly timely appeal. This group generously presented to the Institute in 1942 by its inspired author consists entirely of American THESE DAYS interiors and gives an unusually complete survey of the development of domestic interior design in this country from the seventeenth century to the present. It is indeed a fully developed American Wing in miniature which in its full scale equivalent would require a larger area for its display than is at present given for this purpose in any museum in the country. In many instances the rooms are reproductions or reconstructions of famous examples, some intimately connected with the lives of famous Americans- Washington, George Mason, Andrew Jacl son, etc., which no one institution could ever hope to assemble under its roof in the original. Even though the exigencies of a "three wall" representation have in general forced certain departures from literal correctness, every effort has been made to preserve and emphasize the spirit of the room and to render it in accurate scale. Few if any such rooms as they now exist contain any of their original furnishings. Whenever happy circumstances have preserved some of them, reproductions of these pieces have been used in the model and in every case the interiors have been completed with furnishings of the type which in all probability adorned them during the days of their greatest glory. In several instances the furniture used in the model is not contemporary with that in fashion when the original room was built. In these cases it is generally later, sometimes by as much as a generation. In one or two models representing originals of a delayed type the furnishings follow this conservative lead. By no means all of the furniture originally used in such rooms was of American origin for it must be remembered, as proved by historical record, that particularly during the eighteenth century along the Atlantic coast the wealthy planter and his merchant contemporary were in close contact with England whence came luxuries in exchange for raw materials. It is probable that even in the simpler houses pieces of English origin found their place with .the products of the local craftsmen. American furniture came to differ as it did from its English sources in the same measure as the manners and accent of the colonists themselves. Some of these miniature interiors are not copies of single originals but have been assembled according to data provided by several extant or recorded examples. This has been done in cases where no single surviving example was sufficiently representative of the type as a whole and where the importance of the type was not sufficient to warrant several examples. [ 3 ] �Models such as these, in spite of their necessary limitations, some of which are by no means obvious, are in many ways superior to the so-called "period room" for presenting a complete picture of a type or style in its entirety. They offer a flexibility of lighting, setting and furnishing which the actual period room with its demands of piece by piece authenticity, its spatial requirements and the exigencies of lighting and accessibility, can never approach. Supplemented by displays of original objects and furniture, they would seem to offer an ideal solution of the hitherto unsolved problem of an adequate three-dimensional demonstration of the arts of decoration in the public museum. Mrs. Thorne's solution of the problem of scale in these rooms is almost magical. While recognizing that an absolute solution is practically beyond human capacity, she has succeeded to an unprecedented degree in relating each part so that a feeling of complete consistency has been attained. While in earlier series the majority of the tiny objects used were the result of years of collecting, in these rooms most of them were actually made to scale for their particular places. Special processes were developed for obtaining a hair-line fineness in moldings and ornament and even the textiles were specially prepared in many instances to give the faery delicacy demanded. The present series consists of thirty-seven units. These can be roughly divided into three groups. The first illustrates the developments which took place in the North Atlantic region from the settlements on Massachusetts Bay to the days of the "brownstone front." The second shows the more spacious if less precise attainments of the Old Dominion and her neighbors to the south. The third takes up the nineteenth century types of the Middle West, the antebellum Deep South, the Southwest, and California with her Spanish traditions and latest cosmopolitanism. The models are all built to a scale of one inch to one foot, making them one-twelfth of the size of the original. They exhibit the combined skill and experience of a corps of expert craftsmen who developed their unique abilities under Mrs. Thorne's direction over a period of more than a decade. The date given in the title of each unit is in general that of the construction of the original as nearly as can be ascertained. When the room is not a reproduction but a construction of typical elements this date covers the period so represented. This is indicated by the letter (T). The material for the text of this handbook was furnished by Mrs. Thorne and edited by the Department of Decorative Arts. MEYRIC R. ROGERS Curator of Decorative Aris and Curator of I ndusirial Aris The Ari I nsiiiuie of Chicago 4 ] �PHOTOGRAPH SHOWING THE RELATIVE SCALE OF THE ROOMS AND ALSO THE METHOD OF CLEANING WITH SMALL BRUSHES [ 5 �1. LIVING ROOM AND KITCHEN EARLY MASSACHUSETTS HOUSE 1675-1700 (T ) WHEN THE' PILGRIM FATHERS landed in Plymouth in 1620 they contrived only the crudest shelters for their families but in the course of a few decades they were able to build simple yet comfortable homes recalling in form and structure those they had left behind in England. The kitchen was the common living room which sometimes served every purpose, the daily life of the family centering around its great open fireplace. After dark the room was dimly lighted by home-made candles, reeds soaked in grease, or small iron "Betty" lamps in which a wicl floated in oil. Kitchen utensils were of the simplest order. Glass and pottery in general use in Europe were largely replaced in these infant settlements by sturdier pewter plates and mugs, and wooden bowls and trenchers. In spite of many unreliable though proud traditions regarding early importations, the furniture was at first probably only of the simplest necessities. A little later pieces corresponding to those in use in comfortable English homes began to appear. Among these were the chest and its variations and the settle, a bench with a high back extending to the floor to keep drafts from the neck and feet. Chairs were a rarity, stools and benches being the usual seat. The armchair was a seat of honor. Here two examples are shown, both of historic interest. The first, of many turned spindles, follows an example traditionally belonging to Elder Brewster, one of the leaders of the Mayflower settlement. The second is named after Governor Carver, also of the Plymouth Colony. The bedrooms which also served as withdrawing rooms or parlors usually contained little more than a large bed, a cradle and a trundle-bed for older children. The latter was built low on small wooden wheels permitting it to be pushed under the parents' bed during the day. A chest or two, some stools and small tables were probably all that even the most elaborate bedrooms of the time contained in addition. Floor coverings of which the braided mat is the earliest recorded were probably of great rarity. The floors of the kitchen were usually sanded in accord with the custom of the day which enabled easy disposal of refuse. The exterior of these early houses was marked by an interesting overhang of the second story. This structural feature was emphasized decoratively by drops or pendants such as may be seen here through one of the windows. This model was developed by combining interesting features of the Parson Capen house in Topsfield, Massachusetts, and an early ,room now in the Concord Antiquarian Society. The Capen house, built in 1683, is one of the finest surviving examples of American seventeenth century architecture. [ 6 ] ��2. PARLOR SAMUEL WENTWORTH HOUSE, PORTSMOUTH, NEW HAMPSHIRE ABOUT 1710 Tms INTERESTING New England room is installed in the American Wing of the Metropolitan Museum. The house was built in 1671 and altered in 1710 when the paneled wall and "double hung" windows were added. This sturdy low-ceiled type of construction was well planned for the northern shores where winters were long and intensely cold. The warm glow of the Indian red paint, the low-beamed ceiling and the big open fireplace must have offered a cheery welcome to a frost-nipped wayfarer. Incidentally the house served for many years as an inn or tavern. The paneling is English in feeling which makes one realize that the housewrights who built in this new America worked with a memory of houses they knew in the home country. Their ideal was to reproduce these Old World houses as accurately as possible. This holds true also of the furniture. Many of America's first settlers had been familiar in England with furniture of comfort and beauty. With the nostalgia natural to the emigrant they tried to copy these things in their new homes. Today this is spoken of as "memory furniture" and although the workmanship is sometimes faulty and more crude than the Old World pieces, it has a definite native flavor. At the left of this model room is a paneled New England court cupboard, Jacobean in character, yet it has a distinct American quality. The stiles of the "cup-horde" have split spindle decoration, a substitute for the massive carving which was used so extensively on Renaissance furniture in Europe. The "wainscot" chair near the fireplace is an American version of an English model. This seat of honor gave the craftsman an opportunity to show his skill in woodcarving, but it was too costly and elaborate to be popular. The stool, side chair and day bed of a later type are richly carved and have caned seats and backs. These are typical of the Restoration period in England after 1660. Bright India prints were popular during Colonial days. They were used as table covers, bedspreads and curtains. The small chair beside the center table is covered with "Turkey work" embroidery so popular in seventeenth century England. The knitting on the table is actually worked on celluloid needles made the size of a pin. [ 8 ] ��3. DINING ROOM SALEM, MASSACHUSETTS (T ) EARLY 18TH CENTURY of the Colonies, fishing was the great industry of New England. This developed shipbuilding, especially of small fishing vessels. Salem became the center of this activity and here were built the great whaling fleets which brought fortunes to their Yankee owners from the Newfoundland Banks. Later the ships of Salem sailed around the Horn, returning with cargoes of spices and chests of rich silks, rare porcelains and fine old Chinese rugs to adorn the homes of Salem's affluent merchant captains. The houses of these prosperous Salem citizens were built by local workmen trained to the exacting standards of the shipwrights. As architectural aids these builders had English books such as the "Builder's Companion" and "The Young Carpenter's Assistant," but they had to depend largely upon native ingenuity in adapting these designs to native materials and practices. This model of a dining room was inspired by the design of a paneled room in the venerable and historic Turner-Ingersoll house. Built in 1668, this house is externally of an earlier type, but inside it bears the stamp of several later alterations. The type of paneling shown here was very popular in the New England Colonies during the first years of the eighteenth century. Such woodwork with cupboards and decorative pilasters was built into the more primitive rooms of many of the early dwellings to adjust them to the demands of later standards. Nathaniel Hawthorne used the Ingersoll house as the scene of his famous romance, "The House of Seven Gables." It contains a secret staircase which adds to its quaint charm. The tiny blue and white porcelains which decorate this small model were made in China and the various types of chairs give interesting examples of American designs in the William and Mary style. The inlaid walnut side table, highboy and clock are copied from American-made pieces, though also following closely the English styles of the previous quarter century. The floor is covered with a remarkable reproduction of an old Chinese rug such as might have been brought to Salem in the East Indian trade. DuRING THE EARLY YEARS [ 10 ] ��4. PARLOR CONNECTICUT VALLEY TA VERN ( T) ABOUT 1750 that developed along the Connecticut River followed in general the New England type but in certain details, particularly in the treatment of the main entrances and the fireplace paneling, a very distinctive regional type was evolved. The reasons for this are not altogether clear but in the latter case it may have come from the endeavor of eighteenth century owners of older houses with low ceilings to "modernize" the appearance of these rooms with an adaptation of the more monumental features which were then in vogue and avoid the expense of rebuilding. The free and playful designs that resulted are particularly charming, offering an intimacy which is unique for the period and consequently much imitated in modern revivals. In order to give the full flavor of this work, the model has been assembled from two actual examples. The corner cupboards follow those from the Harrison-Linsley house in Branford and the fireplace paneling is taken from the Mather house in Lyme, now demolished. This is the reason for the two kinds of pilasters, both typical with the characteristic rosettes below the capitals, and hardly more than ornamental reflections of their classic models. Another feature most distinctive of the Connecticut Valley is the curvilinear headings of the panels which seem to have been copied from the furniture designs of the late seventeenth century. The mantel with its frieze and shelf is unusual and may have been a later alteration since usually the fire opening was framed with a single bold molding with no shelf. The furniture is very simple as befitting the parlor of a tavern, the taproom of which may be seen through the side door. The Windsor chairs show both English and American types, the settee and desk chair being definitely Colonial. The ornaments in the cupboards are painstaking copies of Staffordshire and Rockingham of the ''cottage'' type after examples in American collections. A certain license has been taken here since many of these like the steamer print on the wall are of nineteenth century origin. It should be noted that in existing examples the arrangement of the paneling is hardly ever as symmetrical as it is shown here. THE ARCHITECTURE [ 12 ] ��5. DRAWING-ROOM JEREMIAH LEE MANSION, MARBLEHEAD, MASSACHUSETTS 1768 of the English Channel Islands, appreciating the unusual advantages of Marblehead Harbor, settled there and built comfortable dwellings in this windswept New England town perched high upon a rocky headland. The fishing industry developed rapidly and Marblehead entered upon a period of great prosperity. Commodious and imposing homes were built by wealthy ship owners and merchants. Outstanding among these was the Lee Mansion erected in 1768 by Colonel Jeremiah Lee at what was then the enormous cost of ten thousand English pounds. In the following period the Lee home was the center of Marblehead social activity for the Colonel and his wife were hospitable and noted for their generosity and public spirit. Often the great rooms echoed with music and laughter as the flickering candles shone upon men and women in powdered wigs and colorful brocades. In the Boston Museum of Fine Arts can be seen today portraits of Colonel Lee and his wife in just such distinguished attire. The richly paneled drawing-room of the Lee Mansion reflects the continued influence of the noted English architect, Sir Christopher Wren. It is said that the wallpaper and interior woodworl of the house were executed in England and shipped to Marblehead in the Colonel's own vessels. However this may be, the elaborate carving of the mantel and overmantel in this room shows the direct inspiration of Abraham Swan's "British Builder" with its later modifications of the Wren tradition. The hallway with its imposing staircase and walls decorated with beautiful scenic paper is a distinguished example of the classical fashion of that time. This eighteenth century house, considered one of the fine examples of Colonial architecture, is now a museum. It is not adequately furnished at present and therefore this miniature model does not contain reproductions of the pieces one sees scattered about the fine old rooms today. The mansion was built when Queen Anne furniture was still disputing Chippendale innovations in the Colonies. Since the room itself shows a predilection for an early eighteenth century style it is not unsuitable for the furniture, even the importations, to show a like feeling. The secretary and clock are rare pieces of small-scale furniture made of old burl walnut, exact replicas of old English pieces. The clock opens and winds. Every drawer of the secretary opens and even the secret drawers are reproduced. The needlepoint rug is copied from an old English design. The brass side brackets and chandelier are copies of contemporary pieces and polished to a mirror-like brilliance in the eighteenth century fashion. F1sHER FOLK [ 14 ] ��6. DINING ROOM WENTWORTH GARDNER HOUSE, PORTSMOUTH, NEW HAMPSHIRE 1760 of this house is considered to represent the best of the mid-eighteenth century Georgian of the northern Colonies; the interior reflects the dignity and charm of the eighteenth century homes of Portsmouth. The entrance hall is the glory of the house. The delicate spindles of the stairway and other intricate ornament were worked by some of the remarkable carvers who were employed in the local shipyards. The dining room is simpler in architectural detail but it has an unusual corner cupboard, a fine cornice and well designed paneling. The scenic wallpaper, after a series printed in Paris by Dufour and Leroy in 1824, represents a period later than the building of the room itself, though its fine greys add much to its beauty. Wallpaper came early to the Colonies from France and England. There are records of its sale from 1712 on. The popularity of this mural decoration and the high cost of its importation encouraged American reproduction and in 1739 Plunket Fleeson of Philadelphia manufactured the first wallpapers made in this country. The furniture, Chippendale in character, consists of reproductions of fine American examples. The Lowestoft and blue and white china in the cupboard are copied in miniature from objects in a famous American collection. The rug is a needlepoint copy of Oriental design. Above the fireplace hangs a hatchment, a large framed painting of the family coat of arms, which was hung outside on the front door when death occurred in a household. Many Colonial families held to this English custom. The small pieces of silver plate on the sideboard are particularly fine in quality and execution though somewhat later in style than the other furniture. The Wentworth Gardner house is the property of The Society for the Preservation of ew England Antiquities, and is open to the public during the summer months. THE EXTERIOR [ 16 ] ��7. ENTRANCE HALL PEIRCE M NSION, PORTSMOUTH, NEW HAMPSHIRE 1799 WHEN JOHN PEIRCE built his home in Portsmouth, its stateliness and beauty earned for it the term mansion; and down through many generations that name has held. Although there are no documents to prove it, this house is believed to be the work of Charles Bulfinch, the Boston architect, who is credited with designing a number of buildings in this maritime city. There is great delicacy in the carving of the interior woodwork of the mansion. The cornice of the hall, the fluted pilasters, and the extreme simplicity of line and form are almost modern in feeling though the house was built one hundred and forty years ago. The formal design of the entrance to a room under the soffit of the stairs is a clever and unique contrivance. The mahogany settee of Hepplewhite lines, made to fit in the curve of the stairway, is copied from the original piece used in the hall today. This settee was undoubtedly designed for the place, possibly by the architect of the house, for it seems to be an integral part of the hallway. As a rule the floors of the finer houses of the late Colonial period were covered with Oriental rugs. These were brought to England as early as the sixteenth century and were later sent to America. During the last half of the eighteenth century needlework rugs reached their zenith of popularity in England, so it is natural to suppose that they, too, were much in demand in the Colonies and were ordered from the mother country with furniture, silver, rich damasks and other luxuries. The texture of these needlework rugs was so delicate that they did not survive the hard usage of several generations and so today old examples are very rare. Portsmouth boasts of many fine homes of citizens who have been the backbone of American industry and it is justly proud of this record. [ 18 ] ��8. BEDROOM OAK HILL, PEABODY, MASSACHUSETTS ABOUT 1800 AT THE BEGI of the nineteenth century when Samuel McIntire reached the zenith of his career, Salem was also at the height of its prosperity. There was much activity in residential construction and in consequence many fine examples of Mcintire's work exist in and around the city. Mcintire's style in conformity with the fashion of the times was strongly classic. Like his younger contemporary, Charles Bulfinch of Boston, he studied Palladio whose book was in his library, and was greatly influenced by the English classicists, especially Robert Adam who advocated austerity of form with great delicacy of detail. Both as a designer and carver of ornament and furniture, for he was both architect and craftsman, he was well able to live up to these requirements as he had a fine training from his father who was also a wood carver and cabinetmaker. In spite of these influences his style is distinctive and it is not difficult to recognize it in the garlands, sheaves of wheat and baskets of flowers with which he decorated his furniture and his mantels, doorheads and cornices. These were either carved or cast in a special composition. The original of this model was formerly in Oak Hill, designed by McIntire for Captain Nathaniel West and particularly for his wife, Elizabeth Derby West, the daughter of Elias Hasket Derby, Mclntire's chief client. Mrs. West was a lady of taste and closely supervised the designing of most of the furniture for her home. The furniture now used in the room and reproduced in part in this model came mostly from the Derby and West families and was therefore actually part of the original scheme. The bed, the painted side chairs and many other pieces including the superb bowfront commode and mirror by the Boston cabinetmaker, John Seymour, are masterpieces of their kind. The original of this room and two others from Oak Hill are now preserved in Lhe Boston Museum of Fine Arts. Through the window of the model may be seen the reproduction of an exterior designed by McIntire. NI G [ 20 ] ��9. PARLOR EAGLE HOUSE, HA VERRILL, MASSACHUSETTS 1818 I THE EIGHTEE TH and early nineteenth centuries most of the New England merchants acquired their wealth through shipping. They sent their vessels to the West Indies and Europe and as far as India and China. Many an enterprising lad shipped in his early 'teens and by his thirties was not only a captain but an owner, able to build himself a fine house for which his own ships brought at his order the porcelains of Canton, wallpaper and damask from France and fine furniture from England. The parlor from Eagle House is a beautiful example of an interior from such a merchant's home of the Federal period. The woodwork shows the fine scale detail characteristic of the time, the ornament carried out either in composition or cut with a gouge and drill. Designs of this type are generally inspired by carpenters' and builders' handbooks such as that of Asher Benjamin and charmingly emphasize the quality of the materials used. V cry slender engaged or free-standing colonnettes are almost distinctive of the style. The furniture reflects the relative elegance and lu ury with which the prosperous New England merchant was able to surround his life; but a certain austerity is also evident in the clean slenderness of the lines of these American adaptations of the fashionable designs of Hepplewhite and Sheraton. The direct influence of the former is shown in the shield back chair, and Sheraton designs are the source of the high-backed armchair and sofa. On each side of the tambour desk is a delicate candle stand holding a silver stick which in those days took the place of our modern floor lamp. On the wall beside the bookcase are two rarely beautiful gilded girandoles or candle sconces with inset convex mirrors. The originals in full scale are in the Metropolitan Museum of ew York. The remaining pieces, the fire screen and tables, are all replicas of period examples. Through the windows may be seen an eighteenth century New England Town Common in winter time. The original room is now to be seen in the American Wing of the Metropolitan Museum of Art in New York City, though in this model another old scenic wallpaper design has been used and oth r changes made in the furnishings. [ 22 ] , ��10. DINING ROOM HARRISON GRAY OTIS HOUSE, BOSTON, MASSACHUSETTS 1795 owned three handsome residences in Boston during his lifetime. All were distinguished deigns in the late Georgian style built for him by Charles Bulfinch, Boston's outstanding architect of the early Federal period between 1795 and 1807. Bulfinch was born in America in 1763. His parents were wealthy and he was given unusual opportunities during his youth. After studying at Harvard he traveled extensively in France and Italy where he cultivated a taste for architecture. Upon his return to Boston he studied classical design and his work isl nown today for its fine proportions and the refinement of its detail. The house of which the dining room is here reproduced was the first residence built by Bulfinch* for Mr. Otis. It is now the headquarters of the Society for the Preservation of New England Antiquities, an organization to which New Englanders and Americans in general owe a great debt of gratitude for its painstaking care of treasures of the past which would otherwise have been destroyed. In planning the interior of the Otis house Bulfinch followed the trend set by the English architect, Robert Adam, some decades earlier. The mantel and doorheads of the dining room are classical in type and are treated with the utmost delicacy and restraint. The woodwork and walls are painted in three tones of Wedgwood green, giving a cameo quality to the carving. It is said that Mr. Otis had fine taste and bought for his homes the best that England and America could offer. The pieces of furniture made in miniature to furnish this model are of a type which was most popular in England when Robert Adam was at the height of his influence. This furniture is Hepplewhite in style and e ecuted in pear wood inlaid in darker woods. The needlework rug is Georgian in character, copied from a fine example in The Art Institute of Chicago. The silver was made by London silversmiths. The candle sconces and mirror over the mantel are reproduced from a very fine set owned by the Philadelphia Museum of Art. It should be noted that the model does not follow the actual room in its arrangement, some features having been transposed in order to give a clearer idea of the spirit of the room in the three walls available. The windows in the original are closer spaced and have twelve instead of fifteen lights or panes. HARRISO GRAY OTIS *The attribution to Bulfinch is now questioned. r 24 1 ��11. PARLOR WATERMAN HOUSE, WARREN, RHODE ISLA D ABOUT 1820 DunING THE EARLY nineteenth century, a period of great prosperity for this region, the Rhode Island town of Warren and Bristol evolved a distinctively local architecture. The Waterman House in Warren is a characteristic example of the type which combines earlier features such as the broken reverse curve pediment with detail derived from the Adam style. The architect, Russell Warren of Bristol, was the leader in this development and, like John Holden Greene of Providence, was responsible for many of the finest houses and public buildings of Rhode Is]and between 1800 and 1830. The delicate yet bold detail of the mantel and doorheads is here particularly noteworthy. The treatment of the dado is also unusually elaborate and varied. The ornament is based principally on Adam motifs of garlands, bowl nots and floral swags but combined in a way that is definitely American and individual. Due to the need for condensation but in violation of actualities, the door at the rear of the model opens into a hallway showing a classical entrance door with delicate fanlight and side lights, a scheme so popular in the ew England states. In conformity with the times both Warren and Greene frequently used plastered walls unbroken from baseboard Lo cornice, and as a result paper and stenciled designs became the usual means of decorating wall surfaces. The waHs of this hallway are stenciled in a most interesting design of the period. About fifty years previously in Newport, Rhode Island, John Goddard had developed a style of furniture which raised him to the top rank of American cabinetmakers. He produced handsome block front desks, secretaries, chests and bonnet-topped highboys with bracket feet and bold shell carving. Two very fine examples of his work have been copied for this room. The chairs are distinguished types of American Chippendale as is the mirror between the windows. The rug is a needlepoint copy of an Oriental design. [ 26 ��12. LIVING ROOM CAPE COD COTTAGE (T) 1750-1850 CAPE con PROPER and the adjacent islands of Martha's Vineyard and antucket, while part of ew England, have an individuality both geographical and cultural which sets them apart. Though the Pilgrims touched at Provincetown, they settled on the mainland. The "Cape" was relatively poor land and unattractive to the farmer. It was settled slowly and mainly by people who turned naturally to the sea, as fishermen and sailors. Even when whaling and overseas commerce brought wealth to the great mainland ports, the prosperity of the Cape was only moderate. These conditions are expressed in its buildings and houses. The typical example is the one-story cottage, small and compactly planned as the boats built by the same craftsmen. All attempt at display is lacking and even the paneled partitions around the "companionway" stairway and central chimney are reduced to the simplest necessities. Their charm lies wholly in an instinctively good proportion and a fitness to the place and purpose. Without following any particular example or even the typical arrangement of windows and doors, this model gives the flavor of these homes of the Cape fisher folk as they appeared during the first half of the last century and in many instances, practically to the present. The furniture is extremely simple, a mixture of eighteenth and nineteenth century pieces. othing is of outstanding merit but the effect is of a restful and intimate comfort not unlil e that of a snug boat. The "butterfly" table beneath the window, the Windsor chair and the modified "Sheraton" desk are all representative items that might well have been in such a room during the first half of the nineteenth century and still make perfect equipment for a summer home. Much pains have been taken to obtain typical ornaments and prints sufficiently accurate and minute for this model, even to a miniature bottle and a still more miniature ship within. Through the door are hollyhocl s and a glimpse of the neighboring house. Through the window is the distant Atlantic, the eternal background of the Cape. The necessity for showing several features typical of these cottages has brought about an arrangement which would hardly be found in any one room. A certain liberty has been taken by the introduction of a bayed window instead of the practically universal double-hung sash. [ 28 1 ��13. BEDROOM NEW ENGLAND (T) 1750-1850 MODEL has no definite ancestry and its arrangement follows no architectural limitations, being a construction of features common to all of the ew England states assembled to give best the atmosphere of what may be called the traditional bedroom. It docs, however, answer one question. In the absence of paneling and the scarcity of wallpaper before the middle of the nineteenth century, how did the housewife relieve the bareness of plaster walls~ Careful inve tigation of old houses has provided the solution- the stencil. With some ingenuity and patience the simple units of a stencil cut-out could be and were constructed to give such charming effects as shown here. This pattern was found in the Abner Goodall home in Marlborough, Massachusetts, on a wall surface bacl of an old cupboard where it had been hidden for years and preserved intact. It dates probably from the first quarter of the nineteenth century, possibly earlier, though the fact that these patterns were traditional and the worl of itinerant journeymen makes a precise date impossible. The simple partition paneling and broad floor boards suggest the second half of the eighteenth century. The furniture of maple and painted beech ranges from types of the early eighteenth century to about 1840 when the "Boston" rocker and sewing table appeared. The corner washstand with its bowl and pitcher suggests life when the modern bathroom was unl nown. TH1s r 30 ��14. DRAWING-ROOM ANDALUSIA, BENSALEM TOWNSHIP, PE REMODELLED up SYLVA IA 1834-1836 TO THE EARLY eighteenth century "classic" architecture had followed more or less closely the ideas of ndrea Palladio, an Italian scholar and architect of the sixteenth century. The publication of the first volume of a work on Greek architecture by Stuart and Revett in 1762 began a new phase, the "Greel Revival," which in America, under the add d impetus of the drive for a truly "republican" architecture fostered by Thomas Jefferson and the work of Benjamin Latrobe and William Thornton, was developed into almost a national style. The Greek Revival was not only the reason for the columned portico and the temple fac;ade, but also for city names such as Athens, Sparta and Syracuse which appeared with the first stages of the westward e pansion of the new nation. In its more developed phases this style in England was largely governed by the work of Sir John Soane, the architect of the famous Bank of England, who adapted the Adam and French "Empire" styles to thi new interest, which in furniture was also reflected in the later designs of Thomas Sheraton. The room was probably part of the remodelling of an older house undertal en by icholas Biddle at the height of the movement. Architecturally it shows the influence of the Soane manner and the taste for stronger color contrasts which came with the Empire style. The furnishings are of the late Sheraton-Empire type also known as the Regency style in England. This was given a distinctive interpretation in this country particularly in the worl of Duncan Phyf , a ew York cabinetmaker of Scotch birth and training whose models are largely followed in these miniature reproductions. Phyfe's furniture is notable for the quality of its workmanship and its excellent use of the mahogany of which it is made as well as the marked individuality of its design. The settee is after a design by Samuel McIntire of Salem, Phyfe's contemporary, who worked in a similar manner. The "bull's-eye" sconces or mirrored wall brackets are copies of examples in the Metropolitan Museum, New York City. [ 32 ] ��15. PARLOR 28 EAST 20TH STREET, EW YORK CITY 1850-1875 DuRI of the nineteenth century :fashionable life in New York City centered on Madison quare. Fifth Avenue from Washington Square to the early thirties was lined with the newer mansions of the wealthy. On the side streets to the east and west were rows of so-called "brownstone fronts" where lived the main body of what then constituted New York society. These blocks of houses were nearly all alil e, three or four stories in height with English basements and stone steps mounting from the sidewalk to a heavy paneled front door on the first floor. In the days of their glory, a pull at the bell of almost any of these houses would have brought a tinkle in the basement kitchen below and soon the door would have been opened by a maid in long sweeping skirts and a stiffiy starched, beruffied apron and cap. It was in such a Victorian house at 28 East 20th Street that President Theodore Roosevelt spent his childhood. Anyone who has visited this shrine will recognize in this model the blue curtains, grey wallpaper and the mantel with its imposing gilt mirror. Tradition assures us that a rubber plant was in every front window. Here as in parlors of the affiuent were the fashionable sets of chairs, sofas and tables from the shop of Mr. John Henry Belter. Belter's elaborately carved rosewood furniture, pierced and high-crested like a Spanish comb, was the fashionable successor to the more classic designs of Duncan Phyfe. Although for many years this period of decoration has been stamped with disapproval, here and there we see fine e amples of this nineteenth century rococo furniture used in interesting new settings. The heavy, ornate quality of Victorian design mal es it at times an interesting contrast to the stark simplicity of modern decoration or lack of it. G THE THIRD QUARTER ��16. DRAWING-ROOM MOUNT PLEASA T, PHILADELPHIA, PE SYLVA IA 1761 OF ALL THE CITIES of the Atlantic Colonies, Philadelphia has bequeathed to us the most ornamentally developed archiLecLure and Lhe richest furniture. Among the eighteenth century houses sLill sLanding, none has greaLer beauty of design or more historic interest than Mount Pleasant built for John Macpherson and later owned by BenedicL Arnold and his gay and beautiful wife. This distinguished house reflects the luxury and elegance of Lhe English Georgian period for, during the middle of the eighteenth century, many English carvers and craft men migrated to America and settled in Philadelphia where they set a very high standard of sl illed worl manship and were extensively patronized by the wealthy fashionables called "the worldly folk" by the plain-living Quakers. The room here reproduced is really a composite of several rooms in Mount Pleasant. The design of the mantel and its flanking cupboards is typically Philadelphian in its elegance and exquisite detail. The pale raspberry Lone on walls and woodwork follows one of the original colors used in 1761. Mount PleasanL has plain ceilings, but in order to show an example of rococo plasterworl so characterisLic of Philadelphia houses, the ornate rocaille design on the drawing room ceiling of the famous Powel House now in the Philadelphia Museum was selecLed for reproduction. In Philadelphia after 1750 Lhe finest walnut and mahogany furniture was built and richly carved by such cabinetmakers as Benjamin Randolph, William Savery, and Jonathan Gostelowe. They developed a sLyle and character of work which has been given the name "Philadelphia Chippendale" because iLs design was derived in part from the engravings published by Thomas Chippendale in "The Gentleman and CabineLmal er's Director." These American artisans introduced a monumentality and elegance inLo Lheir furniture which lifLs it Lo Lhe top ranl of pre-Revolutionary crafLsmanship in this country. The pieces of furniture used in Lhis room are reproducLions in miniature of the finest examples of this type. Mount Pleasant is now administered by the Philadelphia Museum of Art and is open Lo the public. ��17. GREAT HALL THE MILLER'S HOUSE, MILLBACH, PE SYLVA IA 1752 "PE NSYLVA IA DUTCH" is a term used to designate those colonists from the Rhineland, mostly German, and member of the MennoniLe, Amish, Moravian, and Dunker sects who settled near Philadelphia and along the Delaware and Susquehanna Rivers during the early eighteenth century. In traveling through that part of Lhe state today one sees their rough stone houses and great red barns, the latter often elaborately decorated with "hexenfoos" devices. It is their belief that these circular discs and stars painted in gay colors protect stock and grain from Lhe machinations of evil spirits. The same "hexes" form the designs painted on the furniture inside their homes. This model of a kitchen or great hall is copied with certain rearrangements from the house of Jerg J\Iuler of Millbach built in Lebanon County in 1752. Two rooms from this house are now in the Philadelphia Museum. There arc several interesting features to this room. The mantel beam, nearly ten feet long, is hewn from one piece of oak. The corner staircase and the raised and carved panels of the door are unusually handsome. The double-cock wrought-iron hinges of the latter are peculiar to the region. For their furniture the German settlers used pine and oal. Elaborately decorated open dressers were crowded wiLh pewter, brass and pottery. This brilliant, highly glazed pottery was manufactured in Pennsylvania. Its rich green and red clay tones add their color to that of the chests, dressers and cupboards generally painted with gay and interesting designs many of these being developments of the "hex" symbols. Almost without e ception the furniture shows how closely these settlers kept to the folkways they brought with them from the Old World. These German and Swiss designs are unmistakable. Before the open fire are many household objects made at the village forge. On the large center table is a decorated glass copied from an example of Stiegel glass owned by the Metropolitan Museum of ew York. About 1765 Heinrich Stiegel, a German by birth, settled in Lancaster County, Pennsylvania, and began the manufacture of this distinctive type of glassware which he painted with flower and birds or engraved delicately after the German fashion. On the small candle stand is a pewter "Betty" lamp of Pennsylvania German design. The "Dutch" housewife wished no rugs cluttering her immaculate sandstoned floors. She loved her garden which most naturally abounded in Old World flowers of all varieties. 1 [ 38 ��18. LIVING ROOM SHAKER COMMU ITY HOUSE (T) ABOUT 1800 THE UNITED SOCIETY of Believers in Christ's Second Appearing, commonly known as the "Shakers," were an offshoot of the English Qual ers. Under the leadership of Ann Lee, a branch of the Society was established in this country in 1774 with headquarters at New Lebanon, New York. The name came from the spasmodic movements with which the members of the sect expressed their religious fervor. During the early nineteenth century the sect spread into Pennsylvania, Ohio, Kentucl y, and Indiana, each community establishing its own code of regulations, but the basis of celibacy and close communal living which were fundamental tenets made its ultimate disappearance inevitable without the bacl ing of a larger universal organization such as aided other monastic communities. Their devoted adherence to their principle of life, "Hands to work and hearts to God," did, however, create a highly individualized culture which emphasized an economy, directness and honesty of craftsmanship which was not without effect upon surrounding communities. The "Believers" lived a communal life in huge barn-like buildings, avoiding all display and worl ing lil e the best medieval craftsmen chiefly for the glory of God. The women attended to household duties while the men culLivated the land and worked in the shops; for the ideal of each community was Lo be absolutely self-supporting. Deprived of any ornamental outlet, the craft spirit of the Shakers expressed itself in aUention Lo proportion and fitness Lo purpose. The later communities in Kentucky and Ohio relaxed sufficiently to permit the use of color, using blue woodwork and painting the furniture in dull red, mustard yellow and green. In order Lo show the essential characteristics of Shaker production in a condensed form, the model follows an interior constructed after the Shaker plan by an eminent authority on the cult to provide a selling for a unique collection of its furniture and crafts. On one side of the dining room table are the sea Ls of the brothers, on the other, those of the sis Lers. L the double desl are two identical chairs presumably for the business affairs of the two component parts of the community. The broad brimmed hats on the rack indicate part of the uniform of the men and the bonnet in course of construction, that of the women. The vases of flowers are a concession to "vanity" which Ann Le would probably have found displeasing. [ 40 ] ��19. DINING ROOM HAMMOND-HARWOOD HOUSE, ANNAPOLIS, MARYLAND 1770-1774 I A APOLIS, the capital of Maryland and the first important cultural center south of Philadelphia during Colonial times, domestic architecture shows an even stronger trend to a direct importation of English ideas and the manorial scale of living. Its wealth came chiefly from the tobacco trade which kept it in close touch with England whence a great part of its luxuries were naturally imported, as shown by ancient inventories and advertisements. An e cellent example of the Maryland type is the Hammond-Harwood house built for Matthias Hammond, a lawyer and planter, by William Buckland just prior to the Revolution. Its architecture shows Buck.land's mature ability as a designer. This interior, while undoubtedly influenced by Lhe rococo modifications widely publicized in Abraham Swan's "British Architect" of 1745, shows more of that Palladian spaciousness which characterizes the best Georgian building. In this miniature reproduction the design of the chimney breast, the elaborate headings of the doors and windo" s, and the coffer paneling of the shutters are indications of the differences between the southern and northern adaptations of Georgian design. While generally less refined in detail, the southern interiors have a more spacious and monumental quality which reflects both the climate and the manner of life. Since at present the house lacks its original furnishings, reproductions of some of the finest pieces of American furniture in the Sheraton style belonging to eastern museums have been used to recreate the atmosphere of such a home during the last years of the century. A particularly southern adjunct to the sideboard is the mixing table standing between the two doors. The house has now become the property of the Hammond-Harwood House Association, Inc. whose purpose it is to furnish it suitably and make it available to the general public as a museum. It should be noted that in order to increase the effectiveness of the model the original arrangement of this room ha been radically altered. r 42 1 ��20. DINING ROOM GU STON HALL, FAIRFA COUNTY, VIRGI IA 1758 n THE POTOMAC RIVER, a few miles from Mount Vernon, stands Guns ton Hall, the home of George l\1a on, known as the author of the Bill of Rights. It was here that George Mason and Thomas Jefferson are thought to have worked on the first draft of the Declaration of Independence. The interior architecture of Gunston Hall is notably individual. The designs and their execution are attributed to William Buckland, a talented young English master carpenter and builder, who came Lo America in 1755 under a contract of indenture to George Mason's brother, Thomson Mason. Gunston Hall was completed in 1758, and its spacious and stately rooms earned such praise for Buckland that he was given many commissions in Annapolis and his future success assured. The hallway and living rooms of Gunston Hall have the greatest distinction. The room which we have chosen to reproduce in miniature is generally considered one of the most interesting designs in the eighteenth century "Chinese taste" in America. Architecturally this is eyi ent principally in the treatment of the cornices or headings of the overmantel and of the doors and windows where brackets are introduced to carry Chinese figurines or porcelains. In actuality today, the walls are plain, but when the house was built wallpaper was much in vogue, and it is likely that the use of Chinese wallpaper such as is here reproduced was intended. Unfortunately there is no record of its original furnishings but the Chinese taste was doubtless represented in its Chippendale version as it is in these miniature replicas. The center table is of a later type introduced at the end of the century. In "Chinese" Chippendale the earlier cabriole leg is replaced by a straight leg of rectangular or clustered section. It is possible that the original furnishings were those of a bedroom instead of a dining room. Th sideboard shown is a modern version of Chinese Chippendale. NE [ 44 ] ��21. THE WEST PARLOR MOUNT VERNON, FAIRFAX COUNTY, VIRGINIA 1743-1799 THE HOME OF George Washington, probably the most famous Colonial house in America, is by no means architecturally the finest. It has, however, in addition to its unique historic significance the virtue of being a typical example of the average larger Virginia manor. Washington, like his fellow gentlemen planters, considered it proper to take more than a passive interest in architecture and the planning of his own house. Like other distinguished Americans of his day, it is probable that to all intents and purposes he was his own architect. The property had been in the hands of the Washington family for eighty-three years before it was inherited by the First President. He began to enlarge and improve the original house shortly before his marriage to Martha Custis, the work continuing sporadically until his death. The changes made by Washington indicate that his tastes lay toward the somewhat heavy Palladian classic forms favored by most of his contemporaries. The doorway shown in this model of the West Parlor is an instance. Otherwise the room with its raised paneling is part of the older home. The corner fireplace has a mantel and overmantel of mid-eighteenth century type, the arms introduced between the scrolls of the pediment being those of the Washington family. The model is furnished to suggest the appointments of the room during the later years of Washington's occupancy. The pieces are mostly reproductions of fine Sheraton examples. A so-called Martha Washington high back, upholstered chair stands beside the mantel. The silver tray holding the Lowestoft tea set is a replica of one of Madam Washington's prized possessions. The rug reproduces one of the French Aubusson carpets which were presented to George Washington. The portrait seen through the door is a reproduction of a famous work by Gilbert Stuart, Washington at Dorchester Heights. Through the windows may be seen the lawn leading to the Potomac and also a glimpse of the colonnade connecting the mansion with the offices. While Washington lived in Mount Vernon hardly a day passed without the presence of guests. On mild days much entertaining took place on the broad veranda looking across the lawn to the river and the green slopes beyond. [ 46 ] ��22. DINING ROOM KE MORE, FREDERICKSBURG, VIRGI IA ABOUT 1750 I 1752 when George Washington's sister Betty married Colonel Fielding Lewis, they went to Fredericksburg, Virginia, Lo live in Lheir stalely home, Kenmore, which had just been completed. We have no record of the architect of Kenmore so it is probable that Colonel Lewis directed the work with the aid of English bool son architecture and the services of a Lrained master builder. The exterior of this square Georgian house is of red brick with white trim, but the interior is unlil e any of Lhe other houses of the locality. This is due to the extraordinarily rich plasterwork of the ceilings and overmanLels completed later in the century. There are two legends regarding Lhis work. One is that a Frenchman who had been employed in Lhe Palace of Versailles was commissioned to design the ornamenLal stucco aL both Kenmore and Mount Vernon. The other version is that Hessian prisoners, captured at Trenton, New Jersey, were sent by General Washington to his sister's house to compleLe the stucco relief which he is said Lo have suggested. UnfortunaLely for romance both these stories have liLLle foundation in fact. In order to show these unusual features to the best advanLage in the model, the dining room ceiling has been copied wiLh the overmantel of the smaller of the drawing rooms. The archiLecLural adornment of Lhe room is concentrated in this plasterwork which renders it all the more effecLive. The sLyle of Lhe plasterworl suggests a date one or two decades laLer than that of the house iLself. It shows Lhe influence of Lhe early worl of Lhe brothers Adam and an acquaintance with Batty Langley's "Builder's Treasury" of 1750. The great elegance of these rooms of Kenmore calls for the finest examples of American furniture. For this dining room copies of disLinguished pieces from museums and private collections have been made. They are mostly in the Hepplewhite-Sheraton sLyle which was introduced inLo this country afLer the Revolution and therefore do noL represent the original furnishings which musL have followed earlier Georgian forms. The windows open on a broad portico with white columns. Across a garden is a glimpse of thee terior of Kenmore so that the visiLor may visualize this charming mansion over which Betty W ashingLon Lewis presided. The Kenmore Association has been formed to protect this historic home and to preserve it for future generations. [ 48 ] ��23. DRAWING-ROOM WILTO HE RICO COUNTY, VIRGI IA 1754 THE ESTATES on the south River Road out of Richmond are rich in history, tradition and romance. One of the nearest to Richmond was Wilton, built in the mid-eighteenth century for William Randolph III. Some acquaintance with the principles of architecture was considered a necessary part of the equipment of a cultured gentleman of the eighteenth century. Though possibly accompanied by some l nowledge of building, the services of a trained craftsman, usually a master mason, were necessary to turn it to practical account. In fact, it is to these master craftsmen, filling the modern functions of architect and contractor, that most of the credit for the enduring qualities of eighteenth century architecture in America must be given. As in most cases, the real author of Wilton remains anonymous, yet the fine proportions of the exterior and the elegance of the interior prove his talents to have been of a high order. The drawing-room reproduced here is a fine example of the completely paneled room. The fireplace end is dignified by the introduction of fluted pilasters and flanl ing arches which in the original partly masl windows which were set inconveniently close to the chimney. The marble mantel is of a type introduced into England from the Continent and adopted occasionally in the South. The rather elaborate plasterwork of the ceiling is unusual and is probably a somewhat later addition. The model shows some minor deviations from the original in detail and disposition. The furniture consists principally of reproductions of pieces in the Queen Anne style which retained its popularity in this country until after the middle of the century. The "Japanned" highboy shows the re ult or the "Chinese taste" which had an extensive vogue in this country following its popularity throughout Europe. Wilton, like other southern rooms in this series, points to the luxury and comfort enjoyed by the rich planters long before the Revolution. Ships brought the latest fashions of Europe to their river landings. The difficulties of land travel were relieved by water transportation and contact with their neighbors for "routs" and the hunt was relatively easy. With numerous servants, white as well as negro, at their call, the landed gentry of Virginia lived on a scale rivaling, if not surpassing, that of their equals in England. In 1935 Wilton was moved to West Hampton just outside Richmond. It is now the property of The Society of Colonial Dames of America. It has been restored and furnished and is open to the public during certain hour . [ 50 ] ��24. ENTRANCE HALL CARTER ' S GROVE, JAMES CITY COU TY, VIRGI IA 1751 THE has become almost synonymous with eastern Virginia. In early Colonial days the great plantations were developed along the lower reaches of the rivers where the tides permitted shipment of cotton, rice, and tobacco Lo be floated down to the ports along the coast and transshipped to Europe. Most of the planters' mansions on the Tidewater were Georgian in character and we find the majorit., of Lhe .finest e amplcs on Lhe James River and around Williamsburg. It is said that the outstanding qualities of a Georgian home are paciousncss, balanced scale, and gracious dignity. Carter's Grove possesses all of these. Crowning a bluff eighty feet above the James River, surrounded by a sweep of thickly turfed lawn and fine old trees, this handsome brick home stands Loday a a symbol of the securiLy and comfort which attended life on the great southern estaLes up to the Civil War. Carter Burwell, a descendant of the famous "King" Carter, commissioned Lhe English builder, David Minitree, to build Carter's Grove in 1751. The house was completed within Lhe year and it became a center of social activiLy in that romantic period of stagecoaches, ca aliers and lo ely ladies bedccl ed in frill of lace and rich damasks. On opening the front door one enLers a hall with superb paneling of naLive walnuL lately restored from under layers of paint applied by former owners. The stairway, one of the most noLable features of the home, is famed in the historical and architectural annals of Virginia. The furniture used in the model follows designs fashionable in England during the reign of George I and produced by Philadelphia cabinetmakers up to the middle of the century. They marl a transiLion between the true Queen Anne forms and those sponsored by Thomas Chippendale. This plantation was ravaged by the British during the Revolution. The greaLesL scars were made by Tarleton' s dragoons who slashed the handrail with their sabers while riding their horses up the grand taircase for diversion. The marks are visible today. The house at that time is thought to have b en headquarters for the English. AME TIDEWATER [ 52 ] ��25. DRAWi G-ROOM CARTER'S GROVE, JAMES CITY COUNTY, VIRGINIA 1751 THE MA y COUNTRIES of Europe have distinctively national types of domestic architecture, while we have no unified, coordinated American pattern. Our different states were established by different kinds of people who thought differently and lived differently. Some were wealthy landowners, others merchants and shippers, and they came to America from foreign lands. These conditions were naturally reflected in Lhe designs of their houses, for Lhe Lendency to translate what Europe sent us runs continuously through our handicrafts and our architecture. In the Sou Lh, parLicularly in Virginia, where wealth and culture were combined with a sLrong English manorial tradition, the Colonial Georgian house reached iLs greatest elegance. Carter's Grove may well be tal en as the archetype of the eighteenth century Virginia mansion. This southeast drawing-room is completely paneled in walnut which, through the action of time, has attained a wonderfully soft tone of red-brown. The paneling follows the usual "raised" form with a boldly beveled edge. It is simple and well proportioned. The effectiveness of the design lies in the mantel treatment, plain panels above a facing of Siena marble surrounded by a full Tuscan Doric order beautifully carved and proportioned. Through the door into the hall the woodwork and dado are seen to be painted a rich green, a shade much used in this part of the country. The furniture in the model reproduces fine Chippendale types of mi ed English and American design such as might well hqve found a place in the room prior to the Revolution. The center chandelier is copied from one owned by the Metropolitan Museum. The "bull's-eye" mirror over the fireplace is of a definitely later type. [ 54 ] ��26. DINING ROOM A "JEFFERSO IA " HOUSE, VIRGI I ( T) ABOUT 1800 statesman and political philosopher, the author of the DeclaraLion of Independence and third presidenL of the United States, was also an architect by avocation and inclinaLion. Architecture and its problems were among his chief interests throughouL his life. The influence of this intere t was felt far beyond Virginia and the charming buildings of the University of Virginia aL CharlotLe ville are today a monument to his Lalents as a designer. A smaller but no less disLinguished monument is Jefferson's own home, MonLicello, a red bricl sLructure with colonnaded porticoes, white balustrades and trim, standing on the summit of a spur of Lhe Blue Ridge MounLains overlool ing the Rivanna River. His devotion to the place is expressed in his own word , "All my wishes end where I hope my days will end, at Monticello." Begun in 1772, Monticello was not compleLed unLil 1808. In addition Lo his intense interest in architecture as such, Jefferson had a passion for ingenious gadgets, a tasLe by no means unique even in his time, and indulged this freely in the design of his own house. The main purpose in Lhis model is to show this very human side of the great man through Lhe devices insLalled in his dining room aL Monticello. The room is by no means a reproducLion of thaL in Monticello as, out ide of these de ices, it is extremely simplified and definitely rearranged. The manLel is a replica of the original which is equipped with doors in Lhe side communicaLing direcLly with the wine cellar below. The window on the lefL is hung in three secLions or sashes, a mosL flexible arrangement for conLrol of enLilaLion. The folding doors in the rear leading to a replica of Lhe "tea room" of MonLicello are also said Lo be one of Jefferson's own conLrivances. Though Lhe original furnishings of Monticello are now mostly dispersed, the model has been equipped in accordance wiLh what Jefferson might have used. The banquet table in the center is, in fact, a reproducLion of one designed and owned by Jefferson. Its style naturally leads to the Sheraton-Empire Lypes of th Duncan Phyfe chairs and consoles which accompany it. The crysLal chandelier and brackets are copies of examples in the Metropolitan Museum, ew Yorl City, and Lhe crystal Lablc ornaments are replica of a notable English set. The needlepoint rug is of a simple Empire pattern of French make of a type much used in the South. T1rnMAS JEFFERSON, [ 56 ] ��27. KITCHEN GOVERNOR'S PALACE, WILLIAMSBURG, VIRGINIA 18TH CENTURY I of the ancient capital of Virginia the architects and their associates have given us as complete a picture of the life of the Colony as tradition checl ed by exhaustive research can possibly create. This re toration of the kitchen of the Governor's Palace shows us what this heart of the southern domestic economy lool ed like in the eighteenth century. Unlike the kitchen or living room of the ancient ew England home, the offices or kitchen were placed in a separate wing or pavilion where the colored domestics and their offspring could swarm without disturbing the master's family. With this e ception there is liLLle essential difference. The heart of the room is the great open fireplace with its hanging crane and "dutch" o en for baling before an open fire, imple appurtenances for concocting those delicacies for which the southern cool s became famous. Most of the cooking utensils of metal were homemade in the plantation smithy and hence have that handwrought quality which gives them a certain individual charm. In themselves the furnishings have a nondescript quaintness which came from the use of sturdy sur ivals of an earlier day together with strictly utilitarian pieces. The ladder-like stair leads to a storeroom. The servants had their own cabins at a distance from the house. Through the doorway is a glimpse of an old-fashioned vegetable and herb garden and outsid the window is the iron l ettle in which soft soap was boiled. t the back of the garden were the smol chouses where the famous Virginia hams and bacon were cured. THEIR RESTORATIO r ss 1 ��28. DRAWING-ROOM A HOUSE IN CHARLESTON, SOUTH CAROLI (T ) 1775-1800 ·up Charles Lon was the acknowledged cenLer of the social and commercial life of the outh ALlantic sLates. In spiLe of its commercial interests the tone of the city was largely set by Lhe wealthy planters whose town mansions became the center of social activity. It was on their town houses raLher than on those on the plantaLion thaL the owners lavished most of their care and taste, so Lhese houses became in facL embodiments of the besL architecLural and decoraLive skill of the old SouLh. Although CharlesLon was an early settlement, pracLically noLhing has survived previous to 1740 when a greaL fire demolished most of the town, and subsequent disasLers ha e taken their Loll of what was lefL. The chief periods of prosperity and building preceded and followed the Revolution. The besL of Lhe Charleston heritage has survived from these eras, roughly, 1750-1775 and 1800-1830. This model has been constructed largely on the basis of the deLail of the Colonel John SLuarL house built in 1772 and altered and enlarged early in Lhe last cenLury. The original woodwork of the second floor drawingroom, from which Lhe doorways and manLel of the model are copied, and thaL of Lhe dining room arc now in the Minneapolis Institute of ArLs. The very definiLe English character of the dcLail in Lhe modified Palladianism of Abraham Swan's "BriLish Architect" reflects the facL that CharlesLon's culLural conLacLs aL Lhe Lime \Vere with the W esL Indies and England rather than wiLh the oLher Colonies on Lhe ALlanLic seaboard. In iLs arrangemenL the model is a composite of the original drawing-room and a laLe addiLion builL over the garden and used as a dining room. This accounts for the bay, a Victorian moLif, which while dramaLically effective and reflecLing whaL acLually happened in many older houses, perforce deLracLs from Lhc "period'' purity of the seLLing. The room is furnished with replicas of Sheraton and Hepplewhite pieces of both English and Am rican models. Charleston's contacts with the Orient is indicated by the presence of Chinese rugs and a remarkable replica of a lacquer screen execuLed by a noted Chinese craftsman. tBy and large the model represents the spirit of the first of the two Charleston periods menLioned above. TO THE CIVIL WAR [ 60 ] ��29. BALLROOM A HOUSE IN CHARLESTON, SOUTH CAROLI A (T) 1775-1835 were designed with many storied galleries running across the side facing the prevailing breeze, frequently at right angles to the street. umerous French doors opened out on these galleri s to take advantage of every movement in the air. Also, for the sake of coolness, the rooms were made as large as possible with high ceilings and many openings to encourage circulation. The main room, a large drawing-room or ballroom, was usually found on the second floor for the same reason. The main entrance was generally at the street end of the first floor gallery. This arrangement is peculiar to Charleston where the galleries or piazzas were used as rooms and privacy was highly valued. Through the windows of this model can be seen the white trimmed front door and the outside galleries of the neighboring house across the garden with its palm trees and azaleas. This model is composed of motifs taken from the Gibbes-Sloan house (1775) and the Radcliffe-King house (1806) in order to show the great elegance of the large Charleston homes of the early nineteenth century. The "Palladian" window from the King house is a favorite Charleston motif but is usually a feature of a central hall raLher than a room. The columns arc based on those in the stair hall of the Gibbes house. The entire treatment reflects the popularity of the Adam style in post-Revolutionary Charleston. Of the material prosperity and hospitality of the people of the city, Josiah Quincy of Massachus tts wrote in his diary as early as 1773: "This town makes a beautiful appearance as you come up to it, and in many r spects, a magnificent one. I can onl., say that in grandeur, splendor of buildings, decoration and equipages, it far surpasses all I can ever expect to see in America.'' Indicating both their popularity in the South and their appropriateness to a room of this character, the furnishings used are mainly in the so-called American Empire or Regency style which was in vogue chiefly between 1810 and 1840. The black lacquer or dark mahogany ground of these pieces is effectively relieved by the gilded ornament in which the lion and the eagle each plays a prominent part. The work of Duncan Phyfe of ew York exemplifies the style at its best. CHARLESTO HOUSES [ 62 ] ��30. DOUBLE PARLOR HOUSE OF A GEORGIA PLANTER (T) ABOUT 1850 THE of the Deep South came approximately at the time of the western expansion when the Greek Revival was at its height. The. Greek portico and temple faQade were in fact rather more suited to the climate and spaciousness of southern life than to conditions in the northern and middle western states. Behind the planter's mansion with its columned facade were other buildings often connected with the "Big House" by open arcades. In these quarters the colored servants cooked and attended to other household activities. Great plantations were of necessity self-sustaining and among the many slaves were artisans of all types. There were blacksmiths, tinners, carpenters, all trained to their trades. The common labor was furnished by the "hands" brought in from the fields between seasons. In these houses economy of space was of little consideration. Protection from the summer heat was the main object. High ceilings and free circulation of air were called for and to this end the majority of plantation houses were built around a large central hall running from front to back and containing the main staircase. On one side were the front and back parlors connected through wide openings with double doors. These plantations were often far apart. Roads were bad and travel tedious. A generous hospitality was almost obligatory and when guests came they usually spent a few days, often many weel s. There were "visitors" quarters," sometimes as many as fifty rooms arranged for friends and relatives, and one can imagine what activities weddings and balls would bring to the usually self-contained life of these abundant households. This model is intended to give a composite picture of an interior in a typical southern late Greek Revival house of the era preceding the Civil War. The mantel, the ponderous carved gold mirrors, elaborately draped curtains and the ornate decorations show the style of the period. The Wilton carpet, often covering the entire floor, could never be too gay in design, nor could the furniture have sufficient clusters of fruit and flowers. It was an effulgent era, an era of wealth, sparkle and generous hospitality not unaptly expressed in the rather ill-organized yet warm-hearted elaborations of the Victorian taste. In this reproduction the object in view was to select the best of the epoch, not to caricature it, for there is a fine, solid dignity in the southern adaptation of a style which Queen Victoria made the fashion on both sides of the Atlantic. GREAT PROSPERITY [ 64 ] ��31. E TRANCE HALL THE HERMITAGE, NEAR NASHVILLE, TEN ESSEE 1835-1845 in the eyes of the plutocracy of the Atlantic Coast, General Andrew Jackson, seventh president of the United States, became almost a symbol of the unruly democracy of the West, he was in fact one of the aristocracy of the South, a planter and landed proprietor with a passionate interest in the breeding of fine horses. He was a firm believer in the elegance of life proper to his station and in 1835 engaged two journeymen builders, Joseph Rieff and William C. Hume, to rebuild The Hermitage along the lines of the old house destroyed by fire. This is the house that stands today substantially as it did in the days of Old Hickory. ·T hough acquired by Tennessee from Jackson's impoverished heirs not long after his death as a memorial to her most eminent son, it gradually fell into decay until comparatively recently when it was reconditioned. Fortunately much of its original furnishing , long dispersed through the neighborhood, were collected and reinstalled. The house, consisting of a central porticoed pavilion with flanking wings, is typical of Greek Revival design. The interior is not elaborate as this simple hall shows. The spiral staircase, apparently self-supporting in its graceful flying curve, is, however, very representative of the style. The walls of the hall are covered with a scenic wallpaper similar to the one used in the model which is copied from a contemporary set in the collections of The Art Institute of Chicago. The furniture is reproduced from pieces used by the Jackson family. Through a door to the left a corner of General Jackson's study may be glimpsed, his portrait hanging above his own desk and chairs in replica. The unusual lustered hanging lamp in the hall is worthy of no tic . It is recorded that General Jackson was greatly attached to this house where he spent the happiest days of his life. He and his wife, Rachel, are buried beneath a temple-like monument in its gardens. THOUGH, [ 66 ] ��32. BEDROOM A HOUSE IN NEW ORLEA S, LO ISIA A (T) 1800-1850 NEw ORLEA sis more or less of a "sport" among American cities. Founded among the swamps of the Mississippi delta, it commands one of the greatest inland waterways of the world and was the key to an inland empire contested by the Spaniards, the French and the infant United States during one of the most romantic epochs in history. The rendezvous of adventurers of every race and the silent partner of pirates, it early acquired an aura of picaresqu romance which has survived and even been confirmed amid the political vicissitudes of our own day. In the old city, the Vieux Carre, much of its ancient architecture, the battered remnant of its Franco-Spanish (Creole) culture, has also survived. Even more successfully, the traditions of a world-renowned culinary art persist; for whatever its artistic losses, New Orleans has always kept its food. In its houses the Vieux Carre has something that recalls those of the French West Indies, and more remotely, those of Mediterranean France, but the builders were probably guided more directly by the handbooks of Asher Benjami:u and Minard Lafever. A subtropical climate with high humidity and a water-soaked ground called for shade and ample ventilation. Enclosed courtyards, high ceilings and lacy cast and wrought iron balconies climbing over many stories were the natural outcome of all these factors. GreaL prosperity only briefly interrupted by the War of 1812 came to New Orleans after the Louisiana Purchase of 1803. Most of its finest houses date from this period when the Greek Revival mingled with echoes of the French Empire and the late Georgian styles. Enormous quantities of furniture and luxuries from Europe, France, and England undoubtedly found their way to the city during those years when "Cotton was King," only to be dispersed and destroyed during the Civil War and the unhappy years that followed. This model is designed to give a composite picture of a boudoir and bedroom in a fine New Orleans residence of the second quarter of the last century. The mantel follows one in the Girod house in the old city. The door and window trim is copied from that in the Hurst plantation on the city's outskirts and the delicate cornice is that of the Forsyth house in the Garden District. Through the long French windows of the bay is an indication of the cast-iron railings of a typical balcony. The furniture, somewhat later than the room itself, shows the heavy mahogany of the American Empire style so popular in the South mingling with pieces which reflect the black and gold elegance of the French taste of the time of Louis-Philippe. [ 68 ] ��33. PARLOR A HOUSE IN "MIDDLETOW " (T) 1875-1900 TH1s GROUP of parlor, hall and dining room will bring a gleam to the eyes that is not all of amusement, for this is the background against which most of us now admitting middle age passed the memorable days of our childhood. Here and there we still may see these houses, which owned no textbook style but boasted the proudest efforts of the carpenter and his scroll saw on porch and verge board. "Gothic" of pointed window, tortured ''Queen Anne'' and hints of Oriental dreams mingled in friendly fashion with remnants of classic dignity. Inside, brown and its parents green and maroon were the prevailing notes. A vaguely awesome hallway wherein that strange tree, the hallrack, blossomed with footgear and apparel according to season, gave into darksome passages above and below filled with unexpected obstacles. On one side op ned the everyday parlor or living room as distinct from the sacredly portentous Sunday parlor with its chosen lares and penales open only on special occasions. Beyond it opened the dining room where the table was always set with white cloth, colored glass, pickle dishes and the ever present condiment castor. Here at mealtime the "hired girl" brought in steaming dishes and put them in convenient places around the board. The head of the family carved; and it was not a di grace to ask for a "second helping" for in those days dieting was for invalids and a well upholstered figure was an asset. As we see it there was not a piece of furniture in the entire place that had good lines. It was the age of l nickknacks with the "whatnot" and the cabinet and every other available space filled with family souvenirs and the trophies of the Centennial Exposition. The Rogers Group, the crayon enlargement and perhaps a hand-painted oil were art and quantity was king. It was a chattery conglomeration yet friendly and cheerful in spite of the drab plaids that bore up under hard family use. The patent rocker and its simple cousin swayed in varying and oothing rhythm on porch and in parlor as the seasons turned and the stove was set up and dismantled before the befrilled coal grate. The photograph appears in album and on the wall. Here to the left of the fireplace hangs one of Abraham Lincoln and his son, Tad, a rare treasure-trove from some admirer's locket. Note the paper rad on the oppo i te side. In such rooms, in spite of machine carving and horrors in cast metal, reigned the spirit of home that plastics and chromium find hard to entice. Here behind portiere and Gothic window was the refuge of leisure caught for a while by l nob and tassel before being blown away by the winds of speed and their ervants, the automobile and telephone. f 70 ] ��G ROOM EW ME ICO E I CO TEMPORARY 34. DI I A HO (T) DuRI G THE s1 TEE TH CE TURY Spanish adventurers led expeditions into the ew World, establishing themselves in Mexico where they acquired vast fortunes. In 1540 Coronado at the head of a large force penetrated the unknown desert lands of what is now Santa Fe. Though these early conquerors built nothing which remained for future generations, their successors left a tradition and a way of life that has largely endured to our time. Even more tangible reminders of the Spanish occupation have been left in and around the ancient city of San Antonio. The old missions tell us of the intrepid padres who were the pioneers of western civilization, and other ancient buildings remind us of those adventurous dons whose colorful lives threw a halo of romance over a large part of the Southwest when it was still part of the empire of old Spain. The structure of this model New Mexican dining room follows closely that of the hallway in the ancient palace of the Spanish governors in San Antonio. In feeling it shows itself essentially panish, yet e pressed with materials and methods native to the Pueblo Indians. The walls, three feet thicl , are made of adobe bricks of sun-dried clay. These are laid in mud mortar and are mud-plastered inside and out. Whitewash is then applied, sometimes in pinl ish or cream tones. The roofs are of heavy projecting beams. Earth is tamped down upon a wooden ceiling made of small saplings laid "herring-bone" fashion upon larger beams. The floor are of tile or earth, stained with ox blood or paint and polished. Corner fir places are very characteristic and inside these the pin.on wood is stacked in Indian fashion. Through the window is shown a cactus garden and beyond an Indian pueblo, so familiar in the deserts of ew Mexico where these great hive-lik dwellings house many Indian families. The furniture in this room is copied from pieces used in modern ew Me ican hou es. IL is ho th Spanish and Me ican in character. The tin shrine and candle sconces are Me ican design . The old silver, pottery and rugs were found in the City of Mexico. r 12 1 ��35. LIVI G ROOM GEORGE WASHINGTON SMITH HOUSE, SANTA BARBARA, CALIFOR IA CONTEMPORARY and climate form a basis for the continuation of the Spanish Colonial tradition in the southern portion of California. The mission style was evolved to meet the needs and limitations of the first white settlers just as the wooden architecture of early New England was the result of the adaptation of English traditions to the requirements and materials of the new land. In Santa Barbara, dominated by its famous Franciscan Mission built in 1820, and unrestricted by the pressure of modern industrialism, the Spanish tradition is a particularly logical source of inspiration. I ts subtropical climate both permits and calls for the open patio, the heavy walls and the colorful materials which stem more or less directly from the mingling of Moorish and Latin elements in old Spain. This room is a reproduction in miniature of the living room of the home of George Washington Smith, an architect who was eminently successful in the adaptation of the Spanish Colonial style to contemporary use. I ts design suggests rather than copies the traditional forms, though the ceiling follows closely the timber work of the Hispano-Moresque builders. The furniture reproduces types characteristic of Spain from the fifteenth to the eighteenth centuries. The success of the architect lay in his ability to infuse his designs with the romantic quality of the style without sacrificing the comfort and convenience demanded today. The Smith home is widely conceded to be one of the most representative of its type. BoTH HERITAGE [ 74 ] ��36. LIVING ROOM SOBERA ES HOUSE, MONTEREY, CALIFOR IA 1850-1875 Dum the decade of 1830-1840 an era of prosperity began for the Golden StaLe. To Monterey, the capital and a fine seaport, came adventurous ew Englanders in their clipper ships, bringing Lheir wives and families on the dangerous journey around the Horn to settl in the new land. In the houses of early Monterey we find in consequence an in Leresting mingling of ew England tradition with what may be called native Spanish elemenLs. Sundried adobe bricl was used for walls three feet thicl , an excellent insulation; and Victorian furniture brought in the holds of the clippers to sofLen the homesicl ness of the Yankee ettlers was mi ed with pieces of Spanish flavor. The usual plan of these houses was well adapted to the simple and hospitable lif which existed in California a century ago. On Lhe ground floor were a living room, a dining room and a l itchen and toreroom. 11 the bedrooms were on the second floor and were reached by an outside stairway to an upper balcony which ran across the side of the house. Such a Spani h balcony may be seen through the door of this model on the house beyond the adobe garden wall. Wanting less romantic atmosphere and more comfort, the Yankees had their sLairs built inside lil e those in their old homes. Tiles were often used on the floors of the earliest houses but with the arrival of Lhe new settlers came rounddancing and a more suitable wooden floor was built into many homes. The "sala" or ballroom Lh n became popular. To give an accurate example of the old Monterey type of house this model follows the living room of the Soberanes house. Here the smooth plaster walls are white. The inside shutters, sill and trim are painted light yellow ochre. The wide boards of the pine floor are stained darl brown. The wood n mantel, remini cent of New England in it split spindle and turned ornament, is painted blacl ands ton a raised hearth. G f 76 1 ��37. HALLWAY A PE THOUSE APARTMENT , SAN FRA CO CISCO, CALIFORNIA (T) TEMPORARY TH1s MODEL follows no actual e ample and is not intended to offer any suggesLions as to a proper approach to modern design. Its purpose is merely to indicate the general character of a modern room designed as an appropriate background for contemporary works of art and to point out what may well be called Lhe international quality of design today. The walls are painted a neutral tone to show off to best advantage the remarl able miniaLure originals painted by well-1 nown contemporary artists and representing such modern picLures as may well be acquired by a collector in such a cosmopolitan center as San Francisco. On the wall to the left is a tiny painting in gouache by Jean Victor Hugo, Au bord de la mer. Hugo, born in 1894, is a grandson of the famous poet and represents the modern "primitivist" school. Beyond the door to the terrace is a crayon drawing by Marie Laurencin, Promenade dans la foret, formerly in the collection of Paul Guillaume. Two bronze groups by John Storrs, the contemporary American sculptor born in 1885, stand in curtained window recesses on either side of the fireplace. On the chimney breast a miniature masLerpiece by Amedee Ozenfant represents the work of one of the leaders of the post-cubist movement. In the recess in the right wall hangs a typical work by the famous Fernand Leger, born in 1881, and on the walls to the right and left of this are groups of tiny originals by Leopold Survage, one of the leaders of the contemporary absLracLionist movement, born in 1879. The above works by Leger, Ozenfant, and Survage were made specially for use in this room. The furniLure is of the simplest variety, showing the use of a modern glasslike plasLic in the chairs and the decorative function of veneers in the low table fronting the couch. The rug was specially woven by Lhe V'Soske Shops. Through Lhe French doors is a view of the city including part of "Treasure Island" and a glimpse of the new bridge as seen with its sparkling lights at night. [ 78 ] �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital exhibits for the Dollhouse Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource <em>Handbook to the American Rooms in Miniature,</em> designed and produced by Mrs. James Ward Thorne, <em>Art Institute of Chicago,</em> 1941.  Creator An entity primarily responsible for making the resource Mrs. Mignonette Fisher's scrapbook; James Ward Thorne Format The file format, physical medium, or dimensions of the resource PDF Date A point or period of time associated with an event in the lifecycle of the resource 1941 Type The nature or genre of the resource Publication https://omeka.wilkes.edu/omeka/files/original/edc7ea3b7cf7c527c98d6d61c2839173.pdf baf05b457b7590859de8e5549a65a298 PDF Text Text GREEKREVIVALBATHR001Iofaboutl8l5wasdepictedinNewYorkplumber's advertisement. It includes l" o ,vashstands, toilet, tub with hot and cold water. athrooms and a bandbox boom 1e lucky lady above, soaking herself in a marble ) surrounded by clas ic columns and an elegant rlain arrangement, is enjoying one of the rarest uries of the Greek Revival period. Bathrooms 'r<' scarce in early 19th Century America because: running waler was not available except in a few ·g<> cities; 2) fixtures "½ere expensive; and 3) most 11ericans thought baths were unhealthy. The great urge of U.S. prosperity ,..,hich brought throoms Lo a fortunate few also nourished more plebeian innovations. Bandboxes made of thin ·,, ood or cardboard and covered ,, ith hand-blocked "all. paper were a feminine fad of the period. Ladic. liked them because they were light, used them to carry dresses and hats. American manufacturers lih.ed them because they offered a wider market for their wallpapers. The bandbox boom gave U.S. de igners a chance to try out all kinds of topical patterns-the example below shows a scene along the Erie Canal, whose opening in 1825 "as a great national event. PAPERED BANDBOX was used about 1830 bothforcarryingandstoring clothes. The designs were printed from wooden blocks hand-carved by an unknown artisL �STATELY FA CADE of Andalusia, added to older house in 1830-35 and facing Delaware River, is one of fi.r1est examples of pure Greek in U.S. architecture. The Doric design reproduces a famous temple Lo Poseidon, with rows of columns around three sides and original decorations translated from stone to wood. �PART IV AMERICA'S ARTS AND SKILLS BANKER-ROMANTIC Nicholas Biddle lived in Andalusia (left}. The portrait is by Thomas Sully. ·The Magnificent Greek Revival IT GAVE THE U.S. A DURABLE STYLE Photographed for LIFE by FRITZ GORO In the first half of the 19th Century, American architecture broke sharply with its English and colonial past and adopted the ancient Greek temple, almost as a national symbol. The great revolution in U.S. taste which we call the Greek Revival affected the design of furniture, clothing and even fire engines. It was inspired in part by a belief that old Athens and young America were akin in their political ideals. But mostly the Greek Revival occurred becau~e the burgeoning U.S. needed new public buildings of monumental size and ageless beauty, and statelier homes to express the pride and cultural ambitions of its citizens. The perfectly proportioned Greek Revival mansion shown here is Andalusia, in Bucks County, Pa. It was the home of Nicholas Biddle (above), a diplomat and poet who was the nation's leading banker in the 1830s. Biddle went to Athens while a very young man and was probably the first U.S. citizen to set foot on the Acropolis. On his return he declared, <<There are but two great truths in the world-the Bible and Greek architecture!" Biddle's CLASSIC VASE of porcelain (right} now in the Philadelphia Museum of Art, was made in 1830s by a local firm which put a picture of its factory on the front. enthusiasm helped to convert Philadelphia into a center of the Greek Revival. His own bank in Chestnut Street was a flawless marble temple with porticoes like the Parthenon's. This was not bad for business because the vaulted interior was invitingly cool in summer. The classic temple design was introduced to the U.S. in 1785 by Thomas Jefferson in his model for the Virginia State capitol. Jefferson also influenced the dome and wing design of the U.S. Capitol, and this influenced other large buildings. Americans now had leisure and money to indulge in beauty for beauty's sake; in Greek Revival buildings appearance counted most. But the movement had practical results. It produced a sizeable body of trained U.S. architects and gave them an opportunity to experiment with ancient principles of form. In the best of their work the old Greek style became new and even «modern"-a style which boldly handled massive structures and spacious interiors and used them in a surprising variety of ways. CONTINUED �GREEK REVIVAL CO NTI N UED PHYFE HEADQUARTERS on Fulton Street, New York included workshop at left, warehouse (right) and salesroom with customers seen through door. El.e gant furniture for a Grecian parlor Duncan Phyfe was the most famous furniture maker the U.S. ever produced. In his handsome New York City workshop (above) he made pieces which graced many Greek Revival homes and are eagerly sought by collectors. Below, spread across two pages, are five of Phyfe's finest products. Classic features shown here are the delicate carvings of acanthus leaves and lyre, the animal paws used as table feet and the pronounced Grecian curves of the chairs and sofa, derived from ancient furniture. Phyfe was not a creator of styles but rather a master of exquisite workmanship who used only choice woods and skillfully catered to contemporary tastes. He worked in the ornate Regency style (see drawing, right), and late in his career he made bulky overly decorated pieces in the French Empire manner. But he much preferred his light and graceful early work, as shown below. Experts today agree with him. IDEAL INTERIOR of a pretentious Greek Revival home is shown in this 1845 watercolor by A.]. Davis, a New York contemporary of Duncan Phyfe. Ionic columns, along with pi]a ters set into the walls, separate the two parlors. Architectural ~ ::, w V) ::, ~ ~ 0 0. ::, 0 PHYFE FURNITURE includes these examples of his finest work. At left is a chair with spread-eagle splat and Grecian in-curved legs. Next is a folding table of mahogany, Phyfe's favorite wood; a large eagle form the pedestal and the legs are adorned with carvings of acanthus leaves in Phyfe's personal �rim is used around the ceiling and doorways, and windows are riearly full-length. The massive furniture is in the English Regency style, which was inspired directly by ancient models md was often heavily embellished with bronze or gilded inlays. I ::, IJ.J (I) ::, ~ 0 It: 0 u. >- It: z IJ.J :c tyle. The richly upholstered sofa in center combines classic lines of the French ~irectoire with finely chiseled carving and reeding typical of the best Phyfe pieces. Next is a tambour sewing table with a vase-shaped pedestal and brass lion paws for feet. Lyre-back chair at right was one of Phyfe's most popular designs. CONTINUED �GREEK REVIVAL CONTINUED ACORN CLOCK of 1850 from Bristol, Conn., has Greek Revival house of iLs maker painted on case. HAND-PUMPED FIRE ENGINE, made in a hollow classic column as decorative cover for central air compression chamber. On one panel firemen 181,3 for a Piusburgh volunlcer fire company, used Patterns that Ill f- lt < w z ;:.: w ...J: u. 0 >- ::E w 0 < u < < z < > J >- 1/l z z w 0.. "FOURTH OF JULY" in Centre Square, Philadelphia was painted about 1812 by John Lewis Krimmel. Women's dresses, domed pump house and William Ru sh's nymph (center) show taste of times. In Lhe world of fashion this was a time when women donned the clinging drapery of the ancient Greek , with high bodices and revealing necklines. They also tied up their hair in Grecian knots or wore it across their foreheads iu classic ringlets. These styles, transmitted to the U.S. from the Paris of Napoleon, are illustrated in the painting al left which shows a well-dressed Philadelphia crowd. In the background is the municipal pump hou e, which has a Greek portico and a Roman dome. The fountain statue of a nymph and water bird was carved from wood by William Rush, America's first professional sculptor. Following the precedent of antiquity, but scandalizing his neighbors, Rush persuaded a pretty Philadelphia belle to pose for this work in the nude. It was also a time when American designers cul loose with creations which, freely mingling Greek Revival motifs with ideas of their own, further emphasized the sharp break with a utilitarian past. Household objects acquired new shapes which tickled the fancy and started �i ~ ::i: i a: 0 al a: ' < w 0 ::i: ::i w 1/) ::i ::i: 0 a: 0 11. > a: z w :z: ::i: 0 a: 11. 3: 0 a: 0.. 0 I- pasted a Currier & Ives print. In operation poles were run through holes in ends of the long meLal rockers and pumped by rows of 30 men to a side. This creaLcd pressure to throw streams of waler. DUNCE-CAP STOVE was patented by Poughkeepsie man in 1816. Conical cap helped spread heat. caught the eye fads . The U.S. flourished during the Greek Revival, and people with money to spend w~re intrigued by such gadgets as the acorn clock and dunce-cap stove shown above. Both were unique American designs. The clock, which was invented and manufactured by Jonathan Brown, had a coiled spring works enclosed in a vase-shaped case which harmonized well with furniture of the period. The inverted acorn around the face and the rest of the frame v. ere made of laminated rosewood. The stove is a direct descendant of Benjamin Franklin's stove which was pictured in the first article of this series (LIFE, April 18). The inventor, James Wilson, found that the duncecap top added a great deal of heat. The gaudily painted fire engine in the center was delivered by its manufacturer bearing no decorations at all. The volunteer firemen in this period liked to beautify their own engines and when the work was completed they held a public celebration. In this instance a job was performed which dazzled all beholders-and still op. RICHARDSON MEMORIAL embroidered by Harriet Moore, 15, of Massachusetts, expresses grief over death of two friends. Mourning pictures wiLh classic urns hung in Greek Revival bedrooms. CONTINUED �GREEK REVIVAL CONTINUED Lasting monuments to the TOBACCO FLOWERS and leaves are used instead of acanthus leaf on U.S. Capitol column. As the Greek Revival style was adapted to public buildings it took on a distinctively American look and made symbolic use of such native products as corn and tobacco. In Washington the U.S. Capitol was supported by graceful columns carved as bundles of cornstalks and topped with open ears of corn, or adorned with sprouting leaves and star-shaped flowers of tobacco. These much-admired designs were created by Benjamin Latrobe, a British-born architect and engineer who spent most of his career in the U.S., married an American wife and fathered a distinguished American family. For 14 years he was chief architect of the Capitol, which was designed first by William Thornton and completed by Thomas U. Walter. ENDURING BEAUTY of the. Greek Revival is illustrated by the scene below, on the Schuylkill River in modern Philadelphia. The charming temples in the foreground were built before 1850 to �imagination of Americans Latrobe also designed one of the first complete bathrooms in the U .S., with bathtub, basin and water closet, for a Philadelphia family in 1810. He built the municipal Roman-domed pump house and influenced the chastely Greek design of the Philadelphia waterworks (below). Latrobe's pupils, Robert Mills and William Strickland, and Strickland's pµpils, Thomas U. Walter and Gideon Shryock, were among the first professional architects who were trained inside the U.S. The state capitols and courthouses which they designed established a style -classic in its details, monumental in its size, versatile in its many uses-which dominated public architecture for almost 100 years and is still a familiar feature of the U.S. skyline. house machinery for the city's expanding water system. On the hill behind them towers the enormous Philadelphia Museum of Art, built in the 1920s and now the largest Greek-style building in the world. CORN COLUMNS with ears and husks for decorations were installed in Senate vestibule in 1809. �GREEK RE VIVAL CONTINUED WHITNEY'S PORTRAITwas painted in 1822 by Samuel F. B. Morse, who later invented telegraph. Eli Whitney and the cotton kingdom In the South the Greek Revival reached a high level of opulence in the great homes of rich cotton planters whose fortunes were based on an invention by a Yankee named Eli Whitney (above). Following his graduation from Yale, Whitney went south as a tutor. At Mulberry Grove near Savannah, Ga. he saw slaves picking seeds from short-staple cotton at the rate of one pound of cotton per man per day. Whitney built a cylinder with wire teeth which pulled the cotton through a screen, separated fiber from seeds and, when used with horse or water power, made cleaning go 50 times faster. In 1792, the year Whitney invented the cotton gin, the South sold 138,000 pounds of cotton to English mills. In 1811, after Whitney's patent expired, this figure soared to 62 million pounds at about 9¢ a pound. The tremendous boom in cotton dotted the South with expensive mansions like Rattle and Snap (opposite) in Maury County, Tenn., which got its name when the land was originally won in a dice game. The spacious house was built in 1845 by a cousin of President Polk. Here the sumptuous Corinthian style is followed instead of the simple Doric of Andalusia. Eli Whitney, who made all this possible, did not wait to see it materialize. He returned to New Haven, invented the first important U.S. machine tool (a metal-milling machine) and manufactured guns for the government by new techniques which firmly established the principles of mass production. Thus in one lifetime he revolutionized both the agriculture of the South and the industry of the North. WHITNEY WORKSHOP now stands near Washington, Ga. In foreground is a combination gin and carder, developed from his invention. It prepared cotton for home spinning on the plantation. SOUTHERN PROSPERITY and classic taste built Rattle and Snap (opposite page) in Tennessee. ���The Look· of Liberty lll Craftsmanship • PATRIOTISM BECOMES THE AMERICAN THEME Photographed for LIFE by ARNOLD NEWMAN Long before 1776 the independence of America was being declared by its arts and manufactures. Colonial craftsmen of the 18th Century made silverware as handsome as any from England, and equally handsome guns which were much more deadly. Furniture-making reached its all-time peak of perfection and branched out in a number of parti n~ h r American designs. Houses grew Jarger and ceiJings higher; ·.t and window glass became necessities instead ofluxuries; graceL. - nau eled doorways with overhead pediments and fanlights replaced m e thick nail-studded portals of pioneer days. A taste for the e otic, a love of ornament sheerly for ornament's sake began to appear. But in general, American design still showed a strong preference for the simpler, more functional forms. The standard of Ii ving of the 13 American colonies by 1750 was already higher than that of any comparable area in the world. Their population was booming at a rate that has never been equaled. Wealth wa piling up, not only in the strongboxes of the wealthy, but even more in the hands of a fast-growing and widely distributed middle cla s. The colonists did an amazing amount of traveling, to Europe, and up and down the Eastern seaboard. Even a Boston tallow-chandler's son like Benjamin Franklin managed to get part of his education abroad. Colonial prosperity and colonial enterprise made the American Re olution almost an inevitable event. But it was a revolution which sought to conserve and enlarge the thriYing American status quo, rather than overturn it. Paul Revere, pictured on the oppo ite page, i an excellent example of the American revolutionist: a craftsman who infu ed the look of liberty into his handiwork: a patriot who did much more for his country than risk his neck on a midnight ride. Revere was the most gifted Boston sihersmith of his time and his most famous creation is the punch bow] shown above, whose classical purity of shape tends to obscure the fact that it was fashioned in a fever of political excitement. Re,·cre made it in 1768 after the Massachusetts legislature refused to withdraw an anti-British protest it had sent to the other colonies. On one side he etched a lib<'rly cap and an inscription: ~To the Memory of the glorious NINETYTWO: Members of the Hon'bl House of Representatives of Massachusetts-Bay, who, undaunted by the insolent M<'nac s of Villain. in Power ... voted NOT TO RESCIND." Revere also engraved patriotic cartoons (below) and propaganda pictures like his Boston Massacre. During 1he Rernlution he printc,l currency, cast cannon and ran a gunpowder mill lo . upply Washington's army. After the war he ·w ent into the metal business in a big way. He made church bells, copper boilers for th c firs l steam boa ts on the Hudson RiYcr and rolled copper for the Bo ton talc House roof. The impetus of independence, which turned the artist-artisan Revere into an industrialist, also carried the country along- to an originality of architecture, an enterprise in technology and, in a way no period in American life has surpassed, a mature richness of decoration. BONL (ABOVE) , MUSEUM OF FINE ARTS, BOSTON REVERE'S RATTLESNAKE, symbol of the colonies, confronts British griffin in cartoon engraved for the Massachusetts ,p_y in 1774. Paul Revere took the nine-part snake idea from Ben Franklin. His drawing is crude hut he was onl y interested in getting his idea across to as many readers a possible. 56 �PKfRIO'TS AND CRAFTSMEK CONTINUED CARD TABLE TOP of needlepoint, made about 1740, features cards of conventional design, chips and fish-shaped counters. Cards for Americans After the Americans got rid of a king as a ruler they decided to eliminate royalty from their playing cards. General Washington himself became the king of hearts in the rare historical deck ·w hich is illustrated on this week's cover. Thomas Jefferson is the king of clubs on the cover, John Quincy Adams the king of diamonds. In this deck, the queens are classic divinities-Minerva the queen of spades, Vcnus the queen of hearts, Ceres of clubs, Justitia of diamonds. Jacks (or knaves) are Indian chiefs- Gy-anl-wachia the jack of diamonds, an u11idcn tif-:ied chief th jack of spades, the Iroquois Joseph Brant the jack of clubs, Red Jacket the jack of hearts. All these cards were made by J. Y. Humphreys of Philadelphia. The ace of spades in the bottom row on the cover is by .Tazaniah Ford of Milton, Mass., who about 1815 printed a deck featuring the battles of Stephen Decatur. The wealthier colonists played ~~Pope Joan," quadrille and whist. Few of them kept as full a gambling record as George Washington, whose diaries show that he lost six pounds, three shillings and threepence between 1772 and 1775. After he took command of the Continental army he banned card games among his men, as it was impossible Lo discriminate between ~\nnocent play" and ~~criminal gaming." Intrigue on the RIVI E AA Sort leathers ... cool nylon mesh ... smart low lines. All conspire in intriguing fashion in Winthrop Rivieras. Built for breezy comfort ... designed in the best of leathers and :Northcool nylon mesh ... and styled with the latest low-cut topline, these Winthrop Rivieras will catch many a lingering, sidelong glance ... anywhere. See the complete selection at your \Vinthrop dealer's. Style shown, Toast tone softie-grain with Brown-on-Wheat Northcool nylon mesh. W int h ro p R ivieras $12.95 t o $15.95 Other Winthrops from $8.95. Winthrop Jrs. for Boys $7.95-$8.95 Slightly higher in the West BOSTON MUSEUM OF FINE ARTS e ' - .INT·HROP SHOES CARD TABLE of walnut was owned hy Governor William Dummer of Massach usctts. I Ii~ wife made table top. When not in use it folded against wall. Write Dept. D for free Style Selector and name of nearest dealer • Winthrop Shoe Co. Div. International Shoe Co., St. Louis CONTINUED ON NEXT PAGE 71 �PART II: AMERICA'S ARTS AND SKILLS z 0 t- (/) 0 Ill 1/) ta:: < w z ii: u. 0 ~ :J w ' • (/) :J I PAUL REVERE, with silversmith's tools and a teapot he made, was painted around 1765 by John Singleton Copley, America's first major artist. Copley introduced a revolutionary realism into American portrait painting at a time when most English artists were still following the worn-out conventions of Van Dyck. CONTINU ED ON NEXT PAGE ��'The most fatal widow and orphan s. ty tll lt. makers • In 1e Pennsylvania rifle the American patriot and the American craftsjoined forces. The early colonials brought over rifles like the one th from the top above-a short-barreled German gun with thick butt awkward trigger guard. From this colonial gunsmiths developed a weapon suited to the frontiersman's needs. The Pennsylvania rifle, 1e American product, had a long barrel (45-50 inches) which gave liness and balance to the gun and greater accuracy to the shot. To ge the bullet snugly in the barrel, a hunter wrapped each piece of in a patch of greased cloth or buckskin, and to hold the patches the had a hinged patch box at the end of the butt. om a long rifle, which was ·the most accurate in the world, the most ,rtant single shot of the Revolution was fired- by Tim Murphy of humherland County, Pa., who killed British General Simon Fraser 0 yards at the Battle of Saratoga and began the demoralization of the ,h troops. The British honored the long rifles with a rueful epithet: the most fatal widow ·and orphan makers in the world." (Ying produced a good weapon, the gunmakers took pains to make the world' it good looking-keeping lines clean, the butt thin, the trigger guard graceful, the decorations refined. The rifle at top above, made for a preRevolutionary hunter, is decorated by carved scrolls and a brass patch box. The elaborately decorated one beneath, which was of later make, was probably the exhibition piece of an expert marksman. It has 40 silver inlays in addition to the scrolls and its cheek piece is an explosion of star, crescent and fish patterns. The third gun down, made about 1790, has a butt cut in a shoulder-fitting crescent, and among its rich ornamentation a formalized bird. Some Revolutionary soldiers liked to decorate their equipment. At left is drum adorned with flags of France and North Carolina militia. Below are an officer's sword with lion's head handle, an enlisted man's sword. At right is a leather hunting pouch, powder horn, knife, bu1let mold (like a pair of pliers), flintlock pistol. At bottom right is a halberd used by sergeants to measure distance between ranks. At upper right is fringed jacket, three-cornered hat and a buckskin bullet pouch lying on a ma1?,ual of arms drawn up by Baron von Steuben for Revolutionary troops. FOLD OUT, DO NOT TEAR �CARTER'S GROVE near Williamsburg, Va. was built originally with the central house separated from the matching office (left) and kitchen (right) . It has a central hall with two rooms at each side can Georgian houses, it pays more allcntion to Houses Architecture in the colonies flowered most impressively in the South, and especially among the planter aristocrats of Virginia. When British officers rode through Virginia in 1781, on their way to Yorktown and surrender, they must have been struck by the great Georgian houses they saw. One of the finest, Carter's Grove, is pictured above. It was built about 1750 for Carter Burwell, and fully expresses the solid social standing and financial independence of its owner. In design the house follows the Georgian style which developed in the American colonies from the brick builtlings of England's Chri:3topher Wren. The original arrangement of separating the house from kitchen and office was characteristic of the Southern colonies, where ventilation was a problem and a house was often the headquarters of a large-scale business. A plantation like Carter's Grove was surrounded in colonial times by stables, workshops and slaves' cabi11s, and shipped its main product-tobacco-direct Lo England from its own riverside docks . After the Revolu Lion a new American arcli itecture arose to challenge the Georgian and independence built t �CEILING at Kenmore, another Georgian mansion at Fredericksburg, Va., is richly decorated with leaf, fruit and flower designs in molded plaster. Such continental elegance was rare in colonial America. symmetry of form and the contrast of mellow bricks and white woodwork than to formal decorations. express the young nalion's dignity. This was the federal sLyle which was highly developed in the work of a brilliant group of New Englanders, led by Boston's Charles Bulfinch. A magnificent federal house, built by Samuel McinLire of Salem for a wealthy merchant named Jerathmcel Peirce, is shown at far right. I [ere the favorite American material, wood, has een carved and planed to the smoothness of antique marble. The whole effect is closer in spirit to republican Rome than to royal Britain. In work like this, American architecture .finally achieved a mature professional status . STAIRCASE of Peirce House at Salem, Ma (right) has rail of many small pieces of mahoga and Chippendale latticework. Codfi h on upper v. once ornamented home of rich Salem fish mercha �~ ::, w U) ::, ~ 1- z 0 0. ::, Cl WOOD CARVING became a fine art a practiced by Samuel McIntire, the master carpenter of Salem. Fruit ba kel al left was a favorite McIntire design. The medallion with crossed sword and bugle once decorated wood gale of Salem's Washington Common. Cornucopia at right was maJe for a McIntire card tahle. PEIRCE HOUSE, now a Salem museum, was built by McIntire about 1782. Its chaste facade i perfectly framed by the roof railing and classic corner pillars. w I:, I- ;: U) z >< w U) U) w ARMS OF MASSACHUSETTS were carved by McIntire, who also did eagle al right. One at left wa made in Baltimore by unknown carver to top a tall chest. �PATRIOTS AND CRAFTSlVIEN CONTINU ED SEAT FOR PORTRAIT of Roger Sherman, who signed Declaralion and U.S. Constilution, was a Connecticut Windsor chair. Painter was Ralph Earl. The versatile hoop-and-stick chair The Windsor chair, an English production which supposedly go t its name from George III, was vastly more popular in pre-Revo1utionary Ame rica than it ever became in the motherland. Craftsmen reveled in its varied shapes and uses and their cu tomers liked its form-fitting, hoop-backed comfort. The seats were hollowed out of unseasoned wood; as they dried they formed tight sockets for the legs which were turned in shapes to give extra streng th where needed. The backs, of resilient spindles fastened across the top by strips of hickory or ash, formed a light and strong, yet cheap, construction. American woodworkers showed the same freedom and versatility in making the more expensive chairs of t he period (below) . J w a ti ::i :i: fir w f- z 3: i::i w (/) ::i ::E f- z 0 Q. ::i C ti; ll'. ;;: :i: u :l ' ,( QUEEN ANNE STYLE varied with region. Chairs above (from left) are stiff, prim New England, solid, squat New York, gracefully curved Philadelphia. VARIED WINDSOR FORMS are arrayed here. At top, from left: fanback chair, step-down settee wiLh rockers, cradle, stool. Next row: comb-back �rrh chair, triple hoop-back settee, comb-back writing chair. Next r9w: brace-back tnchair, comb-back rocker. Bottom row: stool with vase-turned legs, child's settee, miniature bow-back, possibly carried as sample by chair salesmen, low-back armchair. The woods, painted in many colors, included maple, pine, tulip, ash. CONTINUED ON NEXT PAGE �• TILT-TOP T EA TABLE, made in Philadelphia before the Revolution, is a superb example of Chippendale. 'tPiecrust" edge is to keep cups from sliding off. Fine furniture • 1n American modes The unparalleled ' elegance of 18th Century English furnit ure, designed by such masters as Thomas Chippendale, George Hepplewhite and Thomas Sheraton, had its counterpart in America. But in copying English styles, the Americans made them simpler to emphasize the graceful lines . In the best English pieces the striking feature ·was the elaborate surface ornamentation; in the best American pieces it was in the body of the design itself. American cabinetmakers also created their own styles. John Goddard, a Newport Quaker, made the magnificent secretary at right and helped to originate its uniquely American block-front pattern. �ELLIPTICAL CO~IMODE made by Thomas Seymour of Boston about 1800 follows no one style. He was showing hi sh.ill in joinery and inlaying rare woods. 2 ::J w U) :i 2 1- z 0 a. ::J 0 T AMBOGR SECRETARY made by Seymour or his father is Boston version of Hepplewhite style, ·with special American touch shown in economy of ornament. w u z w 0 > 0 a: a. > t u 0 (/) J <( u ii: 0 1(f; i 0 z 5 ~ w MUSEUM 0 0 OF FINE ARTS, BOSTON :z: a: w :z: I- "B0 11BE" DESK, named for its flaring front and sides, was made in Massachusetts before 1760. Basic style is Italian baroque but indented fans are American. BLOCK-FRONT SECRETARY of warmly colored and perfectly matched mahogany was made about 1759 by John Goddard for Joseph Brown of Providence. The block-front pattern, with its alternating high and low panels, was an American design which had no counterpart in England. Here it is accentuated by the nine shell ornaments, carved in contrasting relief, and urns, rosettes and molded rolls of the pediment. CONTINUED ON NEXT PAGE �PKrRIOTs AND CRAF'I'SMEN CONTINU ED PHILADELPHIA EAST IND IAMAN, shown at Delaware wharf, was in China trade. Robert Morris, who signed Declaration, financed firs t trip in 178 J.. Chippendale style and China trade During and afler the l{evolulion a sudden desire for things Chinese swept the wealthier homes of America, in part due to a wartime urge to get rid of British influence entirely. Soon after the fighting ended, scores of handsome, fast-sailing American ships were turned toward China, whose tea, silks and porcelains were in great demand and produced huge profits. The ships also brought back lacquered screens, Oriental carvings and carpel , and exolic wallpapers to brighten the merchants' drawing rooms. The furnilure of Thomas Chippendale, who was strongly influenced by Chinese design, filled perfeclly wilh such decorations, and all these lhings togelher produced lhe slyle called Chinese Chippendale. The parlor at the righ l illuslrales the slyle al ils peak, ahou t 1790. The Chinese wallpaper sets the lone-an idealized landscape of peace and beauly, completely foreign to the troubled American scene, and more restful for thal reason. The furniture in this room was made in Charleslon and Philadelphia. Although based on Chippendale's de igns, its American workmanship is strongly evidenl in the straighl, sensible legs of the Chippendale side chairs and the magnificent sofa, which is upholstered in faded damask of the 18th Century. The mantel, with rococo carvings, is from the home of a former Philadelphia mayor. J lJJ 0 ci :i :i:: t- 0:: lJJ t- z j: i :i lJJ (/J :i :E >- t- z 0 0 0 al 0.. <( ::, 0 lJJ 0.. SALEM SQUARE-RIGGER, The George, was owned by Joseph Peabody. Salem's fleet brought fabulous wealth from China just after the Revolution. CHINESE PARLOR in the Du Pont Museum at Winterthur, Del. is a rich assemblage of American taste in the Revolutionary period. Oriental influence �extends to such details as the porcelain in the shell-shaped cupboard, japanned bellm,s and lacquered screens, and small pagodas which top the American-made andirons and are carved as "ears" on the Chippendale side chairs. The two-armed candlestands are purely American, designed to give better balance and light. ��RE, PA., ~UNDAY, MAY 2, l9::>4 Her Hob~y Helps andicappe Mrs. Dwight Fisher's Doll House Earns $611 for Crippled Children; House, Furnishings Made to Scale We often hear of the ho;,:;ii:>ylroom, every piece of furniture which turnt:i out to be e. money- every trinket is made to £,cale ... maker . . . and that's just wh<tt one inch to one foot. Mrs. Fisher has happened to Mrs Dwight h,a made or collected all of th Fisher's dolJ house. I...,a.st week hundreds of items in the various Mrs. Fisher turned over $5 to the rooms ... thf! 18th Century drawWyoming Valley Crippled Chi!- ing room, the living room in drcn's Association e.nd thia Chinese motif, the Victorian sit 'nought to $611.75 the total real- ting room. antique shop, Pennized from the exhibit of her minia_ 1 Dutch kitchen, colonial bedroom, ture house at the Boston Store I countr • storf! and game room. -;everal m'Jnths a.go. Ev ry cent Mrs. Fisher's doll house was disthat Mrs. Fisher receivl's from h~r played at the Hobby Sho unique display goes to charity ... \Vednesdav and Thur.sdav in the and whenever po (:;ible, to handi- Grar.e E,pi;cop.al Church. · She wilJ capped children. exhibit in \,Villiamsport at th Since Mrs. Fisher's display in Stearns Store for •the benefit of the Boston Store. two rooms have the Home Service Department of been added to the hou. e, mak;ng the Junior' League. Recently 1h a total of 10. She has added o.n minia ure doll house was exhibited early Amerlcan kitchen and a in Bloomsburg with over $200 . - - - - - - - - - -~ - - . - . - - - - -- - - - - - library which is typical of an old realized for the Bloomsburg Hos-[ THE DALLAS English manor house. Every ' pital Fund. j POST. DALLA8. P~NN Sampling Of .Antiques Last year's display of Mrs. Frederick P. Houghton, Furlong, ·Pa. at Prince of Peace Antiques Show. The show this year opens on Tuesday May 8 and continues through May· 9. Prince Of Peace Antiques Show Will Feature Six Miniature Rooms Like love and marriage, women and antiqu~ sales get along amiably. They seem to go t9gether as easily and romantically as one would su:ppoAse. ·1· ry of the Prince of Peace Yes when the Women s ux1 ia . Church • Dallas announced that its fourth annual 8 antdq~• sale w~uld be held Tuesday and Wednesday, May an , e saw a gleam coming into several women's. eyes. w so we decided to check with Mrs. Calv!n Hall, p~esf• dent a~d she informed us that all the usual de~1ghtful f~cl.es such as old prints, brass, crystal, china, furniture an no• a-brae would be for sale. h M M H R Weaver who is chairman told us t at rs. Dwigh~sFisher 'a lovely and gracious woman, will display her six-room mini~ture house. Several yea~s ago we ~ad the ?P· portunity to see this miniature collection o~ furn!ture which ranges from delicate period furniture to tmy sllver accesd sories Maybe we have never grown up, but for young an old Mrs. Fisher's display is a delight to feast the eyes and satisfy the heart. th Another feature that attracts us, and we are sure o er women is the fact that antiques, one or many, can change the co:itpie:xion or a room. They become focal points that iv. he added touch to living. O a more serious note, the proceeds raised from the aale will be used for the church. On more serious note, the proceeds raised from the sale will be used for the church. . Joanie Flack and Alice Doran, who are cocha1n:nan, seem to bf! motivated with a superior zest to make this ~how,a suc<'ess. We women could never let them down, could we. IF'ourth Annual Antiques Show Everything in these tiny · rooms, will be held at the Parish Hall of which range from Early American the Prince of Peace Episcopal Church to Modern, is in scale and complete on · Tuesday May 8, and Wednesday to \he finest detail. Ma,y 9 from l!l a.m. to '10 p.m. Sponsored. by the Woman's Auxiliary of the church, the exhibit will feature old prints, china, glass- , ware and furniture. A snack bar offering sandwiches, soup, beverage, ' and dessert will be qpen. j An unusual attraction will be a miniature exhibit of six rooms, dec1 orated by Mrs. Dwight K. Fisher. �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Digital exhibits for the Dollhouse Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mrs. Fisher's Dollhouse Scrapbook, pt.2 Creator An entity primarily responsible for making the resource Mignonette Fisher, 1895-1968 Date A point or period of time associated with an event in the lifecycle of the resource 1940s-1960s Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Scrapbook