1 15 4130 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 https://omeka.wilkes.edu/omeka/files/original/92be85a17f638c001f6e0778201ad1d0.pdf 555fc7c5973f597ec9cbcda10487f84f PDF Text Text �• EXHIBITED AT Boston Store LOWER LEVEL MAY 1O · 11 - 1~ BY . . MRS. DWIG~T FIS~~R ,.""~eeds Will Benefit: Four Local Hospitals Gener, I, Wyoming Valley,.Nesbitt: Memorial and Voluntary ontribution ercy �XHIBLTION ~-q;~~~ MINIATURE ROOMS ~ AY 10th. 11th. 1~th - Benefit MERCY HOSPITAL NESBITT MEMORIAL WILKES-BARRE WYOMING GEN'L VALLEY ?~ z,~ HOSP. HOSP. HOSP. ad 1U~ 1U~~-~ .v.. '' Thursday - 12:00 to 8:30 Friday - 10: 00 to 5:30 Saturday - 10:00 to 5:30 ~ol u21tary 0021 tri butio21s �Admiring Mrs. Fisbe.r· s Miniature Rooms Mrs. Roswell Patterson and Mrs. Paul Daily get a prevue of the miniature rooms which will be on display at Prince of Peace Antiques Show Tuesday and Wednesday from 11 a.m. to 10 p.m. Painstakingly assembled by Mrs. Dwight Fisher on a .SiX Tiny Rooms . To Be Shown .Antiques Show To Feature 'Miniatures Six of Mrs. Dwight Fisher's miniature rooms will be on display at the Prince of Peace Antiques Show April 8 and 9, to provide added attraction for the fourth annual show. These rooms trace the his- · tory of style from Colonial times, through Pennsylvania Dutch and Mid-Victorian, to the room of to- morrow. Many of the pieces are of her own painstaking construction. 1 Tiny ladderbacks show woven rush seats, and Pennsylvania dower chests the characteristic stencilling. LEach room repays careful study to identify all the items. Offerings will include some specialties, such as a child's bowl and pitcher in Robinson Crusoe design, and a tavern table from New England in rough condition. I scale of one inch to the foot, they are complete in every detail. They have been shown recently at the Boston Store for the benefit of the Wheel Chair Association. -Photo by Hudson �Mrs. Fisher's Miniature Rooms Are Featured In Hobby Magazine Mountain residents who py, its light draperies reflected in Mrs. ~wight . Fisher's I ~he frilly window curtains. There m.m1ature rorons, filled with en- 1s a brass bedwarmer and a gaily chanting little reproductions of painted dower . chest. perio~ furniture, will_ b_e delighted \ The kitchen is a dream room. A that five of t~e ten mm1ature r<;>oms · Boston rocker stands by the fireare .. featu:ed m the Fe~ruary issue place, paintstakingly constructed by of Ho~bies, the Magazine for Col- l Mrs. Fisher from tiny rocks found lectors. I 1n · l1er own d raveway. · C oo k"mg uten. . Reproduced ar~: the Victorian sils hang in its depths and in a Pf1rlor; the Colomal Bedroom; the . ' · ,-. t h K"t h h warm corner is ,t he m::i.mmy-benoh, P ennsyl vao1a tLJU o 1 c en; t e th dl · L"b d tlt A t' SJ I e era e where a busy houseWJtfe 1 rary; ~n e n ique iop. . dropped down betweoo household 'Mrs. Fisher has shown her tmy tasks to rock the baby to sleep rooms, assembled on a scale of one 1 • • ' inch to one foot, a number of ~nug m its slatted_ enclosure, and times in the Dallas area. The m no danger of fallmg to the floor. Library Book Club enjoyed the exThe L:brary has a stained glass hibit .several years ago. window reaching almost to the She goes into endless meticulous peak of the high arohed Gothic detail to make her rooms look lived ceiling. A beautiful chandelier hangs in by tiny Victorian or Pioneer from the ceiling, and hi:gh ibookg,h osts. Newspapers, little lamps, shelves hold many volumes. There books, baskets, dishes, a bit of is even a tall ladder, designed for fancy work, bring the p:ulor up from a small ghost's use in reaching the a skelet,on, furnishing the usu.J.l ba,re h :gher shelves. CrimS()n velvet dra,pbones with pleasing curves. Mrs. eries give a warm and mellow note Fisher uses wallp~er, mirrors, chan- to this inter,i or. deliers, an ornate "thrOIW" for the The Antique Shop holds just about piano, heavy draperies, cushio..ris on everything that might be found at the couch, a hobby-horse for the a country ' auction, ll1P to and indudbaby of the fa1:1ily. I ing a cigar-s~ore Indian. The_re's a In her Colonial bedroom, a four- 1 washstand with bowl and pitcher, post bed holds the center of the a Boston rocker, lamps, ga,d gets, 150 stage, complete with ruffled cano- pieces in miniature. I Back h~v~ seen 1 I. I �Ohe 'Women's Ol.uxiliary OF THE WILKES-BARRE GENERAL HOSPITAL o't \~ 6\ t~ 0-'--lcL w u..~ \J . a_ ' ~~&-· o... ~~(_ \0Ao-s~ G-...~ ' i._ Q_ \<\~~ ~~~t~ · tl-~ WYOMING VALLEY HOSPITAL WOMEN'S AUXILIARY 149 DANA STREET WILKES-BARRE, PENNSYLVANIA May 31, 1962 M~s. Dwight Fisher Pioneer Ave. Dallas, Pa. Dear Mrs. Fisher: We would like to express our s:hncere th~nks and appreciation for your recent kindnes~ and thoughtfulnes~ in displaying your lovely miniature furniture collection for the benefit of the hospitals. It was not only a pleasure for the public to be able to see your delightful collection, but the proceeds from it will also be used to great advantage for the hospital. Sincerely yours, t ~/4v Albert Edwards ~ . tltA~':Y Mrs. Corresponding Sec'y. �:.. NESBITT MEMORIAL HOSPITAL 562 WYOMING AVENUE, KINGSTON, PA. DAVID G. SAVES, ADMINISTRATOR May 18, 1962 "') Mrs. Dwight K. Fisher Pioneer Avenue Shavertown, Pa. Dear Mrs. Fisher: We received $150 today from Fowler, Dick, and Walker representing contributions which had been made in appreciation of your display of miniature rooms which was ~eld in the Boston Store. We would like to express to you our thanks and appreciation for your thoughtfulness and interest in the local hospitals. We are especially appreciative of your cooperation and interest in this hospital over the years and if we ever may be of service to you, please do not hesitate to call upon us. +tz,uL ;;n;~.~~ /'i-' '.d sa,/. D. G. Administrator WYOMING VALLEY HOSPITAL WOMEN'S AUXILIARY 149 DANA STREET WILKES-BARRE, PENNSYLVANIA From the Desk of - May 31, 1962 DR. GEORGE A. HUTTER Frank Clark, Jeweler 63 S. Main St. Wilkes-Barre, Pa. Gentlemen: We would like to ex ~ress our sincere thanks, and appreciation, for the contribution we received from the recent display of Mrs. Dwight Fisher's miniature furnitur collection. Yours truly, ~ - atafA~ 6c1-(_1-_~~~ Mrs. Albert Edwards Corresponding ~ec_y. -- �Miniature Rooms · To Be Qn Display WILKES COLLEGE WILKES• BARRE PENNSYLVANIA The Library, December 9, 1958. Mrs. Dwight Fisher, Pioneer Ave., Dallas, Pa. Dear Mrs. Fisher: We would like to thank you for having the exhibit of your miniature furniture in our library. ' Our faculty members and students, and especially the library staff, enjoyed having you here and talking to you about your very interesting hobby. Sincerely, 0-&L Jl) U,M__/leQMrs. Dwight Fisher I {Mrs.) Nada Vujica, Librarian. A unique exhibit of miniature room settings owned by Mrs. Dwight Fisher. Dallas, will be on display at the Wilkes CollagE! Library, . Tuesday and Wednesday, Dec. 2 and 3, from 8 a. m. to 9 :30 p. m. These settings are part of the collection which Mrs. Fisher hegan ten years ago, and in addition to the furnishings she has unearthed from far and wide, many of them were handmade and decorated. Included in the collection are / l!l Victorian livingroom, an 18th 8entury drawingroom. country store, European library, penthouse, authentic Pennsylvania~/ Dutch kitchen, game room, ani/ a Colonial bedroom. Hundreds of items arE> lnclode in the miniature room settin all measured from an inch to th foot in scale. A special tea has hPen nlanne for the college faculty memhP and their wives to meet Mr Fisher at the Wilk('s Librar December 2, from 4 :30 to 6 p . Mrs. Dwight Hosts will be Dr. and ~M Dallas Eugene S. Farley. t WILKES COLLEGE WIL.KES.BARRE PENNSYLVANIA December 6, 1958 Fisher Pennsylvania Dear Mrs. Fisher: Thank you for the enclosed photograph and clipping, and for the use of your scrapbook during the recent showing of your excellent collection of miniature furnitureo They proved extremely helpful in doing the newspaper releases. ' l To Show Miniatures Your collection proved every bit as exciting as you explained it and as it was explained in your scrapbook. Mrs. Dwight Fisher, Pioneer Avenue, will show ten rooms of minNV/wjs iatures in Wilkes College Library ,.__ _ _ _ - ~ - - - - ~ - - - - - - - - - - - - - - - - - - - - - Tuesday and Wednesday. Hours are from · 8 a. m. to 9:,30 p. m. Members of the facu_lty will meet Mrs. Fishe1· at a tea gi;ven on Tues"there was a great deal of excitement Ia:s t week i_n Kirby day ' i~ the library, by President and Hall of Wilkes College where Mrs. Dwight F:1soher d1sp1'ayed Mrs. Eugene Farley._ her fa!bulous doll house and its ful'11,i'Sihings. No matter what Mrs. Fisher has sho\\;'.n her minage you are the deJiicate items that she has gathered fl"~ all ia tu~e furnitnre on several occasions corners of the world are delightful to t1he eye .. Ea~h httltle in the Back Mountain. . Furnitur, piece of furniture is designed and sicaled to size and the in'tricate details are amazing. It was a really great treat fior ! i.s on ·the scale of an inch to a foo/ Enclosures one and all. 1 and interiors are marvelously car plete . '.fhe . Victoria°: living rcr;-," - - - - and ~he Pennsylvania Dutch kit' attract much _attention. ~, Continued success in your project. I Respectfully yours, :J /,(~~ --«~ /! ' William A. Zdancewicz Director of Public Relation~ URDAY, .NOVEMBE~ 29, 1958 Miniatur'e Furniture .1 A miniatur~ furniture collt"dion, owned by Mrs. Dwight Fi~hrr of Dallas. \Vill b _e on display at the Lib1•ary of Wilkes CollPge on Tuesday and \VC'dnC'sday from 8 a. m. to 9:30 p. m. These miniature>s, a few of which are pkturect above. are housf'd in 'JO diffrren1 sf'ttings ranging from a beautiful penthousP, a Vktorian living rnnm, an authentic PennsylvaniaDuteh kiteh<'n, a country store, a ~ame room. A European Librn1·y, a Colonial bedroom, to an 18th CPntury drawing room. 1\frs. Fisher has devoted the last 10 year.s to collecting 1hec;e intricately carved models of period pie>ces. Each detail i-.c; eanied .out to perfection in the hundreds of items that make up the miniature collection. The furnishings measure from an in<·h to the foot Jn scale. . . . The Country S1on• scene is a true reminder or Colo~1al days with its pot-bellied stove, tiny pieces of anthracite, meat cutting block. and sawdust ~cattered oveJ· the floor. The Colonial bedroom f Patures a canopif'd hed of mah11g;uw and period furniture. The penthouse is done in· Chinese motif. The colltction C"ontains many miniatur~s nf g1 f'.'at \'alue. The public is invited to attend this two-day showing of miniRture furnitur~. �January . 6 , 1056 Dear Pl.rs . Fisher: The Civic Club of Le dsbur~, Penna, wishes to thank you for your p,enerosity in bring the miniature rooms to Leii'.risburf- , without charge . Your kindness in bringing the exhibit , disnlaving them , and giving so generously of your time, also, was indeed without precedent . Again we wish to thank you . PACKWOOD Sincerely. ~ - (}. IP. , ; { ~ . _________________________ Correspo~ing Secetary .._____ --, ~~,.r~ ~ A cha de red non-prof! orga niza tion dedicated to lending wheel chairs and walkers to the needy wi!hou! cost THE WHEEL CHAIR CLUB . INC . IIousE LEWISBURG-n, PENNSYLVANIA P'.PA 96 WEST SOUTH STREET WILKES-BARRE , PA . Dear Migonette: Thank you again for the lift you gave us. Not just the money, but you made us feel worth-while, because you would take all that trouble to help us. We deeply appreciate it, and are most grateful to you. Please continue the good work,for you put the personal effort back of it,which is beyond price. It is an inspiration. Always affectionately, I �Don't Be A Sissy! 'You've Had Your Fun! FALL ISSUE little news I have was given to me by Fannie Hellner Moore, who, as you know, is teaching music at Marjorie Webster. Mignonette Dick Fisher ( '12) who lives in Dallas, Pennsylvania, has the interesting hobby of making miniature rooms - a colonial living room completely furnished, an antique shop and a country store are some of her special ones. These have attracted a great deal of attention and she loans them out for exhibition. Orceil Brown Davis ( '27) has opened a gift shop in Kingston, Pa. Her father has one of the finest food stores and cafeterias in Eastern Pennsylvania. She also makes baby pictures, called Sparkle Prayer Pictures. ' e 1?ennsylvania Dutch exhibit by Mrs. Mary Bittenbender Nelson Dust off that little red trike that Junior used to love unpack the golden haired doll that Sue rocked to sleep' w~e~l, o~t that beloved perambulator of Ann's, rinse off• Lizzie s iron stone doll dishes, patch up John's chipmunk cage, sponge Marge's sassy pickaninny doll and send them to the Library Auction They'll make some other little boy or girl happy-and buy books for the Library. _SPECIA_L_ N~TICE: Mrs. Dwight Fisher is redecoratmg, refm1shmg, recarpeting, and refurnishing a lovely_ old doll house given to the LIBRARY AUCTION Ahc~ Ho~ell-and while she has, as you know, many mterestmg pieces of her own to use, can still use more. . If you have a miniature chair, bed, sofa, baby carriage, ~oll! clock, or any other piece that you feel would !o~k me; m the house, why don't you call her and offer it· You_ II get a whale of a kick out of seeing it there at the auction! ?Y I and Mrs. Dwight Fisher of Dallas, is a fitting tribute to the Commonwealth. Mrs. Fisher's miniatures, authentic copies of designs inched to the foot, look like something from a !airy tale. IShows Miniatures Mrs. Dwight Fisher, Pioneer Avenue, is in Lewisburg today where she is showing her miniature rooms, now filled with many new pieces, at the Lewisburg Hotel. Proceeds will he used for benefit of the Welfare Fund of Lewisburg Civic Club. Mrs. Jam.es P. Harris, Kingston, accompanied her. CHURCH Y WILL HOLD A JTIQUES SHOW . Fourth annual ~ntiques show of · the Woman's Auxiliary of Prmce of Peace Episcopal Chmch, Dallas, ·will be held Tuesdav and We?nesclay, l\lay 8 and 9. in the parish hall of the church. Th~ show \\ 111 op011 at 11 a. m. and close at 10 p, m. both days. Plans for the affair were ar- -- - · - - - -- - -· l'angcd at a recent rnceUng at I handwork of !llrs. Dwight K. the home of Mrs. H. Robert I . \iVeaver, .Sutton -Road, Trucks- Fisher. . ville. I Heading the c.-ommittees are A1~1ong items on. d_h;play will Mrs. H. Robert Weai,;er, chair• b: s~x 1:oon~s of_ mmu~ture fur- / man; Mrs. Charles D. Flack mtme iang!ng m periods from and Mrs. Henry F. Doran co• early Amer1t·Rn to modern, the lchalrmen. . ' ' Antique Show Month E;arlier Prince of Peace Affair 'May 8 and 9 · Date for the fourth annual antiques show of the Ladies Auxiliary of Prince of Peace Church has been moved ahead this year and will be presented on Tuesday and Wednesday, May 8 and 9, instead of in June as in previous years. -The change of date meets with enthusiastic approval of exhibitors, eight of whom have already signed up_ for space. One of the features this year will be the exhibition of six rooms of miniature furniture by Mrs. Dw~ght Fisher. General chairman is Mrs. Charles D. Flack with Mrs. Henry F. Doran and Mrs. H. Robert Weaver as cochairman. Mrs. Paul Daily is in charge of publicity. 1 1 1 I Mignonette Dick Fisher, '13, recently displayed her fascinating collection of ten miniature rooms for the benefit of charity. Mignonette has been assembling her miniature rooms over a period of nine years and has collected furnishings from all parts of the world; many items she has made herself. Each time the display is set up she must put 535 separate objects in place. All are in scale of one inch to the foot. Mignonette makes her home in Dallas, �Wyoming Valley Crippled Children's Association 71 North Franklin Street WiIkes-Barre, Pa. Miriam Breese Velasco Executive Secretary ·t April 29, 195.3 Mrs. Dwight K. Fisher Pioneer Avenue Dallas, Pa. Dear Mrs. Fisher: What a perfectly charming and thoughtful way to have conceived to raise money for our Cerebral Palsy Clinic. The miniature house was a joy to behold, and everyon who saw it derived great pleasure from viewing the exquisite miniatuves. You got intense soul satisfaction in searching out and creating the lovely objects and by exhibiting them to the community, we too have many cherished memories but paramount is the noble idea that you had in mind to bring added comfort, cheer and service to our handicapped children . With deep appreciation of your generous time and effort that you gave to exhibit your treasured house , we remain Sincerely you) Jo/.~f;izma~ President HBS:IMS ,- executive :::iecretary July 23, 195.3 Mrs. Dwight K. Fisher Pioneer Road Dallas, Pa. Dear Mignonette: Just -a note to tell th t we received a very nice letter d you ~- yesterday, of $5:00, from Mrs. Barbara Bittanb check in the amount contribution for the · miniat dien ender, Plymouth, a ure splay fund. This brings the total to $596.75. gift, and we that we were I thought you would like to know of this ~:;eormw~itten Mrs. Bittenbende~ telling her ng you of her thouahtfulness and k. d 0 in ness. Sincerely yours, 1)7 . ';J3~ Mi;~eese Velasco Executive Secretary MBV:IMS a£JDc, �Wyoming Valley Crippled Children's Association 71 North Franklin Street Wi Ikes-Barre, Pa . Miriam Breese Velasco Executive Secretary Wyoming Valley Crippled Children's Association 71 North Franklin Street Wilkes-Barre, Pa. Miriam Breese Velasco Executive Secretary July 23, 1953 Mrs. Dwight K. Fisher Pioneer Road Dallas, Pa. Dear Mignonette: Just a note to tell you that yesterday, we received a very nice letter, and check in the amount of $5.00, from Mrs. Barbara Bittenbender, Plymouth, a contribution for the miniature display fund. This brings the total to $596.75. I thought you would like to know of this gift, and we have written Mrs. Bittenbender telling her that we were informing you of her thou ghtfulness and kindness. ~r::::J§~{U}6CJ t Mi~iam B~eese Velasco Executive Secretary MBV:IMS �7 DAILY EXCEPT SUNDAY TELEPHONES : BERWICK 3645 • 3646 BERWICK ENTERPRISE ":J3erwlck's 1.,{nexcefleJ GfJverlislnq _J,/eJium" BERWICK, PENNSYLVANIA M . R . JOHNSON, PUBL I SHER November 2, 1953 Dear Mrs . Fisher , Bloomsburg, I wa.s sorry not to meet you at as those planned , hut my working hours are the same and <3aturday we were out of town . and everyone who I love anything like that saw them tells me they thought they were beautiful . I am en losing clippings in case you wish to send any of your friends a copy . With all beet wish , I am Sincerely , ~~~ �Dea.r Mrs. Fisher, I was sorry not to meet you at Bloomsburg, hut my working hours are the same as those planned, and aturday we were out of town. I love anything like that and everyone who saw them tells me they thought they were beautiful. I am en losing clippings in case you wish to send any of your friends a copy. With all best wish, I am �WYOMING VALLEY C9rippled C9hildren' s ftssociation 71 North Franklin Street • Wilkes-Barre • Pennsylvania Thi.r /J.r.rociation i.r a private charitable organization that cooperate.r with hut doe.r no/ duplicate the work of other public or private agencie.r. Ii aid.r the crippled child throughout il.r area regardle.r.r of race and creed whether crippkd through birth, di.rea.re or accident. The only condition for aid i.r a ,,a/id need not olherwi.re pro,•ided Jar. ''' EASTER SEALS HELP CRIPPLED CHILDREN LOUIS J. PUR VIN Seal Sale Chairman VERN A. PHILLABAUM Co-Chairman April 16, 1953 BOARD OF DIRECTORS MRS. IIANNAJI 8. SALZMAN President FRANK WALLACE First Vice President JUSTIN BERGMAN, JR. Dear Friends, Second Vice !'resident MRS. F. EDGAR KUDLIC!J SecrP.tary WM. C. MAXWELL Treasurer ALLEN E. HACON MRS. MYRON BAKER KENN ETH S. BITTEN BENDER COL. fl. F. EVANS ROBERT W. GLOMAN MRS. WILSON C. MARSDEN VERN A. PHILL ADAU~1 LOUIS J. PURVIN EDWARD J. QUINN MRS. EBEN SIIAFFER REV. W. IIERBERT SUGDEN CHARLES F. TERRY W. GORDON WILLIM,IS UONORARY DIRECTORS 1{. LAWRENCE COUGHLIN MRS. JAMES McCRINDLE Surgeon-in-chnrge DR. IIARRY A. S~IIT!f On Monday, 'fu.esday and Wednesday of next week, April 20th, 21st and 22nd, Mrs. Mignonette Dick Fisher, a person who has been deeply interested in the work of the Crippled Children's Association for many years, is going to exhibit her beautiful eight room doll house on the second floor of the Boston Store (Fowler, Dick and ~valker) from lOcOO A.M., until 5130 P.M., for the benefit of our Cerebral Palsy Clinic. We are sure that you and your family will want to see this interesting nome that has b~en constructed in miniature form. All furnishings are exact reproductions of real pieces. The children will love it and so will the grownups. EXECUTIVE SECRETARY MIRIAM HREl':SE VELASCO There will be no definite charge for this wonderful display but you may contribute a voluntary offering if you c~re to do so. We should like to urge you to avail yourself of this opportunity for you will not only derive great pleasure from it yourself, but by so doing you will help further the work of the clinic. Sin:ly y~~JiL(X} ~ a m ~ S e Velasco UBV:mra Executive Secretary 125 letters as above, sent out April 17, 1953. AFFILIATED WITH THE PENNSYLVANIA AND NATIONAL SOCIETIES FOR CRIPPLED CHILDREN AND ADULTS, INC. �WYOMING VALLEY @rippled C9hildren's flssociation 71 North Franklin Street • Wilkes-Barre Junior League of Williemsport, Inc. 620 West Fourth Street Williemsport I, Pennsylvenie • Pennsvlvania ~ �WYOMING VALLEY C9rippled C9hildren's :Association 71 North FrankliO: Street • Wilkes-Barre • (/4__ ~ ~-~ ~ - ~~ r ' bL- ~ ~ / ~ ~·, v ~ dA- ?~ {jl<--<--- ~l7 ~ . C /~ ~ e;x~~ Pennsvlvania ~ �VISITING NURSE ASSOCIATION OF SCRANTON AND LACKAWANNA COUNTY 324 CHAMBER OF COMMERCE SCRANTON 3, PENNA. DIAMOND 2-7641 ARTHUR F. HORWITZ ELIZABETH DECKER, R, N. PRESIDENT EXECUTIVE DIRECTOR April 26, 1956 Mrs. Dwight Fisher Pioneer Avenue Dallas, Pa. Dear Hrs. Fisher: On behalf of the oard of Directors of the Visiting Nurse Association of Scranton and Lackawanna County, I am writinG to express our thanks for your kindness, time and trouble for the exhibit of the miniature rooms at the ~tJaverly Colrw.unity House on April 13th and 14th. It is with a great deal of mortification that I learned about the poor attendance for such an attractive exhibit. Miss Decker, our executive director, has told me of her talk with you and her suggestions. I was sorry that I was out of town on a buying trip and unable to see it, but hope that at sorne future date we might be able to make plans with you for a showing at some other place. \'Je would promise that our committee would work very diligently on publicity and contacts. Thank you again for all your time; we do regret the outcome. AFH:mmb MEMBER OF THE FEDERATED COMMUNITY CHESTS �' Wyoming Valley Crippled Children's Association 71 North Franklin Street Miriam Breese Velasco Wilkes-Barre, Pa. Executive Secretary May 17, 1956 Mrs. Dwight K. Fisher Box 21-A Dallas, Pennsylvania Dear Mrs. Fisher: The Board of Directors of the Wyoming ¥alley Crippled Children's Association wishes to take this opportunity of again expressing to you their sincere appreciation for your long continued interest and support of the program of the Association. Your personal assistance and generosity have been unsurpassed by anyone we have ever known. The monies realized through your wonderful exhibit has been the means of helping many handicapped kiddies as well as bringing them much happiness. We are, indeed, deeply grateful to you. Gratefully JB:IMS t �r EXHIBIT.ION OF MRS., DWIGHT FISHERfS MINIATURE ROOMS Benefit of Scranton 1 s Visiting Nurse Association Waverly Community House At Waverly Community House Friday,April 13th Saturday ,April 14th Th, .. ill . 'Ul and Waverly,Pa. 12 :00 to 9 :00 P .1-i .. 10:00 to 4:00 P.lI. Voluntary Contribution MINIATURE ROOMS EXHIBITED ••• An exhibition of Mrs. Dwight Fisher's miniature rooms, co-sponsored by the Visiting Nuirse Association of Scranton and Lackawanna County and the Waverly Community House, opened yesterday at the Waverly Community House and will continue today from 10 a. m. to 4 p. m. In the collection are 10 rooms, measuring 17 by 13 inches, and 528 items, each made to scale. The rooms include an antique shop garden, colonial room, 18th Century drawing room and hall, country store and street, Pennsylvania Dutch kitchen and bedroom, Early American room, Victorian parlor and hall, a game room, penthouse and terrace and library. Seated is Mrs. William Benger. Standing are; Mrs. John Gilboy, Mrs. Saron Warman and Mrs. Howard Spencer. (Tribune Photo) < �• 535 ObJects • R00ms ll 1ny MINIATURE ROOM DISPI.1AYED I T · Miniatures wi11 Be howu for Charities iascinating fumishings and accessories - the wagon \\ heel chandlier, granny afghan, a cigar-store Indian marked P. Lorillard Compan~ , fal se teelh in a glass by the bed, apple::, on the table. Several rooms and many fnrnishings have been added to the collection since it was 1asl ai:th played in is area. A fascinating collecion of 10 room settings in miniature, the hobby of Mrs. Dwight Fisher of Pioneer Road, Dallas, wi 11 be on display Thursday, Friday and Saturday on the second floor of Fowler, Dick and Walker as a benefit for the W;yoming Valley Crippled Children's Association and the Wheelchair Club, Jne. 'l'here will· be no admission charge, but donations will be \'.:'.' :'.'. accepted and turned over to the Many Persons See Exhibit :Miniature Rooms Are on Display I \\\\i\\\i ch:~~!~bl~i!~!~~tu~~;s. been aslW) s~mbli~g her 10 miniature :r ooms :,w. over nme years. She has col{@ lected furnishings and bric-a-brac 1 \::.~ from many parts of the world . . . . , . . . . . and has made many of the items \ . Three directors _of. Wy ommg Valley CqJ?P~ed Children s ~ssociabo~ watch Lucille Amico, herself. She has displayed the a patient at the assoc1at1ons 1 cerebral palsy clime, as she admires the tmy room on the table. rooms in communities through Directors, left to right, are Kenneth Bittenbender, Mrs. Raymond T. Russell and Mrs. Hannah the State, always without charge, \ B. Salzman. Ten "miniature rooms" will be displayed in the Boston Store Thursday, Friday a. her contribution to charitJ- . . Each time the display is set uo, •an~ Satul'day by Mrs. Dwight Fisher for the benefit of the Cripple Children's Association and the Wheelchair Club, Inc. Lucine is sitting in one of the new lightweight folding chairs she must p1ace 535 separate ob· \ available through the Wheelchair club. Mrs. Paul Bedford is founder and president of jects, many minute in size. Scale the club. is one inch to a foot. \ *\ Rooms included in the minia:ture display are the Victorian 1 parlor, country store and po~t office, Penn-Dutch kitchen, Calonial bedroom, Early American room, modern-day Ameriean, the Antique Shop, 18lh Century drawing room, library ! and modern pent house . Sharp eyes will find many Ten miniature rooms assembled oyer the last nine years will be displayed by Mrs. Dwight Fisher of Dallas beginning today on the second floor of Fowler, Dick and ~alker as a benefit for the Wyommg Valley Crippled Children's Association and The Wheel Chair Club, Inc. Exhibit includes Victorian parlor, country store and post office TUESDAY EVENING, APRIL Penn-Dutch kitchen, Coloniai bedroom, Early American room n:iodern-day American, th?. An~ ~ique Shop, 18th Century drawmg room, library and modern penthouse. Mrs. Paul Bedford. founder ot The Wheel ~hair Club, and a group of assistants will be on han? tC? explain work of the or' ga~izat10n. Mrs. Fisher will be ass1stE:d by the following: Mrs. Fr~n~is 0. Case, Mrs. C. Hayden Phillips, Mrs. E. W. Gale, JVIrs. JamE:s O'Boyle, Mrs. James P. Harns, Mrs. Hamer Mainwaring Mrs. Sheldon Wimpfen, Mrs'. Floyd Sanders, Mrs. Arthur H. James, Mrs. _Wallace Wakefield. . The benefit display will contmue through Saturday. 1 I lMiniature Rooms Display to Open WILKES-BARRE, PA., 3, 1956 Display Of Miniatures To Aid Crippled Children I ··In~itation was exte;ded to the cha~ter from Mrs. Paul Bedford, President of Wheel Chair Club Incorporated, _and Justin Berg~ man, Jr., )?resident of Wyoming Val_leJ'." Crippled Children's Assoc1at1on, to visit an exhibition of rare miniatures to be presented ~Y. !'{rs. Dwight Fisher. The exhibition will be held April 5, 6 a nd 7 on the second floor of the Boston Store for benefit of the two organizations. l\:feeiing was opened with invocatwn by the chaplain, Mrs. Frank Jacobs, followed by the pledge of allegiance to the flag. Present: Mrs. Ralph Miller Shenandoah; Mrs. Marian Hobbs' Mrs. Frederick Hause Mrs' Frank Jacobs, Mrs. Jam~s Reff~ ner, P o t ts vi 11 e; Mrs. Floyd Marotte, Mrs. Guy Waltman Miss Sarah Warner, Orwfas : · M~s. Ge?rge Stine, Pine Grove· · ~iss Allee Wilkinson, Miners: 1 vil_le; Mrs. Luther Roth, Mrs. · Wilham Stark Tompkins, Mrs. ' John A. Gay, Wilkes-Bal'I'e. Hundreds of shopper the last hvo balmy days have :matched a J'ew relaxing moments admiring the display of miniature room~. the work of Mrs. Dwight K Fisher, on second floor of The Boston Store. The exhibit, p e r f e ct in its minute detail in scale of one inch ! to a foot is for the benefit of Wyoming Valley Crippled Children's Association and The Wheel Chair Club, Inc., and continues today, There is no admission charge but donations will be turned over to the two charitable institutions. In the foreground of the display is a super-deluxe wheel chair, named by Mrs. Faul Bedford, founder of Wilkes-Barre's Wheel Chaii· Club, in honor of Mrs. Mamie Eisenhower. The club also has a Gen. Eisenhower wheel chair, now out on an emergenc • 'fhe miniature rnom hobby, started in May, 1947, by Mrs. Fisher has demanded many hours of time and much research. It has 535 pieces. Furnishings and bric-a-brac for the tiny rooms have come from over the world but many have been made by Mrs. Fisher. A glimpse into the "elegant" days is provided in the 18th Century drawing room. An eye· catching bit in the room is a candelabra Mrs. Fisher created from a t>iece of jewelry. A portrait by Niccolo Cortiglia hangs over the fireplace. The1-e is a copy of a portratt of George Washington bY Stuart; a milk glass compote; a rug from the dollhouse of Mrs. Charles B. Waller; pair of Staffordshire dogs. From a tiny door in the rear the hall beyond is visible, lending depth to the miniature. The early American kitchen' has an antique fireplace at one side of the room. A bright hooked rug of colonial design covers the floor. Cooking utensils are of pewter, pottery or wood. The homespun flavor is heightened by a cluster of ears of yellowed corn hanging to dry from the ceiling. In the country store. Mrs. Fisher has captured the now almost extinct institution. It has a pot-belly stove and sawdust on the floor; flypaper dangling from the ceiling; bell over the store door; the meat butcher's block with side of beef and the Post Office in the rear. The Victorian parlor ha~ flowered wallpaper and carpet, oak furniture with plum velvet upholstering, rose satin drapes. lace. curtains, upright piano with music, shell on the marble top table to listen to the ocean, beaded curtains in the hall doorway, bear rug and granny afghan. The tiny library has a stained glass window as a backdrop, crimson drapes, high back tapestry chairs and walls of books with ladder to reach the top. Mrs. Fisher hasn't overlooked the modern in execution of her hobby. Chinese decor 1s used in this type room. Daughters of American Colonists made the tour of exhibit in a group yesterday. Quota Club members who have assisted in explaining the work of the Wheel Chair Club and describing the exhibit are Misses Pauline Lacey, Ruth Gearhart, Madge Finney, Lottie Briggs, Mary Quinn. Catherine Haggerty, Claudia L. Mann, Elizabeth NeGray, Dr. Jnez Husted, :Mrs. ~1ary Kennedy, Mrs. Eleanor Seymoui and Mrs. Vernice W~bb. ! -.;,:,.,. ::\Irr,;. Dwight Fisher of Dallas, '"ill display --Ace Hoffman photo her collection of miniature rooms for th e Little Lucille Amico, a patient a1 the ben~tit of tl~c ~\'yoming Valley Crippled Chi1· Cerebral Pals. Clinic of the Crippled Chil· dren s Association and the \Vheelchair Club d ren •,; A ssoc1ation · · · seen admiring a tiny Inc. on '.fhursda,,, Friday and Saturday at the' ., canopy bed from theu, coJlection. T, ·o associa• ~oston _Store, second f1001·, during sto1;e hours. tion directors looking on are l\lrs. Hannah B. She will be assisted by Mrs. Paul Beclfol'd Salzman, kneeling, and l\lrs. Raymond T. a_nd ~lrs .•James .P. Ha~ r r_i_s·~ _ ___,_ __ _ ___R::.:.::u.::. ss:.:e:.:J::: J,_s:::t:.:a:.:.n::<:l i:n:;.g:.·:· ........:.·---~0 �J EXHIBITION of MRS. DWIGHT FISHER'S MINIATURE ROOMS BEN~FIT OF .. • AND AT . . . THE BOSTON STORE, n-lURSDAY, APRIL 5, FRIDAY, . . APRIL 6, SATURDAY, APRIL 7, Voluntary WILKES-BARRE, PA. 12:00 to 8:30 P.M. 10:00 to 5:30 P.M. 10:00 to 5:30 P.M. Contribution �A ~obbyist With a Mrs. Dwight Fisher Will Display Her Fascin,ating Miniature Rooms For Benefit of Crippled Children Mrs. Dwight Fisher on 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~·- - - -- - - - - -- - 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 i n t Pennsylvania Dutch in scale of one inch to a foot. kitchen. The tiny primitively Handmade furnishings and bric- decorated settee rockers and , a· brae for the tiny rooms come doughtray are r~productions of from all over the world, but authentic pieces and were done many have been made by Mrs. by Frank Bittenbender and his Fisher hers.elf. The~e _are hun- daughter, Mrs. Mary Nelson of ?reds of tmy furmshmgs, 535 Park Place, Kingston. In this items to be exact. room Mrs. Fisher has captured .~rs. Fisher has. displayed. ~er the true charm of the Pennsylmm1ature rooms m many cities vania Dutch decor. t~roughout the state, alway_s Foot-Warmer Too without charge, as her contn.' but.ion 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 <low.er of elegance and beauty. Fres- c_hest whic~ i~ a copy of Chriscoed ceiling, flowered wallpaper tian Selz.er s m the New York and carpeting create the ~etting ~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 gr.tnny reminiscent of the Pilgrim A miniature Early American room, one of Hannah B. Salzman, director of Crippled afi:7,han 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 ru~ and marble and enormous fireplace; furnish- Thursday, Friday and Saturday at the Boston bral Palsy Clinic patient; Mrs. Raymond T. top tables, rose satm drapes and ings 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. dle stand with candelabra. T!ie Antique Shop is ~ fa- Upon close observat10n one may As one mentally steps into The Country Store and Post Mrs. Fisher has not over- vonte of many and antique- see the tiny fireplace fender. the Pent House wit,h terrace, he Office . will bring back fond looked the contemp_orary Ameri- lo-yers yearn to browse th rough The local point of the library is surrounded by the truly modmemories to many. The wall can decor in her miniature dis- t~is clutterfdb rooyi, dOv~r t~O is the high stained-glass win- ern Chinese decors· the simpliciphone-probably used by the play and the game room is typ- pieces mus e p ace m 1s . . . . '. . . e~tire neighborhood-the chop- i c a 11 y modern-day American. room each time it is displayed. dow which . seems to shed its Ity ~f de~1gn 1s st:1kmg. A city/ pmg block and sawdust covered Hunt-scene w a 11 paper, pool Velvet Drapes _ jcteep-toned hghts upon the hun- 1 skylme 1s seen m the backfloor, the overhead fan and spi- table, bar and present-day ac- The lBth Centur Drawin 1dreds of books which line the ,grou nd · I r:i.ls of ~lypaper are typical of cessories are found in this room. . Y . _g Jwalls - all painstakingly made 11 The display will be open to, 18 1 the old-time general store now!~n ingenious _person has fash- Room eleg_antl~ furms_hed ? \by Mrs. Fisher. A tall ladder the public during these. hours: almost obsolete. 110ned a ceilmg light fixture mahogany with impressive 011 :would en ble one to reach even lThursday, 12 to 8:30; Friday, 10 1 One can almost smell the from a wagon wheel. paintings and blue velvet drapes. Jthe highest shelf. to 5:30; Saturday, 10 to 5:30 . • Mrs. Dwight Fisher To Show Miniatu're Ro·oms This Week . - - - - - - - - -..........................~711 You Are Invited To See An Exhibit Of I I MINIATURE ROOMS on the Second Floor Near The Little White House THURSDAY, FRIDAY AND SATURDAY For The Benefit Of Crippled Children's Association And WheerCh Club • Thursday, Friday and Saturday,as many that Mrs. Fisher has made April 5, 6 and 7, Mrs. Dwight Fisher, herself. Pioneer Avenue, will display ten The miniature rooms wiit again miniature rooms for the benefit of be shown by Mrs. Fisher and Mrs. the W~oming Valley Orippled Chil- James Harris, Sr., at the Waverly dren's Association and the Wheel Community House, Friday, April 13 Chair !Club on the second 'floor of and Saiturday April 14, benefit of the Boston Store. She will be as- Scranton Visiting Nurses, and on sisted by Mrs. Francis Caise, Mrs. E. May 8 and 9 at tihe Prince of Peace Show. At the Antique Show W . Gale, Mrs. James S. Harris, Mrs. Antique . Ea A Arthur I.James, Mrs. Floyd Sanders, SIX new rooms, r 1Y merican1 Mrs. WaUace Wakefield, ::Mrs. IShel- Dutch, Colonial, Victorian, Today don Wimpfen, Mrs. Hamer Main- and Tomorrow will be featured. waring, Mrs. Hayden Phillips and Mrs. James O'Boyle. Mrs. Paul Bedford or a representative will be present to talk about the wheelchair project. The rooms, a Library, Early American Kitchen, Antique Shop, Victorian Parlor, Pennsylvania Dutch Kitchen, Pent HoU!Se, Game Room, Mrs. Dwight Fisher of Pioneer Country Store, Colonial Bedroom Avenue, will display her fascinating and Eighteenth Century Drawing collection of ten miniature rooms Room in a scale of one inoh to a for the benefit of the Wyoming Valfoot, have been assembled by Mrs. Fisher during the ,p ast nine years. ley Crippeld ;children's Asisociation They include 535 separate objects and The Wheelchair Club, Inc., on fr.om all ove:- the world, as well the second floor of the Boston Store next week, April 5, 6 and 7. She will be assisted by Mrs. Paul Bedford and James P. Harris. There <fVill be no admission charge but I Display Of Ten Miniclture Rooms Will Benefit Two Worthy Causes I donations will be gratefully accepted and turned over to the two charitable institutions. Mrs. Fisher has been assembling her miniature rooms over e. period of nine years and has collected furnishings from all parts of the world; many items she has made herself. Each time the display is set up she must put 535 separate objects in place. All are in scale of 1 inch to the foot. • �Miniature House Exhibit Lewisburg Feature SPONSORED BY THE Lewisiburg Civic Club, a miniature house and furniture exhibit in the Hotel Lewisburger lounge Friday and Saturday was well attended and voluntary contributions, received were added to the club's health and welfare fund. Shown in photo, looking over the game room (top) and country store exhibits, are, left to right, Mrs. Harry E. McCormick, Mrs. Charles Aribaugh, president c,f the club; Mrs. Frank G. Davis and Mrs. Milton D. Moore. ., Model House Feature Ireceived _at the d!s:play which will be used m the C1v1c Club's health Of Lewisburg Display: mv1ted ~nd_ welfare f~nd. The public is and children must be ac-One of the nighligiht~ of the companied by their parents. Lewisburg's Civic Club's exhibit! in the Hotel Lewisburger lounge on November 17 and 18 will be a minature house complete in every detail. Mrs. Dwight Fisher, Dallas, con- . structed the house which is the result of painstaking and patient\ labor. Composed of nine rooms scaled one inch to the foot, the rooms are electrically lighted and are authentic to the period. There 1s a victorian parlor, an 18th · century drawing room, a colonial bed room, a Pennsylvania Dutch , kitch,en, a pent house, game room, I · library, country store and antique\ · shop. The small house will be on display from 6 to 10 p. m., November 18, and 10 a. m. to 6 p. m., NQIVember 19. Dr. Mary Harris will serve as general chairman of the event and will be assisted by other civic club members. I Voluntary contributions will be I A NINE-ROOM MINIATURE HOUSE will be exhibited for the benefit of the Lewisburg Civic Club's Health and Welfare Fund at the Lewisburger Hotel, November 18th, from 6 to 10 p. m., and November 19th from 10 a. m. to 6 p. m. Voluntary contribution. l\1iniature Room Display Has 141 Items The miniature rooms to be on display at the Hotel Lewisburger on Nov. 18 and 19 for the benefit of the Lewisburg Civic Club are complete and authentic in every detail. The tiny antique shop alone contains over 141 items. Making the rooms is the hobby of Mrs. Dwight Fisher, of Dallas, Pa., who is bringing them to Lewisburg. All proceeds from the exhi~t. which will be open from 6 to 10 pm on Nov. 18 and from 10 am to 6 pm on Nov. 19, will go toward furthering the many civic projects of the local club. Among the rooms to be shown are a penthouse, which shows the modern trend in its furnishings; a game room with a wagon wheel light over the green-topped pool table; and a colonial bed room containing a replica of the famous Christian Selzer dower chest. The chest, well known to Pennsylvania people, has on its painted panels leaves of dark brown and tulips in dull red, blue, and gold on ivory fields. There is no admission charge to the show, but donations will be accepted. Ch-in Clu1 Lead r:1 To Aid At E,:·hibition Officers of the Lewisburg Civic Club will be present to show gucsLs around the qxhibition of miniature rooms to be shown at the Hotel L wisburger this Friday and Satunh Y. Nov. 18 and 19. The rooms. rrrnted by Mrs. Dwight Fisher. of Dallas, Pa .. nre l eit g c.·hibited fur 1 he benefit of di Civic Club ThPre is no admission c-harg • to s '1' the nme 1·ooms. whi h ure c m1pl •t(•ly ontfittccr with r u g s , fumitme. electric lights. and bric· a-brae. 'I'he rooms are done in several different period styles, including Victorian, 18th century, Pennsylvania Dutch, and modern. Voluntary contributions will be received, and all money collected will be used for the club's civic projects. Hours for the exhibit are Friday evening from 6 to 10 pm, and all day Sa:urday, from 10 am to 6 pm. �EXHIBITION of MRS. DWIGHT FISHER'S MINIATURE ROOMS at HOTEL LEWISBURGER FRIDAY, NOVEMBER 18-6 to 10 P. M. SATURDAY, NOVEMBER 19-10 A. M. to 6 P. M. Contributions will be accepted for the Civic Club's Health and Welfare Funds. �A nine room miniature house will be exhibited for the benef'it of the Lewisburg Civic Club's Health and Welf'are Fund at the Hotel Lewisburger, November 18, from 6:00 to 10:00 P.M. and November 19 f'rom 10:00 A.M. to 6:00 P.M. Voluntary contributions. CIVIC/CLUB EXHBIT-Dr. Mary B. Harris, right, president of the Lewisburg Civic Club, and Mrs. James B. Harris of Wilkes-Barre, a former .L ewisburger, chat in front of one of the rooms in tht miniature collec::tion shown last week by the c1v1c club. Mrs. James Harris assisted with the collection and preparation of the unique exhibit, owned by i',{rs. Dwight F'isher, of Dall.as, Pa. An offering was accepted for charity. Miniature House Feature Of Lewisburg' Display An unusual nine-room miniature ho1use c01mplete in every detail wilil f€'atiur,e the ex1MbH to be iheld F,r ,1 day and Sa,t uriday bcv the Lf~WiLS!burig C1vLc Olrulb in HOite! Lewis1burgeT. Offi1oers od: tlhe cllulb wi11[ be present foom 6 until 10 p. m. on Fu:iidaiy and f.rOlm 10 a. m. un1tiJ 6 p. m. Sa,tiu~day to con1du1ct viisitOO"S on touns of the disiplayLS. Ohi'lrlren must be aaoompanied b~ parenrts. The nine-room miniature house is the wonk oif the talented Mrs. Dwi1g1h:t Fisher who hais assiemlbleld the rooms and furniture comip[ete and autheniJk in every smal~ detail. Cent€red with .a two-sitory library with she11v,e s filil,ed witih tiny books and smaU 1adderis fo(l' dimibing to the top she,lives, tJhe exhi:bit p,ro,mis,es to be one oif the most unusual e,v er seen in Lewis-bung. . Carro,pied beds and braided rugs are part of the bedroom and on one od: the wa,l1l1S is a tiniy wlag,on wheel cl01ck w1M ch ad1ual1y rums. The ciloc:k is copi,e d from the origina,l wihii:cih hanigs in the Wyoimiil!g Histor1cal and Ge0Logiioa1l Society. E•a,oh orf tihe nine roomis is don,e in a diflferent period srtyle. No admission will be ah1ariged fo(l' the exlhibit but donation1S for the M · clulb's healith ,and we,~fla(l'e fund , wHl be g,r ,a teif1u il1liy a1c cepted. Lewisburg Civic Club Announces Exhibition The Lewisburg Civic Club w i 1 I sponsor an exhibition of a collection of miniature r o o m s i n the lounge of the Hotel Lewisburger on Friday ·anct Saturday, Nov. 18 and 19. Dr. Mary Harris is genera 1 chairman of the committee for the exhibit. The public is invited to see the unusual collection, which has been assembled by Mrs. Dwight Fisher, of Dallas. Pa., over a period of 10 years. The rooms, done on a scale o~ one inch to the foot, are complete with rngs, furniture, and bric-abrac. There are eight rooms in the group, �Junior League Sponsors Miniature Display Mrs. Donald R. Heiny examines one of the miniature period room settings now on display at L. L. Stearns and Sons under the auspices of the Williamsport Junior League. The unique collection was brought to this city by Mrs. Dwight Fisher, Dallas, as her contribution to charity. I __::;::..;;...~-----'----========-=====----==============~-=-=~:::::=--:.:.;....,;;__;;,;;;___-=----=-.. :;. .: ;:; .: .:. y On Display in City Today, ~aturd8:Y I'diniature Collection of Rooms .Complete to Slightest Detail The study in the contrast of interior design periods, a collection of period room settings in miniature, is now on display under the auspices of the Williamsport Junior League for the b«[mefit of the community welfare fund. The miniature collectio~ of nine ,_t_e_r_e_d_,_h_a_s_1_4_1_a_r-ti-c-le-s-co_m_p_le_t_e_t_o_in_t_e_r-io_r_ar_c_h-it_e_c_tu_r_e_o_f_t_h_a_t_d_ay-.-, rooms, the hobby• of Mrs. h'b't Dwightt the smallest detail, 1·n every e.vailStained glass windows, ceilingFisher, D a 11as, 1s on e,c 1 1 a able ·"-ace. ""P high book cases, complete with a L. L. Stearns and Sons, third floor, today and tomorrow during reguThe spatter dash floor is a fea- step ladder, feature the somtb re lar store hours. ture of the Pennsylvania Dutch English manor library. Eight-Year Project . kitchen, complete with hand-made The colonial bedroom, tlone in The exhibit, which opened yes- stone fireplace, butter churner and dotted white swiss, is complete terday, is an eight-year project intricately carved Boston rocker even to the footwarmer and the which Mrs. Fisher has shown in a nd mammy bench. handmade curtain pulls. many communities without charge • The overly ornate Victorian parReady 'for use is tthe game room as her contribution to charity. lor contrasts sharply with the mod- which features a !billiard tab I e The Junior League commitern s~mplicity of the penthouse liv- scaled to room size. tee includes Mrs. Donald R. ing room done in Chinese motif. Heiny, Jr., chairman, Miss Included in the Victorian parlor Margaret McMullen, Miss Ann are a piano of that era, marlbleCrooks, Mrs. Jane Owen Smith top ta'.bles, newspaper rack on and Mrs. Charles s. Stoever. the wall by the tloor, and even a The settings in each of the nine white bearskin ru,g. Particularly rooms are scaled one inch to the evident is the manner in which foot, and are complete in detail. each item is completely unmatched, They include an antique shop, a correct in that day. typical Pennsylvania Dutch kitchTh country store, complete en, a Victorian parlor, an 18th with pot-bellied stove and post century drawing room, a country office, has a sawdust-scatterstory, a modern penthouse living ed floor, and real coal in the room, a colonial bedroom, e. game coal bucket. room and an English manor IiThe 18th century drawing room, brary, the latest addition to the decorated in a wedgewootl blue collection. and white motif, is ciharacterized The -a ntiq,ue shop, tyipio-ally elut• lbYJ the iwhite dado, emphasizing • • V �\ EXHIBITION OF lv111S: n~HGHT· .. FISHER'S MINIATURR ROOMS Benefit of COMMUNITY WELRARE FUND WILLIAMSPORT JUNIOR L~AGUE at L. L. STEARNS SONS, Williamsport, Pa . 3rd Floor Thursday, Friday and Saturday, April 29 - 30, May 1, 1954 & Voluntary Contribution I / �Junior _Le~gue to SJ?unsor Miniature Display A pri01ect designed to benefit its community welfare fund will b . . e sponsored focaUy by the Williamsport Junior League April 29 30 and Ma 1 It .11 b brought to this city by Mrs. Dwight ;isher, 0::1as, unique collection of eight miniature rooms which will be ---- dren's theater. These J?eriod settings of miniature furmture will be displayed at L. L. Stearns. They have been ass~mbled by Mrs. Fisher over a period of _seven years and have been shown m many communities without ?harge as her contribution to charity. "What next?" I asked, and was told they are now working on the bringing to the city the end of the month the eight miniature rooms, displaying furniture · of different periods. The money donated from this display, will be used for their social activities. League to Sponsor Miniatures Exhibit The Williamsport Junior League will sponsor an unusual exhibit of eight miniature rooms April 29May 1 at L. i... Stearns. The exhibit, which has been assembled by Mrs. Dwight Fisher, of Dallas, is scaled one inch to the foot. The period settings include a Pennsylvania Dutch kitchen, country store, colonial bed-room, penthouse, an. antique shop, and a Victorian sitting-room. Contributions to the exhibit will be used for the League's community welfare fund which finances such projects as the maternity clinic, rolling library, and the chil- ~=· * * * VOL~~ARY_ contributions for the _exhi~it, which is open to the pubhc, will be used by the Junior League to finance such projects as th e ~ew ho:ri~makers' service, mater11;1 ty clime, r oping library, Christmas toys and the children's theater. . The intricately cai•,•ed furmture and all accessories scaled to one inch to the foot' are aut~entic in every detaii and consist of an antique shop P~nns:ylvania Dutch kitchen: V1etor1an sitting room, lSth Century drawing room, country store, colonial bedroom penthouse .and a game room. ' The Williamsport Junior League presents an exhibition of Mrs. Dwight Fisher's MINIATURE ROOMS (scaled 1 inch to 1 foot) on our third floor. · Mrs. Fisher To Give Williamsport Exhibit 1 & so.vs You Are Invited to · Visit the MINIATURE ROOM EXHIBIT THURSDAY-FRIDAY-SATURDAY APRIL 29, 30-MAY 1 ON THE THIRD FLOOR An unusual and interesting display in miniature ( scale 1 inch to 1 foot) hy MRS. DWIGHT FISHER of DALLAS, PA. Eight Unique Room Settings • The Antique Shop • Pennsylvania Dutch Kitchen • Victorian Living Room • 18th Century Drawing Room • Country Store • Colonial Bedroom • Penthouse • Game Room t . Sponsored by The Junior League, voluntary contributions will be accepted by the League's Welfare ~und. ANOTHER WILLIAMSPORT DAYS FEATURE Mrs. Dwig,hlt Fisiher left for Williamsport Wednesday noon with nine of her miniature ~ooms for exhibit at L. S. Sterns department store. Junior Lea·g ue made arrangements, funds to go to support of Home Sel'Vice. Mm. Fisher planned to set up the rooms Wednesday I a£ternoon, place 11:'he furni,ttu;re Thursda·y, and open ithe displaiy at noon for ex:hibit the remainder of i;he week. Mrs. Fisher has recently added a room to her collection, a home library with bookcases, reaching to , t. he ceiliing, ~erviced. by a tiny 1,~d-1 der. There 1s a stamed glia ss wmdow in the background. I l I L. L. Stearns & Sons Luncheon Menu (Served from 11 a.m. to 2 p.m.) April 29~ 1954 MINIATURE ROOMS EXHIBIT E ight miniature rooms designed by Mrs~ Dwight Fisher o f Dallas. Pao and scaled 1 inch to 1 fo o to See them now on the third flooro There is an Antique Shop. Pennsylvania Dutch Kitchen. Victorian Living Room. 18th Century Dra wi n g Room. Country -store. Colonial Bedroom. Penthouse and Game Roomo �Tiny Rooms are Complete to Smallest Detail Miniatu1·e Settings A re Attracting Many To Benefit Showing A fascinating collection of period room settings in minjature, the hobby of Mrs. Dwight Fisher, Dallas, i~ on display today, from nine to five, at Ritter's Store, Bloomsburg, as a, benefit for the Bloomsburg Hospital Auxiliary. Mrs. Fisher, who has been assembling the eight miniatute settings over a seven-year period, has shown them in many communities without charge as her contribution to charity. All local contributions will go to the hospital projects of the Auxiliary. The settings mclude an antique shop, Victorian living room, game room, country store, colonial bedroom, Pennsylvania Dutch Kitchen, penthouse and 18th century drawing room. Perfect in Detall The tiny furniture and all of the accessories in the rooms are scaled one inch to the foot. The detailing is perfect down to the tiny knives and fork~ on the kitchen table and the playing cards and tiny checker board in the game room. There is even a miniature issue of the New York Times thrown carelessly on a tiny replica of a Victorian chair. Mrs. Fisher was her own decorator, selecting her wallpaper making curtains and rugs to blent with her room settings. The rugs include a bearskin rug lof ermine) for the Victorian living room and a tiny braided rug for the Dutch kitchen. Sawdust on Floor A pot-bellied stove dominates the country store setting and has its own coal bucket with tiny pieces of anthracite. The floor is scatterI ed with sawdust and in one corner of the room is the post office complete with mail in the boxes. The colonial bedroom features a canopied bed and tiny Hitchcock chair, a colorfully decorated dower chest which is a copy of Christian Selzer's in the Metropolitan I Museum,chest N .Y ., and a miniature warming pan. The intricately carved Boston rocker, settee and mammy bench in the Dutch kitchen attract much admiration. The huge fireplace with its hanging kettle was built by Mrs. Fisher out of small sto1 s fr m her own driveway. The spatt,er dash floor was also created by • her. 1 1 I Cluttered Antique Shop The antique shop contains myriad of tiny items, some hanging from the rafters, others piled on tables. The penthouse is done in ihe Chinese motif with tiny bouquests of fresh flowers scattered a bout. Through the large window one can see the patio with a tiny sundial and the city skyline in the distancE>. At the present time, Mrs. Fisher i::; working on a miniature English library with stained glass window, marble floor a tiny bookshelves. Display Unusual Collection An unusual collection of miniatures will be shown in Blooms! burg next Friday and Saturday by Mrs. Dwight Fisher, of WilkesBarre. The demonstration is being sponsored by the Bloomsburg Hospital auxiliary. It will be held in Ritter's Stationery store from 9 a. m. to 5 p. m. each day. The display consists of eight miniature rnoms - including a Dutch kitchen. Colonial bedroom and living room and an old fashioned country store. There is even a tiny clock that actually works. There will be no charge, but con- I Mrs. James G. Law, member of the finance committee of the Bloomsburg Hospital Auxiliary, is shown with two of the miniature room settings-the colonial bedroom and the Pennsylvania Dutch kitchen. All contributions made by those who visit the display will go to the hospital projects of the Auxiliary. The. tiny settings may be seen from nine to five o'clock today at Ritter's store. -"--------~-(Morning Press Photo) MINIATURES AT ITTER'S TORE 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 Saturdav, October 30 and 31st, fro~.:1 q A. M. until 5 P. M. fo_· the benefit of the Bloomsburg Hospital Auxiliary. Mrs. Fisher has shown her miniatures all over this part of I the country, gratis. as her contri1 1 bution to charity. Whatever contribution you wish to make will be gladly accepted. One Inch In Size These miniatures are 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 store, 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 particularly 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 boxes. 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 or which Mrs. Fisher did hers Outs~'"'nding is the dower chest c'.ecorr.ted in the bright pattern of un~co ·:c, and horsemen a copy of Christian Selzer's chest in the Met1·opolitan Mut>eum, New York. Another quaint item is a mammy bench of simulated rosewood with grating and rockers. There is a green Boston rocker and an olive green settee and dough tray. The antique shop will delight you with its miniature gems of old items including an old-fashioned yoke, tea cannisters and Hitchcock chair with rush seat. A pretty flower dome, ingeniously fashioned by Mrs. Fisher of a button and test tube, is one of the unusual items in the Victorian~ room. The Penthouse is done in the Chinese motif with fresh flowers scattered about in tiny bud vases. Each detail of the collection is carried out with care. All the Berwick women, thei1 husbands and friends have been cordially invited to visit this beautiful display. We are certain!~ planning to go, and hope to see you there. You will not only be helping a good cause, but wm have a most enjoyable time, also. Don't forget Friday and Saturday of this week from 9 A. M. to 5 P. M. at Rit¥r's Store, Bloomsburg. THE END 1 EXHIBITION of Mrs. Dwight Fisher's Miniature Rooms AT f riday The Ladies Auxiliary of the Bloomsburg Hospital has arranged a unique display for October 30-31. M.rs. Dwight Fisher, Dallas, whose display of miniatures has att r a c t e d considerable attention throughout this section will be at Ritt~rs store on the above dates to di~play her collection for the benefit of the Hospital Auxiliary . These miniatures are housed i~ six different settings a beautiful penthouse, a Victorian living room an Eighteenth Century drawing room, an authentic Dutch Kitchen a country and a game room ' Mrs_. Fisher has devoted · the last six years to collecting these carved m?dels of period pieces. Eac;1t detail is carried out to perfection. ~ -s. Dwight Fisher of Dallas who is showing her' miniatur~ collection, gratis, at Ritter's Store, Bloomsburg, for the benefit of the Bloomsburg Hospital Auxiliary, today and tomorrow, is the former Minette Dick (of the Fowler, Dick and Walker store people). So many people in the world today could do just such worthwhile things . . . but never do, that it is a pleasure to write someone contributing so 1 about muc1;t to the morale of the people needmg help and to groups using this display as a means of earning money for their charitable organizations. Any small contribution will be accepted and You are all invited to visit the display. • • • * Miniature Display Eight Unique Room Settings RITTER'S STORE Ritter's Stationery Store MAIN STREET - Miniatures To Be On Display to Benefit Hospital Auxiliary BLOOMSBURG and Saturday, Oct. 3 0 and 3 1 9 A.M. TO 5 P.M. Contributions will be accepted for the benefit of Bloomsburg Hospital Auxiliary Benefit of Bloomsburg Hospital Auxiliary Friday, 10 a.m. to 5:30 p.m. Saturday, 9 a.m. to 5 p.m. �PERSONS WITH HOBBIES TO VIEW MINIATURE DISPLAY 1 COLLECTION OF MINIATURE ROOMS WILL BE DISPLAYED Bound to have dE:finite appeal to ony_ ~erson who has ~ hobf)Y is Mrs Dwight Fisher's collection of eight miniature rooms which will be on display on the second floor of Fowler, Dick & Walker, the Boston Store, on April 20, 21 and 22. . ~, _______________ Considering that Mrs. Fisher started collecting items for the other quaint item is a mammy miniature rooms o~ly six. rears bench of stimulated rosewood with ago, thte collection is surprisingly grating and rockers. There also will comp1c e. Th llection is made up of an be a green Boston rocker and an antiq~ecoshop, a country store, a olive green settee and dough tray. Victoria:q. sit~ing room, an l~th The antique shop will attract century drawing room, a colonial many because of its miniature gems bedroom a game room, a Penn. . . Id sylvania 'Dutch kitchen and a pent- of ?Id itemks including. tan o dhouse. fash10ned yo e, tea cannis ers an Perfect in every detail, the arti- Hitchcock chair with rush seat. A cles in the miniature . ro~ms pretty flower dome, ingeniously average an inch to the foot m s1 ze. fashioned by Mrs. Fisher of a Of particular interes~ to local button and test tube, is one of residents will be the tiny ~a~on the unusual items in the Victorianwall clock copied from ~he or_igin~l room. which hangs in. Wyom1~g Histon- Assisting Mrs. Fisher will be: cal and Geological Society, South Mrs. James P. Harris, Sr., Mrs. Franklin Street. The original clock Charles F. Rudolph, Mrs. E. W. bears the notation, '"This ~ n Gale, Mrs. Harry A. Smith, Mrs. wall clock was found hang1.!1g. m Louis W. Jones, Mrt Frank Foster, tne Bennett home. It was ticking Mrs. Paul Coddington, Mrs. Harley away during the capitulation to Wheaton, Mrs. James B. Robinson, the English." The miniature clock Mrs. Robert Trethaway, Mrs. Clyde which can be seen in the display Davis, 2nd., Mrs. Reuling Davis, of miniature rooms was made by Mrs. Edwin Hogg. Frank Clark's and decorated by Frank Bittenbender, Kingston, and run& . In the 18th Century room wi11 be a miniature oil painting in. a , gold leaf frame by Niccolo Corbglia, North Franklin Street. . The miniature country store will be furnished with a pot belly st~ve, coal scuttle filled with anthra~1te, about the size of sen-sen, provided by Anthracite Institute, a meat cutting block and sawdust on the floor. Reminiscent of ~ays_ gone by will be the Post Office in the country store with mail in the boxes. One of the most colorful of t~e collection will be the Pennsylvania Dutch kitchen. Outstanding will be a dower chest decorated in the bright pattern of unicorns and horsemen, a copy of Christian ~elzer's chest in the Metropolltan Museum, New York. Mary Bitt_e~bender Nelson decorated the miniature chest for Mrs. Fisher. An- Mrs. Dwight Fisher's unusual collection of eight min~ature roomsmeasuring from a mere inch to a foot in scale-will be exhibited fo_r benefit of the Cerebral Palsy Clinic of Kirby Health Center on April 20, 21 and 22 in Fowler, Dick & Walker, the Boston Store. Six years ago next month, Mrs. Fisher started her hobby of col- Pennsylvania Dutch kitchen and . . f h . . t a penthouse. lecting items or er minia ure Authentic in every detail, the rooms. In size, the rooms average exhibit will be open to the public about 17 inches in length. and from 10 a. m. to 5:30 p. m. on the about 10 inches in depth. days designated. . . The collection is comprised of an Among t h o s e assisting Mrs. antique shop in which more than Fisher will be Mrs. Charles F. 100 articles are displayed, a country Rudolph, Mrs. Frank Foster, M~s. store, a Victorian sitting room, an E. W. Gale, Mrs. Jam~s P. Harris, 18th century drawing room, a co- Sr., Mrs. Harry A. Smith and Mrs. lonial bedroom, a game room. a Louis W. Jones. I MONDAY ·hi Mrs. Dwight Fisher's coll t' of eight ~iniature rooms disp1~;~d ~~ngt1t of Cerebral Palsy Clinic Y Health Center, Fowler Dick Walker, The Boston Store 10 We~n~dtit30 p. m., today through ~t % R~oms .In Miniature On Display For Cerebral Palsy Clinic J Rooms Shown In Miniature Exhibit to Benefit Palsy Clinic A fascinating collection of eight miniature rooms, perfect in every detail, assembled by Mrs. Dwight Fisher over the last six years will be open to the public in Fowler, Dick & Walker, The Boston Store, beginning today through Wednesday for the benefit of the Cerebral Palsy Clinic of Kirby Health Center. The collection consists of an antique shop, a country store, a Victorian sitting room, 18th Century drawing room, colonial bedroom, a game room, a Pennsylvania Dutch kitchen, and a penthouse. The hundreds of items that make up the miniature r~oms measure from an inch to the foot in scale. Mrs. Fisher has unearthed the furnishings from far and wide. Many of them, also, are hand made and decorated. Hours of the showing of the collection will be from 10 a. m. to 5:30 p. m. • Assisting Mrs. Fisher in h benefit exhibit will be Mrs. James P. Harris, Sr., Mrs. Reuling Davis, Mrs. Edwin Hogg, Mrs. James B. Robinson, Mrs. Harry A. Smith, Mrs. Cly~e Davis, 2nd, Mrs. Niccolo Cortiglia, Mrs. Louis Jones. Mrs. Harley Wheaton, Mrs. Fred Maier, Mrs. Paul Coddington, Mrs. Frank Foster, Mrs. E. W. Gale, Mrs. Charles F. Rudolph, Mrs. Robert Trethaway, Mrs. J. Harold Flannery. Shown above are four of the eight rooms done in miniature by Mrs. Dwight Fisher, Pioneer avenue, Dallas, and being displayed today and tomorrow at Fowler, Dick and Walker, the Boston Store. -Photo By Ace Hoffman Pictured with the display, which is locat.ed nn the 8econd floor of the local department 8tore, is Mrs. E. W. Gale, one of Mn;. Fisher's assh1tants. with the canopied bed and hand-Fisher's display are requested to braided rug. The dowry chest in make a donation to the Cerebral this room is a copy of the Christian Palsy Clinic which is held daily Selzer chest in the Metropolitan in the Kirby Memorial Health Museum, New York. The wagon Center and treats over 100 chilwheel clock actually runs and is dren suffering from this affliction. copied from the original which Funds are urgently needed by the hangs in the Wyoming Historical Wyoming Valley Crippled Chiland Geological Society, South dren's Association to carry on this Franklin street. The detail of the work and to take care of the waitwhat-not shelf is a.lmost unbeliev- ing list of children who need care. able. and persons whose P.yes are Aiding Mrs. Fisher in the disparticularly sharp ma_Y look for the play are Mrs. James P. Harris, Sr., monogram on the pillow sham. Mrs. Charles F. Rudolph, Mrs. E. The country store is complete W. Gale, Mrs. Harry A. Smith, from the old-Ume meat chopping Mrs. Louis W. Jones, Mrs. Frank block to the wall telephone. com- Foster, Mrs. Paul Coddington, Mrs. 'plete with wall doodling. Cotton Harley Wheaton, Mrs. James B. on the screen door imitates the old Robinson, Mrs. Robert Trethaway, Penn-Dutch method of keeping out Mrs. Clyde Davis, 2nd, Mrs. Reuling flies. · · Davis, Mrs. Edwin Hogg. Ab6\re the country store is a - ·game room with miniature bar. : The scenic wallpaper is outstanding and according to Mrs. Fisher, ''most difficult to obtain." Should you count the playing cards in the miniature deck, you would find 52. ' Persons w~Joy seeing Mrs. i �Be Sure To See the MINIATURE ROOM EX HIBIT TODAY ONLY At Ritter's Stationery Mrs. Dwight Fisher has brought this interesting CQld unusual exhibit to BICGmsburg, • with P,roceeds to the BLOOMSBURG HOSPITAL AUXILIARY. M iniatu1·e Dis play At R itte1·' s to Benefit Hosp ital Auxiliary I unique exhibit' of miniature room settings owned by M r s . Dwight Fisher, Dallas, is on display today and tomorrow at Ritter's store. The showing is a benefit for the Ladies Auxiliary of the Bloomsburg Hospital. These setting,3 are a beautiful penthouse, a Victorian 1 i v i n g .rootn, an Eighteenth Century drawing room, an authentic Dutch kitchen. a country store and a game room. Mrs. Fisher has devoted the last six years to collecting · these hand carved models of periol peices . Each detail is carried out to perfection. The collection contains many miniatures of great value. A YOUR ATTENDANCE AND FREE-WILL CONTRIBUTION WILL BE APPRECIATED Ver y unusual demon~tration MINA TURES By Mrs. Dwight Fisher of Wilkes -Barre 8 rooms with miniat ure furnit ure even a tiny clock that t ells t im e. Ben efirt of Bloomsburg H ospital Auxilliar y. Charge by contribution s only. Fri. & Sat. Oct. 30 & 31 9a. mm. to 5 p . m. Ritter's Stationery Store MAIN ST. BLOOMSBURG 1 �• • • �) THE UNCHANGING TREASURES OF CHILDHOOD- FROM THE EDINBURGH MUSEUM. 1-------------------------·""""""""'" '""""'""""'"""'""'"" AN ELEGANT AND COSTLY CONNECTICUT TOY OF ABOUT 1880, THE HORSE IS HAND-CARVED WOOD , COVERED WITH HIDE , THE " JAUNTING-CAR " OF PRESSED METAL, HAND-ENAMELLED. CHEAPER VERSIONS WERE DEVELOPED IN EUROPE. ': "~I~ROCO,~M OF THE MODE: AN AMERI~:;"·~~;~""""'""'"""7''.][1 TUME DOLL OF ABOUT 1959. THE DELI CATELYMODELLED HANDS AND HEAD ARE CERAMIC AND WERE FIRED IN THE MAKER'S PRIVATE KILN. \\ / 1/ {:::..)' ,, FROM THE AGE OF MOTORING ELEGANCE : A MASSIVE CLOCKWORK PLAYTHING,; DATING FROM ABOUT 1905 AND A " NUREMBERG TOY," MADE BY THE FAMOUS GERMAN FIRM OF BING. "PL U ~ CA CH ANGE PLUS C'E S T LA MEME CHO S E ": "LITTLE MISS REVLON " OF A.D. 1955 AND" LITTLE MISS ATHENS" OF c. 300 B.C.: DRESSING DOLLS OF •ANCIENT GREECE AND THE U.S. "OVER THE ALPS WITH HANNIBAL, " OR " PORUS VER SUS ALEXANDER " : LIVELY AND IMAGINATIVE TOY SOLDIERS WITH WHICH THE GREAT BATTLES OF ANTIQUITY CAN BE RE-FOUGHT, MADE BY THE NOTED FIRM OF HEYDE IN BAVARIA ABOUT 1910. A MASTERPIECE OF ART AND CRAFT: A BRITISH COSTUME DOLL OF ABOUT 1959, MADE ENTIRELY BY NEEDLEWORK- THE RESULT OF ABOUT 200 HOURS OF MINUTE SEWING. THE JUVENILE ARMOURY, INCLUDING : SPACE RIFLE, 1958 ; QUACKENBUSH AIR RIFLE , 1876 ; B.S.A. MODEL 2, c. 1925 ; DAISY, MODEL 25, 1914 ; HAVILAND AND GUNN, c. 1886 ; ZULU WATER PISTOL, 1925 ; STONEBOW OR " PROD, " c. 1650. ��f# ~ ~ APRIL (From left to right.) A sprig of blossom from the cockspur thorn ; pear blossom ; Magnolia stellata ; and apple blossom. I I MAY. Gulls' eggs ; a bunch of radishos ; and two sticks of asparagus. JUNE. ''' ' ' I I " , '' ' ' .. ·- ' '' ' ' ",, , " , , , , ' '' ' ' I " I I l ,' ,' ,' ,' • I I r///AW/////H//UHU/Q/UH/U/AWU/U/HH/UH//UUH/HUUH/U/UHH/UUU/U,WUU///U/////////#&,@,,4' -;--:"--::--;- i ....- • I • JULY. (Left to right.) Raspberry; wild strawberry; cherries ; dessert gooseberries ; currants, red, black and white ; and loganberry. I AUGUST. Beech nuts ; the fruit of wild arum ; convolvulus flowers ; and mulberries, ripe, unripe and half-ripe. SEPTEMBER. A red-legged partridge feather ; blackberries ; a horse chestnut seed ; a small fungus ; a plum ; and a sweet chestnut. J ----W#//,•W////H////HH////////////////,W/U//IY///////////////U//H//////H/,W./ ", �'"""''"'"'""'"""'""""'"'""' ''\_ 1 J:AN UARY. (From left to right.) A white hyacinth flower ; a spray of butcher's broom; a Cape gooseberry; a stick of celery ; privet berries. ~ FEBRUARY. L y c h e e fruits; gladiolus corms; two cumquats, small Far Eastern oranges. MARCH. Double daisies ; primroses and flowers and leaves ; grap~ hyacinth. ,, 1, , , ,,~ '' ,. l ,' :•' r•• • I ,,,....,."---=-----::!!::!'::~--.:.! l·, : ........q.,_,L," :.----::::---:---=~ ------.,I! ~~ I ~ ~ I ,OW,WM'//, W//, II I I I ' ',· '' "'"··"-""•« OCTOBER. (Left to right.) Rose hips ; edible fruits of Cydonia japonica or " Japonica " ; and snowberries (Symphoricarpus) . NOVEMBER. Brussels sprouts ; partridge feathers ; cranberries ; and a walnut. DECEMBER. Holly berries ; a violet ; Christmas roses, or Black Hellebore ; winter jasmine ; and the berries of the ivy. ;;,..r---_ _ _ __ • ----------~uuu.#~. ' �50 PLANTS FROM SIX U.S. AREAS Wildflowers are so suited to their setting in the woods, on stream banks and in meadows that most gardeners never think of trying to grow them in their flower borders. They have the idea that transplanting is against the laws of both man and nature- that it is forbidden to dig wildflowers up and that, anyway, they are too fragile and short-lived to fuss with. Actually many wildflowers thrive under cultivation and are full of blooms for months. Although some states prohibit the digging up of rare species, propagating wildflowers in a garden is a sensible form of conservation. From the 20,000 species in the U.S., a panel of experts has chosen for LIFE Painted for LIFE �~ ~::71/1nd , ~eJ" • ~e~@e7tYI ~/%i1111 ARE THE BEST TO GROW AT HOME the 50 best wildflowers to plant in home gardens from the six regions where they grow. Northeast wildflowers are shown here; those from other regions and instructions about transplanting and caring for them are on the following pages. Of the 14 wildflowers chosen for the no:ctheast, bloodroot, spring beauty and Virginia bluebell, which appear in M~rch, are the earliest blooming. Blooming from April through June are the foamflower, jack-in.the-pulpit, blue phlox, May apple, eastern columbine, wild geranium, large-flowered trillium and violet. At the right are three summer wildflowers: Oswego tea, New England aster, butterfly weed. by Anne Ophelia Todd �The seven wildflowers of this region which are most adaptable for home planting include four early bloomers. The fire pink, moss pink, atamasco lily and crested iris flower from March through May. The others, cardinal flower, blazing star and passionflower, start later, all bloom through September. The atamasco lily and fire pink are lush and spectacular, and the passionflower is one of the most unusual of all wildflowers. The fringelike blossom, three inches across, has a tropical look. The vine grows to 15 feet long, makes a splendid fence cover. V J '/ .. J �• • t None of these southwest flowers slarl blooming until May. The four-o'clock and the desert zinnia last longest, blooming through October. The prickly poppy and golden pea also start in May, bloom through August. Sego lily, western wallflower bloom from June through August and skyrocket from June through September. Showiest of the blooms is the four-o'clock, relative of the cultivated flower of that name. A large, bushy plant, it can grow to be a foot and a half tall, several feet in diameter. The prolific prickly poppy often covers hundreds of acres. �These seven have long blooming seasons. Evening primrose, soapweed, globe mallow bloom in May, continue through August or September. The large-flowered beardtongue blooms May through July, prairie clover from June through September, Maximilian's sunflower and goldenrod from July or August through October. Oddest is the evening primrose, which puts out silky flowers at night to remain open for part of the next day. Beardtongue is one of the splashiest North American flowers. It grows four feet high, has two-inch-long flowers. �~aJ' Q#'~1/r ~ t t ' ~ In Lhe high dry climate of Lhe Rockies wildflowers are especially hardy. Most of thempoppy mallow, stonecrop, Lewis' monkey flower, blue flax, shooting star, Colorado columbine - bloom from May or June through Augus l. The pasqueflower blooms from April through June, scarlet beardtongue from June"'°through September. The pasqueflowcr has beautiful blossoms appearing singly on top of a straight stalk. Scarlet beardtongue is sometimes called the firecracker plant because the flowers resemble firecrackers, are in bloom by July 4 �Wrmmimz <o/t:nkf ~ @ ~ 7 On the Pacific Coast the monkey flow6r and the golden iris both start blooming in March, the monkey flower continuing through August, the iris quitting by July. Camass, royal larkspur and bleeding heart start blooming in April, last respectively through May, June, July. Leopard lily starts in June, is through in August, while California poppy goes from June into September. Most Pacific Coast wildflowers grow in rampant abundance. Camass is so plentiful in spring that some mountain and foothill meadows are buried in blue flowers, look like lakes. • • ���California • Golden Poppy Colorado • Columbine Connecticut • Mountain Laurel Illinois • Violet Indiana • Zinnia Iowa • Wild Rose Massachusetts • Mayflower New Hampshire • Lilac Oregon• Oregon Grape Michigan • Apple Blossom Minnesota • Moccasin Flower New Jersey • Violet New Mexico • Yucca New York • Rose Pennsylvania • Mountain Laurel Rhode Island • Violet South Carolina • Yellow Jasmine Washington • Western Rhododendron West Virginia • Rhododendron Vermont • Red Clover Virginia • Dogwood Wisconsin • Violet Wyoming • Indian Paintbrush North Carolina • Dogwood North Dakota • Wild Rose Tennessee • Iris Nebraska • Goldenrod Ohio • Scarlet Carnation Texas • Bluebonnet Nevada• Sagebrush Oklahoma • Mistletoe Utah • Sego Lily �Alabama • Goldenrod Florida • Orange Blossom Kentucky • Goldenrod -\11. · .- ' Missouri • Hawthorn ,-,•... ... Alaska • Forget-me-not Arizona • Saquaro Cactus Arkansas • Apple Blossom Georgia • Cherokee Rose Hawaii • Red Hibiscus Idaho • Syringa Louisiana • Magnolia Maine • Pine Cone Maryland • Black-eyed Susan Montana • Bitterroot Nebraska • Goldenrod Nevada• Sagebrush North Dakota • Wild Rose Ohio • Scarlet Carnation Oklahoma • Mistletoe 4 "· ...... "'· .,:· .. . f' North Carolina • D!gwood South Dakota• Pasque Tennessee • Iris Texas • Bluebonnet Utah • Sego Lily �AGE OF HOM ES P UN CONTINUED STAR FIRST BASEMAN, WORLD'S CHAMPION N. Y. GIANTS, TELLS The "ldeal"wway to start a Double Play 1. ' ·Hold runner on first. Mo,e to fielding positi fln on pitch. Be ready for b:ill hit in )Our dircclio n. 1.. "Get oh th:it b:ill "ith both h:inds. (Ge t 1-O11r hands on some Fitch Ideal Loo-for )Our hair!) .• FULTON SELF-PORTRAIT (above, right)shows how he could direct Lhe placing of bombs from 1800 submarine. Detail at upper left shows submarine window n in forced agains t water pres:-:;ure. Bathometer below registered depth. The fertile mind of Robert Fulton All the self-sufficient aspects of Lhe homespun age were summed up in the career of Robe1t Fulton, a Pennsylvania farm boy who learned the gunsmith's craft, earned h is living painting miniatures at 17, and then, with little education and no technical training, became a sensaLional success as an engineer and inventor. At 21 Fulton went to England, where he pa tented a power shovel that dug many British canals. At 35 he built a submarine and tried 3. "Regain b:ilance before you throw to 2nd. An error and the manager,, ill tear out his hair. (1 kt:cp mine neatl y in place with the help of Ideal!) 4. ''Return quickl y to first. Stretch for return th row to d o uble -up b a tter. Get your foot off the b a g to avoid being spiked ." to sell it to both the French and British navies. Disappointed in the financial results, he returned to the U.S . with a British-made steam engine and installed it in the Clennont, the first steamboat to make regular trips between New York and A]bany. Eight other American inventors .built and ran steamboats before Fuhon did. But Fulton was the first to interest a large public in steamboat travel and he became the biggest steamboat builder of his day. 1 1' Try Whitey Lockman's "Ideal" way to groom your hair! Use th is am a zing new, "no-grease" d iscovery! Keeps hair neater than gooey oi ls and creams - keeps ha ir and scalp cleaner, too! Put Fitch Id eal into your grooming lineup! Jd eal has triple-play action. (1) It keep~ h a ir good -looking and neat all day! (2) Helps keep hair and scalp cleaner. Because it i,,n 't oily , sticky or creamy, it won't trap dirt to clog scalp pores. (3) Fitch Jd eal al o relieves itching, acts to keep scalp fr ee of flaky dandruff. So steal a sign from Whitey Lockman. Get a bottle of Ideal from your drug store today. Ask your Barber for a professional treatment, too. FITCH FULTON STEAMBOAT , the Clermont, left New York Aug. 17, 180'/ and completed the trip to Albany and back in five days, reaching speed of 5 mph . On later trips there were two small cabins with rows of bunks for passengers. CO NTI NUED Jtkol ® HAIR TONIC 67 �PART III AMERICA'S ARTS AND SKILLS_ ._FARMHOUSE KITCHEN of about 1820 is reconstructed in Lippitt house at Farmers' Museum in Cooperstown, N.Y. FARMHOUSE PORTRAIT shows homestead of Marten Van Bergen of Leeds, N.Y., who had scene painted over mantel. The Sturdy Age of Homespun SELF -RELIANCE SHAPED ITS RURAL ARTS Photographed for LIFE by ARNOLD NEWMAN As the nation grew and expanded westward the mass of Americans were forced to lead self-sufficient lives. Factories were few, roads bad and imported luxuries rarely got beyond the seacoast. So the majority who lived in the interior depended on what they and their neighbors could make. Unlike the cities, where styles changed fast and elegance was in demand, rural America carried on and improved the colonial tradition of simple, practical design. The table, chair and bed in the Lippitt kitchen (left), along with the open fireplace and beamed ceiling, follow the styles of a people who demanded sturdiness, had no time to make things fancy and, all unself-consciously, achieved a lasting· beauty. The farm wife herself created the colors and patterns which decorated her home. On the table are some of her dyestuffs. The butternut hulls on the wooden plate at left gave a strong brown color when simmered for hours in an open pot. On the pewter plate is powdered indigo, which was blue by itself, green when used with goldenrod. The small bowl has ground madder root, which made reds and browns, and the large bowl at the right holds onion skins which made yellow. The clusters of staghorn sumac at left produced a warm beige. At the far right are dried heads of teasel, a plant used to raise the wool nap. Dyed yarn is heaped on the table and hangs from a rack above. Wool ready for spinning is in a splint basket on the floor. American homespun fabrics had fresh colors and generally simple designs. The barn-frame looms on which they were woven limited them to geometric and abstract patterns. But in their embroidery work American women created many unique designs, like the ~~rose wheel" coverlet folded at the foot of the bed at left. The painting above was another kind of house decoration, reflecting the pride and prosperity of its rural owner. It was painted on a panel above his mantelpiece, probably by an itinerant craftsman whose saddlebags were packed with cat's hair brushes for painting, a sponge and cork for mottling chests, a leather comb for graining woodwork. The resourcefulness shown by such artist-peddlers was displayed in other folk crafts, as shown in the following pages. Invention itself became a recognized profession in this period, in the careers of country-born mechanics whose innovations changed the world's way of life. CONTINUED ON NEXT PAGE �AGE OF HOMESPUN CONTINUED Tin, clay a The vivid colors and freehand decorati the objects around these pages reveal rural origin. Toleware (painted tin) was lar in New England and Pennsylvania. P was usually made in tiny shops with on kiln and a single potter's wheel. Penns} Germans liked to add an extra coat or of creamy clay to plates, squeezing it int terns or scratching designs into it. Pew! TO LEWARE BOX for documents is painted in classical designs which were typical of New England. TIN PITCHER, gaily painted and cheaply made, was an expendable substitute for pewter or silver. EARTHENWARE PLATE relates a religious parable: a pelican feeding her young with her blood. t STONEWARE JUG with eagle design was fired at a higher temperature than red clay plate above. ARRAY OF PEWTER, set out in 18th Century walnut pewter dresser, includes: (Lop shelf) sugar bowl with distinctive pear shape, large American charger known, prized Williar �pewter ware alloy of tin with copper or lead poured in iron· molds and beaten to a soft luster with hammers, was the Sunq.ay best of farm families. The people who bought these hardy wares demanded pitchers and jugs which would not tip over and were easy to use. Slender shapes and delicate decoration were not for them. But still the practical shapes produced were attractive and the decorative pallerns striking. TOLE "COFFIN TRAY" from Pennsylvania, named for its shape, has gaudy hearts and flowers. TIN TEAPOT with gracefulgooseneck spout was cleverly copied from an expensive silverware design. SLIPWARE PLATE symbolizes remorse (folded peacock tail), love (open heart), Christ (tulips). SGRAFFITO JUG, made in 1781, is "scratched ware" with design cut in top coat to clay underneath. 'nch) o!fee pot (right); (middle shelf) porringers with variously designed handles, nursing bottle (left); (bottom shelf) covered tankards, inkwell (right), a chalice (right center), one of handsomest American pieces. CONTINUED ON NEXT PAGE ��>a:: . ~ <( a:: Ill J () J Ill ::i 0.. !>:: a:: 0 >3:: w z GLASS BLOWERS in New Jersey are shown in engraving from a $5 Millville, N.J. banknote. Glass • In myriad shapes and colors a:: w fz w () V) V) The first success[ul American glass works was started in 1739 in rural Salen:i County, N.J. near some fine deposits of silica. Caspar Wistar, its owner, made rum flasks, windowpanes and a line of tableware. His ccWistarberg" glass was free-blown by ancient techniques but shaped in designs which were distinctively American. Two of these are shown in the large aquamarine pitcher at far left: the cclily pads" which form the base and the delicate spirals around the neck. William Henry Stiegel of Manheim, Pa., a flamboyant man who called himself ccBaron," ai;id John Frederick Amelung of Fredericktown, Md. also made 18th Century glassware in handsome styles of their own. But the big boom for U.S. glass began after 1815, when American inventors perfected molds which made flasks in exact quart and pint sizes. These were decorated with an exuberant variety of national symbols- Columbia, eagles, flags. A log-cabin flask used by a Philadelphia distiller named Booz helped add a new word to the language. Meanwhile New Englanders patented the world's first practical glass press, using it at first to manufacture glass doorknobs. From this American invention came the great lines of Sandwich and the other pressed glassware which are so highly prized by collectors today. :5 "z "z a:: 8 ui :5 " IL 0 ~ ::i w V) ::i ~ "zz a:: 8 EARLY AMERICAN GLASS valucJ at more than $5,000 is arrayed at left. Top group from left: Ohio flat bowl, Stiegel sugar bowl, Stiegel enameled tumbler, Columbia molded flask, Stiegel "daisy-diamond" blown flask, Amelung salt holder, Pittsburgh creamer. Middle group: bullseye windowpane, South Jersey-type cclily pad" pitcher, South Jersey sugar bo'¼'.L Lower group: Amelung wine glass, Sandwich pressed bowl, Ohio "grandfather" flask, Wistar candlestick, Ludlow bottle, Ohio three-mold decanter. CONTINUED ON NEXT PAGE �AGE OF HOMESPUN CONTINUED HOTEL KITCHEN in York in 1800 was drawn from memory by Miller, who boasted "no better .. • cooks can be found nowhere." Here the cook bakes bread on old open hearth. On mantel is coffee mill. "AN ACCIDENT," wrote Miller describing this drawing of Peter Witt house. "Frederick fell from • A carpenter's lively views of This was an age of busy, productive people; and its spirit was caught in a series of crude contemporary sketches by a carpenter named Lewis Miller, who was born in 1796 al York, Pa. and worked there at his trade for 40 years. Somehow Miller found time Lo make nearly 2,000 drawings of his neighbors and compile a unique autobiography in pictures . The U.S. that Miller lived in was just beginning its great transition from a nation of farmers and craftsmen to a nation of factories and mechanized power. Miller's drawings show what the country was like at the start of that change. A craftsman himself, he was interested in the jobs of other craftsmen. He portrayed cook , masons, an aproned bootmaker, brewers and a carpenter-Miller himself. The tools and techniques they are using are not much di:fferen L from colonial times . But here and there i a sign of change, like the coffee-mill gadget at left above, and the sheet-iron stove at right below. The Pennsylvania Germans, to whom Miller belonged, were espec ially conservative in their architecture. The 1740 Lutheran church below, with its canopied pulpit, arched doorways and painted balcony railing, is straight out of Barnitz. "They made good beer," the artist added in his ketchbook . Codorus Creek ran beside brewery. CARPENTER MILLER smooth a long board with a plane. Although he had his own shop, the A SELF PORTRAIT of Lewis Miller shows him as a bachelor dandy of the 1830s. YORK BREWHOUSE in 1801 has women and boys waiting to buy some yeast from John and George �·t the scaffold . . . in topping out the chimney ... broke two ribs." Picture shows collapsing sca[old. TA VERN KEEPER of York, Mrs. Lottman was drawn by Miller "frying sweet potatoes ... some of the first I ever tasted." The artist, aged 3, stands in center. A dish of sausages stands before the hearth. crafts and creature comforts Medieval Europe. The church has long since been torn down. But there are still houses in rural Pennsylvania which resemble the one at center above, with fieldstone walls terminating in a square chimney at the gable ends, its small windows and overhanging caves. Very few of Miller's ske Lches have been published and these appear for the first Lime in Lh<'ir original watercolors. A self-taught ~~folk" artist, Miller's dm'r,ing ¼as faulty a11d his use of perspective childlike. But his pictures vibrate with life and rough humor. Under some portraits he jolted descriptions, such as ~~fond of liquor," ~~stinks of ink," or ~~his mind not right." Functioning as reporter and artist combined, he recorded the accidents, hangings, political parades, preaching· which provided excitement for rural America in the early 19th Century. He made hundreds of individual portraits of the citizens of York. Among them were some remarkable examples of American enterprise: an entomologist who collected local inseGLs and sent them lo Europe, a flute-playing silvcn;mith and a master mechanic, Phineas Davis, who made watches, an iron steamboat, the first coal-burning locomotive in America. BOOTMAKER Henry Wagner works while boys stuff pipe of new-style sheet-iron stove. routine tools shown here indicate that Miller was satisfied to be a day worker rather than contractor. OLD LUTHERAN CHURCH in 1800 shows the balcony railing painted with portraits of Biblical figures and Apostles. While Pastor Jacob Goering preaches, the sexton (left) goes after an intruder. CONTINUED ON NEXT PAGE �AGE OF HOMESPUN CO NTI NUED STREET LAMP powered by candles lights way to the tavern at right. The four-sided globe was suggested by Franklin to give more draft, prevent smoking. Designs for travelers • In • a mobile nation· In the 1820s an American who had just climbed out of a slagecoach wrole home: ((We were ratlled from Providence to Boston in four hours and 50 minutes. If any one wants to go faster he may send to Kentucky and charter a streak of lightning." Speed was what U.S. stage lines provided first. Comfort came behind. The coaches they used were designed in an oval which foreshadowed modern streamlining (below). They were suspended on thoroughbraces, or heavy leather springs, which lifted the body off the axles and cushioned the worst jolts. But foreign travelers complained of their limited space for legs and baggage. Along the roads were hundreds of small taverns which offered hearty meals and modest comfort for a one-night stay only. Reservati@ns were not necessary; the landlords felt obliged to take all comers. The bar was usually on the first floor and served as a registration desk. Near it (sometimes above) was a "common room" where guests sat and ate together. Bed chambers were on the upper floors, and few taverns had more than half a dozen. When these were full the overflow slept on the barroom floor. ELLIPTICAL SHAPE of American stagecoach was designed to give more speed. But it cramped the nine passengers. Baggage went in rear "boot." COMMON ROOM of the Red Lion Inn (Delaware) was on the second floor, above taproom and kitchen. Patrons entered from a cobbled court and �climbed rear stairs to spend the evening in cozy games and talk. The walls were finished in white plaster and decorated with useful pipe rack, sconces and clock. Fold-back window shutters could be closed and bolted quickly in case of storm outside or disturbance inside. This 1820 room is now in the Du Pont Museum. CONTINUED ON NEXT PAGE �AGE OF HOMESPUN CONTINUED SHELF CLOCK by Aaron Willard has half as many parts as tall dock, is both shorter and cheaper. BANJO CLOCK, patented by Willard, is a masterpiece of graceful design and practical purpose. • • Handsome clocks 1n quantity TALL CLOCK by David Rittenhouse of Philadelphia is enclosed in superb Chinese Chippendale case. In the growing nation the exact time of day became a significant fact. Stagecoaches ran on schedule, more people worked in factories, businessmen set their appointments for a specific hour. American clockmakers met this need by producing new kinds of clocks which, while within the average family's means, were gracefully made and handsome to look at. Here came a history-making step in the development of American arts and skills, the first largescale production of objects of everyday use. In colonial times clocks were costly works of art. Their long pendulums were enclosed in tall ttgrandfather" cases of expensive wood. The magnificent example at the left was made by David Rittenhouse, who was an astronomer as well as a clockmaker. This clock has five extra dials which show the positions of the sun, moon and stars, and it sold for $690, the equivalent of $6,000 today. Soon after the Revolution, American clockmakers perfected new and simple clock mechanisms which could be put in a case less than half as tall as a grandfather's clock, thus saving much expense. In 1792 Eli Terry opened a shop at Plymouth, Conn. where he later produced a beautiful pillar and scroll clock with wooden works that sold for $15. He made his wooden clock movements by the techniques of mass production; a division of labor under which workmen made standardized parts, the assembly of these parts by men who specialized in this one process. The parts were interchangeable, could be replaced at minimum cost. Wood was used because it was locally available, cheaper and easier to work than metal on the machines of the time. It was also durable; many wooden-works clocks 100 to 150 years old are still running today. Connecticut became the center of the clock trade. Seth Thomas bought the patent to Terry's wooden movement and started a factory of his own. Another Terry-trained workman, Chauncey Jerome, pushed the price of a good shelf clock down to $1. The wooden-works clock marks a great dividing point. From now on, the U.S. consumer would be buying less and less of the artisan's wares, more and more of the factory's products. The American manufacturer lea_rned that his mass-produced goods would not only satisfy existing markets but also create new ones. He also learned he had to develop new ways of selling so people would demand his goods, of distributing so people could get them, and of designing so customers would be pleased by them. ��• CHUCK MEYER Former merchant marine and Coast Guard officer, this sportsman-writer holds the world's light tackle record, won by landing a monster 261-pound mako shark, with spinning gear and a 12-pound test line. HIRAM WALKER ! } ~ ~, OISTllLED BY HIRAM WALKER & SONS IN C..PEORIA .ILL. BLENDED AND 8O1T Ll:D BY HIRAM WALKER & SONS INC, PEOAIA , I LL . - SAN FRAN CIS CO. CA LI F FOR MEN AMONG MEN, THERE IS A WHISKEY AMONG WHISKIES-IMPERIAL Man, this is whiskey! Made by Hiram Walker to taste as a great whiskey should �Drto11 from the Index of American DeJign, by Eru ·111 0. Ch,-istenun, wmtes; The M.u-millan Co. CIVIL WAR DRUM An Old Time Custom: THE TOAST H ere s to your good health1 and your familis good health1 1 and may you all live long and prosper . RIP vAN WINKLE �O L D STURB R ID GE VILLAGE, MA SS. LIFE's editors present AMERICA:Sl: ARTS AND SKILLS~ a series on • our country's cultural heritage 1S y.' �EARLY AMERICAN TOOLS are, from left: clamp, broadax used for shaping logs into house timbers, carpenter's square, compass, sickle, flail, wooden hayfork, augur, felling ax, double calipers, bow saw, mallet u ed to drive pegs m house frame, L-shaped frow used for splitting shingles, carpenter's brace, plane._ Americans, proud of their achievements in government, industry and science, have had less confidence in their art-perhaps because they are inhibited by a limited use of the word. But Webster defines art first as ''skill in the adaptation of things in the natural world to the uses of human life." Another definition is "the production of beauty." It is with these meanings in mind that LIFE presents a new series, ''America's Arts and Skills," which in a number of essays will display the tradition f,American taste and design and the great history of American skill in fashioning beautiful, useful things. The series starts with the tools above, which are not only handsome themselves but were used to make handsome objects, like those on following pages. As the nation grew, the arts became more elaborate, the crafts more detailed. Spacious Georgian mansions were built in the South, great Gothic houses along the Hudson. Artisans fashioned the deadly Pennsylvania rifle, inventors perfected mass production. The clipper ships crossed the world's seas, stagecoach and Pullman car crossed the expanding nation. And finally American energy and ingenuity burst into a world of skyscrapers, a myriad of gleaming and running devices made of modern plastics and alloys and a million Cape Cod cottages built on lines laid out by Puritan carpenters. All this, seen in the chapters of this series, will not only explain the designs of the American past but will provide values by which to judge the taste of America today. CONTINUED ON NEXT PAGE ��UDDED DOOR YOUNG PURITANS posite page) of Parson David, Joanna and Ahigail Mason of Boston posed in their Sunday best for unknown artist who painted this picture about 1670. oen hou . e in Topsfield, s. (seep. 121,) was dected with wrought-iron ls in diagonal pattern. The Practical World of the Colonists RODUCING FOR USE, THEY CREATED BEAUTY Photographed for LIFE ith a few hand tools and such skills and memories as they brough_t om their homelands, the English colonists in Virginia, Maryland' and 'ew England, the Dutch on the Hudson and the Swedes on the Dela-are attacked the wilderness. Out of these, and the rich raw material f the American land, grew cities, homes and much wealth. And out f the things the colonists made to use in their new world came a urprisingly beautiful heritage of decorative objects. A successful colonist had to be able to do many things. Of the first rrivals in Nor th arolina a preacher wrote: iiMen are generally of all ades, and women the like within their spheres .... Men are genrally carpenters, joiners, wheelwrights, coopers, butchers, tanners, hoemakers, tallow-chandlers, watermen and whatnot; women soapakers, starch-makers, dyer , etc. He or she who cannot do all these hings . . . will have but a bad time of · .'; From this widespread vertility developed the tinkering Yankee who could make or fix anying, from a fine watch to a water wheel. In the so-called fine arts there was no such rapid progress. Though e wealthy commissioned family portraits which were executed with eatness and grace, the colonists looked down on mere artists . iiThe by ELIOT ELISOFON Plow-Man that raiseth Grain, is more serviceable to Mankind, than the Painter who draws only to please the Eye," wrote an early New Englander. But human eyes have always yearned to be pleased. Even the Puritans liked color in their homes and dress; when beautiful form was combined with practical purpose they were willing to accept it. Many a colonial carpenter was an artist as well- as the nailstudded door and boldly carved bracket on the opposite page show. In their silverware, their furniture and even their everyday wooden drinking cups and bowls the colonists showed that they knew a goodlooking thing when they saw it. Because of the restrictions of materials, and limited Lime, the colonial artisan did not indulge in elaborate design . But the limits became a challenge and in American art colonial design became a style -simple, sturdy, never trying to hide the material used nor twist it to unnatural uses . It has had an obvious influence on American taste through the myriad colonial reproductions, which never seem to lose popularity. But it has had an equally strong, if subtler, impact on the work of generations of American designers who, following the colonials, found that usefulness and simplicity go hand in hand with beauty. CO NTINUED ON N EXT PAGE 111 �COLONIAL WORLD CO NTIN U ED The changing architecture I ~ ~ · .. .............. . .f'·..•.··• k, OLD NEv\- YORK was a hustling center of worldwide trade when the panorama above and below was drawn in 1717 by William Burgis of Boston. The artist stood on what is now Brooklyn Heights and sketched the East River front from the fort at the Battery (marked by flag, above left) to the foot of moder Catharine Street (far right, below). The lower town which stretched up to Trinit)l Church (Jar right, above) was largely built by Dutch colonists who imported their NE\VER NEW YORK north of Wall Street (far right in upper panel) shows immediately the influence of the British who took over the city in 1664. Here the Dutch houses are mixed with mansions done in the Renaissance style which was popular in 17th Century England. They can be identified by their broa fronts, dormer windows, galleries across the roof and pediments. Here and thel is also a house in the more recent Georgian manner, which was to sweep acros 112 �Jf an early American city t,, . I I . :chitecture direct from If olland. Their narrow, steep-roofed houses with crowep gables were crowded together. In their brickwork they used many patterns td colors. Most of Dutch New York was burned during the Revolution and the original Dutch style is seen now only in a few survivals farther up the Hudson , The low, wide-roofed "Dutch Colonial," so familiar today, is really a Flemish cottage style-an example in white brick and blue shutters is seen on page 129. aboard America in the 18th Century, and is still prevalent today. The two finest mses in the lower panel belonged to burghers who adopted Renaissance modes ·Abraham de Peyster (left, just north of second spire) and Abraham Wendell (extreme right). The British ships crowding the river are apparently saluting the king's birthday, May 28, 1717. At lower right on river can be seen one of the first New York yachts, the noted Fancy, owned by Colonel Lewis Morris. CONTINU ED ON NEXT PAGE 113 �COLONIAL WORLD CONTINUED NEW YORK SHIPYARD, a detail enlarged from Burgis view on previous page, shows carpenters swarming over two partly finished hulls while another vessel (Jar right) waits repairs. Fancy coach on the bank above probably belongs to shipowner. In center stands a ship captain's house with widow's walk on top. Wealth along the waterways Good harbors and navigable rivers were the keys to wealth in the colonies. On them rose towns and plantation houses whose inhabitants could support a growing number of fine craftsmen. The silversmiths prospered in the seaboard cities and produced the pieces shown on pages 116, 117. In Boston alone, by 1680, there were 24 silversmiths at work. Newport in Rhode Island and Williamsburg in Virginia produced America's first two competent architects, Peter Harrison and Richard Taliaferro. Colonial Charleston was noted for its beautifully landscaped gardens and goldsmiths' shops. Waterfront merchants of Philadelphia, which outstripped all other American ports in the 18th Century and became the second largest city in the British Empire, were famous for their showy houses and elegant taste in furniture. In New York the rich Dutch families tended to move to country houses along the Hudson River, which they decorated with paintings both imported and local. There, in the early 18th Century, developed the first native American school of gifted-and largely selftaught-portrait painters. An example of their FERRY LANDING in Brooklyn, detail from another section of Burgis drawing, shows scowlike sailing ferry at wharf. Though colonial boats were built 114 fresh, unsophisticated and wholly charming style is shown on the opposite page. Unlike the portrait of the Mason children on page lll, which still follows a provincial English style, this painting of an Albany girl is entirely American in its use of bold, contrasting colors and its background of formalized nature. No one today knows the names of this artist or of any of his colleagues who are collectively called the ~~Patroon Painters." But the numerous pictures they left behind are proof that there was a sizable demand in at least one American colony for art of this kind. abroad or copied from European models, these ferries were local designs, the precursors of the fast flat boats that were soon sailing the American rivers. �GIRL WITH RED SHOES is said to be Magdalena Douw, of Albany, later wife of Harmon Gansevoort, great-grandfather of Herman Melville. The portrait shows colonial love of color and decoration. Stiffly posed Magdalena is almost gaudy in bright shoes and bodice. CONTINUED ON NEXT PAGE �COLONIAL WORLD CONTINUED GOLD PAP spoon "ith bells was fashioned for a New York City child Ly Jacobus van der Spiegel. Buckle lo fasten man\, stock (doth neck piece) is a Philadelphia proJuct. Shapers of silver and gold In colonial America the silversmith was a kind of invesLmenL banker for Lhe wealthy who took a client's surplus coin and hammered it into objects of lasting value. Though designed for beauty, they were made for use. The oldest piece of colonial silverware known is the dram cup-a cocktail glass of the time-on the opposite page, made in 1651. The teapot was made in 1725, shortly afler tea drinking came to the colonies. The porringer, however, was made just Lo commemorale a horse race al Hempstead, L.I., March 25, 1688. T~ is ware was for people who demanded distinction. They got it in pieces that are austere but elegant. Colonial silverware alLernates plain surfaces with simple ornament, following timeless principles of design. Thal buyers shou]d demand such arLisLry is not surprising. BuL iL is surprising Lhat in Lhe new world they could find so many artis~ms who could supply it. YALE UNIVERSITY GALLERY, MABEL BRADY GARVAN COLLECTION �EARLIEST AMERICAN SILVER is sampled in this array. In foreground are tobacco box by John Coney, salver by Thomas Savage, dram cup by John Hull and Robert Sanderson. At left are teapot by Pieter van Dyck, plain communion cup by Coney, engraved communion cup by Hull and Sanderson. At right are sugar caster (like salt shaker) by Bartholomew Le Roux, oval mustard pot by Van Dyck, porringer by Peter van Inburgh and two-handled cup by Edward Winslow. CONTINUED ON NEXT PAGE �COLONIAL WORLD CONTINUED BULL'S HEAD sign painted on wood hung in front of Bissell's Lavern, East Windsor, Conn., about 1760. The starkly reali tic animal portrait is in striking contrast to the exquisitely carved wood frame. Craftsmen • 1n common materials The greal forests which came down almost to the water's edge offered a seemingly endless supply of working material in early Americaoak for house framing, cedar for shingles, walnut for gunstocks, ash for ax handles, hickory splints for baskets and barrel staves. The wood turners used white pine for cheeseboxes since it had no taste or smell. Chairmakers learned to make their rockers of black walnut which did not slide easily on the floor. In all the colonies the most common utensils were made of wood, usually hard maple, which cut smoothly across the grain. Village craftsmen also used poplar and soft white basswood for ((dish timber," turning out bowls, ladles, trenchers (plales) and noggins (drink-, ing mugs) which were often small masterpieces of practical design. Because they were made for hard everyday use, these utensils were necessarily simple and hence their design graceful. Handles and lids had to balance or fit properly, which made for proper proportions. Most pieces were not painted, leaving grain of the natural wood to enhance their beauty. Decoration was indulged in only when it did not complicate the making or the using of the utensil. Only occasionally did the woodworkers soar into the realm of fine art, as an unknown carver did in the sacred cod at left, above. For many people fine metalwork was out of the question, gold and silver being much too expensive. Tin also was ((dear" but came into growing use by colonial craftsmen for such, handsome decorations as the chandelier at left. �OLD STURBRIDGE VILLAGE , MASS. WOODEN UTENSILS above were made from a variety of native woods. The object at upper left is a bed wrench, used for Lightening rope springs of m early bed; a whimsical artisan has given it a man's head. The pail with a hole in the handle is a piggin, used as dipper for water or for carrying food to the hens. At lower left is a trencher. The other utensils (top to bottom) are burl bowl made from a hard knot of chestnut, a funnel, mortar and pestle, butler paddle. CONTINUED ON NEXT PAGE �COLONIAL WORLD CONTINUED NEED LE WORK, a skill colonial girls were supposed to acquire, was amateur art of the period. This fanciful portrait of Adam and Eve was embroidered in 1760 by Mary Sarah Titcomb, of crewels (twisted threads) on linen. It serve in place of paintings as colorful wall decoration, also helped keep out draft �SCULPTURED GRAVESTONE in Dorchester, Mass. cemetery marks the plot of John Foster who did woodcut below. z g U) g s Art of the amateur u 0 U) .J < u ii: g U) :i: • and the artisan U) ~ w U) :::, I u < U) U) < I WEATHER VANES were usually a sideline for metalworkers. First specialist was Shem Drowne of Boston whose 4-foot-6-inch-tall copper Indian with a glass eye swiveled atop the governor's residence. Drowne also made the famous grasshopper which crouched above Faneuil Hall. Handsome vane below was made in Pennsylvania in 1670. As the colonies grew in population and wealth, skilled artisans emerged as the third most important class, next after farmers and merchants. Many of them proved to be artists as wel1 as successful businessmen. The men who made the two weather vanes at the left were producing objects of special utility to a people who e lives depended much on the weather. They were also expressing a picturesque sense of humor and a feeling for the kind of design which looks well against any skyline. John Foster, who carved the pioneer American woodcut below, was a printer who did the portrait as a frontispiece for a book which he published. A strong image of the Puritan priesthood in its heyday, it is also a human portrait of a man whose life was given to plain speaking and a powerful purpose. Foster also may have sketched the design for his ow11 gravestone above, a grinning figure of Death snuffing out Life's candle, while Father Time tries to stay his skeleton arm. In works like these, and in Miss Titcomb's needlework on the opposite page, colonial craftsmen were able to satisfy then- artistic impulses without displeasing their practical-minded friends and neighbors. z 0 f- l/) g .; Jw ti 0 g rl :::, U) ~w ..J < u ii: ~ g i i:::, U) :i: U) ~ w U) :::, U) I :::, I u ~ < 0 0.. U) U) :::, 0 I < PURITAN PORTRAIT, the first American woodcut, depicts Richard Mather, ancestor of 80 New England preachers. CONTINUED ON NEXT PAGE 121 �COLON IAL W ORLD CONTINUED GARDEN OF EDEN, pictured in iron, decorated a Pennsylvania German stove. The inscription reads : "The snake betrayed Adam and Eve. " Stovemakers cul pattern in wood, pressed wood into sand mold, then poured in molten iron. CAJN KILLING ABEL was s hown on anot her Colon ial s love. Stove plates also laug hl the Command men ts, the miracles of Chr ist and teachings of the Prop hets. Religious pictures la ter gave way to fl oral and secu lar designs. Scenes on stoves and Ben Franklin's big improvernent .- -,,..------t....... - . . ___ , THE FRANKLIN STOVE, invented in 1742, saved much wood, produced better heat, and rid small rooms of moke and other "filthy vapors." The ancestor of modern stoves, it also presaged the products of modern American indu s try: it was designed to be mad~ of s tandardized parts which could be easily assembled in any fireplace. At right is Franklin's design. Above is a modern drawing showing how it worked . Fresh air was drawn through a floor duct into a separate chamber where it was heated by the surrounding fire and passed into the room through vents on either side. Smoke was drawn over the hot-air box and up the regular chimney. Franklin 11-rectly boas ted that his invention was more ef£cien l than the German stoves which healed only by radiation and not air circul~tion, or the open fireplace, whereby, said Ben "a man is scorched before, while he is froze behind." 122 I �FIELDSTONE HEARTH-4½ feet high and 9 feet wide-is an ornament of Hyland house in Guilford, Conn., built in 1660. Massive, the fireplace still gains rude grace from its balanced proportions. Roughly made, it gains textural beauty from unfinished wood, hand-cut stone, plaster and brick. Andirons made by a local blacksmith have curved feet, with popular gooseneck upright.Trammel rods on which pots hung were notched so height of pots could be adjusted. Designing the ways to keep warm In the northern colonies heat was the basic problem in designing a home. English houses were heated by fireplaces which sent their smoke up through separate flues. The Americans, in a stroke of ingenious design, brought all the flues together into one hug (ltlimney, or stack, which soaked up heat and radiated it through all the rooms. Such a chimney had two or more fireplace openings. Its central position determined the compact design of most American homes for 150 years. In the main fireplace (above) the wife did her cooking, using a built-in oven and a variety of utensils. At first she hung pots in the fire from a green wood lug pole running crosswise above the hearth. Such poles often charred through and spilled the soup, so trammel rods and swinging iron cranes were substituted. In the 17 40s Benjamin Franklin invented a new apparatus (opposite page) which was to end the need for fireplaces and led eventually to the American kitchen stove. This, in turn, changed American diet: biscuits, muffins, corn pone and flapjacks all came in when the stove's quick heat replaced slow-baking masonry. CONTINUED ON NEXT PAGE ��COLONIAL WORLD CONTINUED RICHARD JACKSON HOUSE built around 1664 in Port mouth, N.H. is believed to Le the oldest in the state. The owner followed the common colonial trade of shipbuilding. Lean-tos are additions to the original structure. The\\ indows shown here rC'place<l early leaded pane types. The first functional homes The first settlers of New England brought with them in their minds l"wo basic house designs "hich were typical of their homeland. One ,, as the two-story medieval house of East Anglia, with its overhanging gable ends, leaded casement windows, center entrance and ornamental outside woodv,ork. The other was the simpler Flemish cottage, one story high with a loft on top and a steeply pitched roof to shed the North Sea rains. Such cottages were built in large numbers by Flemish weavers who flocked to England from the 14th Century on; the Puritans saw them everywhere in the counties they came from. Both of these early New England types are illustrated here by photographs of surviving examples. The Jackson house (above) is basically a Flemish cottage with additions. The Parson Capen house, at the left, is purely English; it would look as natural in the hamlet of Toppcsfield, in English Essex, as it does today in Topsfield, Essex County, Mass. It was built in 1683 for the parson of the Congregational Church and was the finest house in the village. The medieval overhangs along the front and at the gable ends, the dark clapboards and weathered shingles give it a look of quiet dignity and strength. Contrary to legend, the projecting overhangs, or jetties, were not intended as defenses against Indians . The same construction was common in ancient English towns where Indians were no menace but v.rhere overhangs served either as protection from rain or just as decoration. For the builders of the Capen and Jackson houses it was natural to follow traditional patterns. Colonists are always homesick; they always try to rebuild the world they knew. But American conditions soon forced them to change their methods. Old England had a permanent shortage of wood; the walls of Tudor houses, between the timbers, were often enclosed with nothing but plaster or porous brick ~~nogging." The colonists tried this, but it did not keep out the weather. So they nailed strips of wood over the brick and plastC'r. Soon they found they could make a better house wall from rough wood sheathing, covered with overlapped clapboards . From all this emerge<l a house of clean lines and compact look, the decoration either omitted or simplified. Considering the materials available-much wood, little glass and hand labor- the New England home was for its time a magnificent example of functional architecture- in every sense of this word so often applied to modern building. From the two houses shown here evolved two styles now most popularly associated with New England. The Parson Capen house with its small entrance hall-instead of the later large center hall- is a predecessor of the Cape Cod house. The Jackson house with its long roof slanted down over an added lean-to is the ancestor of the salt box. Oddly enough, none of the early English colonists built log cabins, which were introduced by the Swedes on the Delaware. Instead, in New Englaud, they did a typically American thing : they mechanized their lumber industry. In 163 1l, a "atf'rpowered sawmill was erected on the Piscataqua, bet•.reen Maine and Ne½ Hampshir<'. At that time there was no such mill in Englau<l, PARSON CAPEN HOUSE was built in 1683 at Topsfield, Mass. Casement windows, each with 30 glass panes, were a relative luxury al Lime house was built. Pilastered chimney, borrowed from English manor house design, was also unusual. CONTINUED ON NEXT PAGE �COLONIAL WORLD CONTINUED The Old World furniture POTTERY JUG from Maine, was made in 1667, has pious inscription, "If God be for us-ho [who] can be againc [against] us." Colonial furniture, like colonial houses, followed fashions from abroad. Wealthier families, especially in the South, imported what they needed. But in the northern and middle colonies were American craftsmen who showed great skill in imitating English styles, often adding small touches of their own and working gradually toward lighter forms, easier and cheaper to produce. This was especially true when they used native woods and produced the humbler benches, cupboards and beds for everyday use. 17TH CENTURY PARLOR from Oyster Bay, Long Island home is enlivened by red turkey work, a popular form of embroidery, on the chair behind the tahle, and also by the colorfully painted and carved Ipswich chest. j w 0 i :::i :r r a: w r z ~ ~ :::i w <r. :::i ~ r z 0 0.. :::i 0 SPICE CABINET (left) made at Ipswich, Mass. in 1679 shows early use of ball feet. Paneled door bears the carved initials of owner, Thomas Hart Jr. TRESTLE TABLE was made in New England about 1650. Just under 12 feet long, it does not have a wa ted piece of wood in it. At right is Brewster chair. �with New World touches What they accomplished in about 100 years is indicated in the two period rooms belo". The elegant 17th Century parlor is almost purely English in appearance, tholl.gh the colorful polychrome chest and the Carver chair beside it are characteristic of ew England. In the kitchen at right the tall lat-back chairs, made in the Dela\\are Valley, are distinctly American in their slim lines and boldly curved backs. The scalloped open cupboard which holds the pottery i also an American design. ORNATELY CARVED box ma<le in Massachusetts, dated 1650, was used to store vahiable papers, as well as to hold family Bible. 18TH CENTURY KITCHEN paneled in pine is furnished mostly with item from Pennsylvania. In cupboard at left is comb ware pottery. Beside fireplace is ettle bed where guest slept, warmed by fire but uncomfortably upright. DOWER CHEST (at right) belonging to Mary Pease of Connecticut was probably made by her father, who with loving care carved and painted it. : CONTINUED ON NEXT PAGE �COLONIAL WORLD CONTINUED OLD SHIP MEETINGHOUSE at Hingham, Mass. has been continuously used for worship since it was built in 1681. Its interior is shown at right. Proportion and patterns The distinctive patterns and architectural details with which the colonists embellished their lives have mostly been rubbed out by time. But here and there they can still be seen, in the fading tracery of an old brick wall, or the thrust of massive timbers. The most remarkable survival is the Old Ship meetinghouse at Hingham (above and right), erected in 1681 when Massachusetts was still a Puritan commonwealth. I ts builders designed an exterior both sturdy and graceful, its square mass lightened by the slender tower which points toward heaven. The cavernous interior is saved from gloom by its perfect proportions and the soaring sweep of the tremendous beams and rafters, some of which are 45 feet long, the equal of the widest Gothic cathedral nave in England. Inside, it resembles nothing more than the hull of a greqt ship overturned to make a house of worship (to get the effect, turn picture upside down). The Old Ship meetinghouse is the only example left of the first purely American contribution to architecture-the four-square meeti~ghouse of 17th Century New England. The Puritans invented it because they hated the word ''church" and would not build one in America. They permitted no cross or spire; instead there was a central tower which held the bell and supported a useful weathervane. �PENDILL OF WOOD, main New England building material, hangs from Parson Capen house. The ornament was designed and carved by the carpenter who built the house. WALL OF STONE, a very popular material of the early middle colonies, gleams in lively contrast to painted door and shutters. This is the Van Deusen house in Hurley, N.Y. DESIGN OF BRICK, material of South, though laid in 1663, still glows in wall of "Make Peace" in Somerset County, Md. Masons used glazed brick which sparkled in the sun. ��The durable house of Cape Cod RIVALS of Cape Cod style in early New England were the four house shapes shown above: one-room L1 RIDGE CLAPBOARDS NAILED TO CORNER POST A triumph of colonial technique was the snug Cape Cod house, whose familiar block shape and low symmetrical roof still dots the U.S. landscape. The ground-hugging Cape Cod style was developed along the coast to resist hard winters and Atlantic storms. It has endured because its simple design is not only pleasant to the eye but comparatively easy and cheap to build. Like a modern skyscraper, the Cape Cod's outward appearance was determined entirely by its wooden skeleton, or frame. Colonial carpenters used 10 types of handhewn Limbers, and the names they used then are still current today (see diagram at right). The sills lay on the foundations to support the whole structure. The posts were the main vertical members; they carried the crosswise girts, on which rested the second floor. The summer beam was an especially large timber which spanned the middle of a room and was dovetailed into the girls. All other joints were fastened with -wooden pegs, or "trunnels" (tree nails). Joists were small beams which carried the floor boards. Plates were horizontal timbers on which rested the notched, slanting rafters. Purlins crossed the rafters to support roofboards and shingles. The ridge ran along the top. Collars were braces for the rafters. .· I IJ , .. 1 " r·.· . ,, .~ i~ :[1 ~ ~4 ' :~I /v ~~~ .· ,J · ~ --/2 . CLAPBOARDS CUT FROM LOG FLOOR JOIST CONSTRUCTION of Cape Cod house is shown in diagram of basic frame. Corner drawings at left *- CHIMNEY cottage, two-story English overhang, lean-to salt box and full two-story house with widened eaves. (opposite page) of Cape Cod house pictured above rises through center of house and combines flues from three fireplaces into a central stack. show mortises and tenons cut and fitted by hand. Clapboards(right, above) were split from long oak log. SHINGLED CAPE COD built in 1792 at South Orleans, Mass. was variation on clapboard style. Shingle idea may have come from New Amsterdam Dutch. CONTINUED ON NEXT PAGE 131 �SNIPE DECOY ABOUT 1860. $35 IRON DOORSTOP ABOUT 1870. $12 U.S.CRAZE FOR THINGS PAST Worldwide sampling of antiques serves as a basic buyer's guide In West Barnstable, Mass. a tiny colored glass compote fetched $250 at an auction sale a few months ago. When made in 1890 it sold for $1.25. In Marshalltown, Iowa, Dr. R. F. French began collecting hitching posts 20 years ago, usually paying from $5 to $25 a post. His collection, the largest in the U.S., numbers 400 posts which are now worth$ 100 to $250 apiece. In Versailles, Ky. , Garrett's Attic, a small antique shop, has done such booming business that the owner has posted a notice, "Gone to England, Scotland and Holland. Back in August"- to reopen with the European loot. 1n Georgia thieves have been making off with the old iron furniture from rural cemeteries to sell to dealers. In Santa Monica, Calif., Mrs. May Straub, who runs the Den of Iniquity antique shop, says, "I'm clean out of rocking chairs and looking all over for them. Everybody wants a rocking chair and a marble-topped washstand." The antique business in the U.S. is rollicking. At a conservative estimate $250 million a year is being spent for yesterday's belongings. Thirty years ago there was only one yearly antique show in the U.S.; today there are over 1,500. Thirty years ago there were half a dozen books on antiques; today there are over 500 that sell well. Currently there are 10,000 to 15,000 antique dealers, double the number 15 years ago. This still-growing craze for furniture and accessories made in the past is based on several things. People today travel more than ever before, see more antique furniture in Europe, learn more about craftsmanship and style. There is a growing desire for furnishings that will give individuality to houses that are too often just like the neighbor's. With antiques a householder can express his personal taste. And, since age enhances the beauty and the value of antiques, they are a good investment. Some of the antiques that are most in demand are shown here and on the following pages in a worldwide sampling of styles that can serve as a basic guide to buyers. Similar pieces can be found at higher prices or- with luck-for much less. It is wise to shop around for antiques. If a dealer has gotten a good buy himself, his selling price will be lower. Besides, it is fair and sensible to haggle and bargain when buying antiques. There are no fixed prices. Curiously the best buys in antiques today are technically not antiques at all. The U.S. Customs says that to enter the U.S. duty-free as an antique a piece must have been made before 1830, roughly the date that divides handmade goods from machine-made. But most people consider anything made in the 19th Century an antique and have found that the later the date the better the buy. IRON SCISSORS 19TH CENTURY. $45 CARRIAGE LAMP ABOUT 1880. $150 TRIPOD POT 19TH CENTURY. $25 KEY TRADE SIGN ABOUT 1830. $60 � 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.1 Creator An entity primarily responsible for making the resource Mrs. 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