Tag Archives: Seasons

Doors of Deerfield

Last weekend I drove out to the Pioneer Valley and spent some time at Historic Deerfield, an outdoor museum of eighteenth-century houses located (and assembled) all along one street in the midst of fertile farmland. The museum was founded in 1952, and I’ve been there several times but never by myself, so it was nice to have the time and freedom to focus on whatever I wanted to–and what I wanted to focus on was doors. All I could see was doorways, and it seemed like I couldn’t look at each and every one for long enough. This is certainly not an original preoccupation: I saw the requisite “Doors of Deerfield” posters and postcards in the Museum Shop, where I also picked up a copy of Amelia F. Miller’s Connecticut River Valley Doorways. An Eighteenth-Century Flowering (1983), one of the “Occasional Publications” of the Dublin Seminar for New England Folklife, to take home with me. I expect that I may need to drive out west again very soon—and head south along the river—so that I can see all of these special Connecticut River Valley doorways. Living here in Salem, I’m used to historic doorways, but they are for the most part quite restrained in that Federal way, so these “western” doors provide quite the contrast in terms of detail. Miller agrees (or rather I agree with Miller): Connecticut River Valley doorways bear little resemblance….to doorways of the same period found one hundred miles to the east in coastal Massachusetts and Rhode Island towns.

So here are my favorite Deerfield doors, following Miller’s categorization of scroll pedimented doorways, triangular pedimented doorways, segmental pedimented doorways (apparently there are none in Deerfield?) and flat-top doorways. Plus a few more that defy categorization (at least for me): one of the nice things about Historic Deerfield is the interspersing of private homes among the museum buildings, and the former have great doors too.

Scroll Pedimented Doorways: 

Deerfield Ashley Scroll

Deerfield Ashley Scroll 2

Deerfield Dwight best

Deerfield Door Scrolled

Dwight House in Springfield

The Ashley House (1734) and Dwight House, built in the 1750s and moved to Deerfield from Springfield, Massachusetts. Miller includes a c. 1920 photograph of the Dwight house in situ in Springfield (above) and informs us that Mr. Henry Francis Du Pont purchased the door in 1924, and subsequently installed it first in his Long Island home and later at Winterthur. The Dwight House was moved to Deerfield in 1951, and a reproduction door was produced. I’m always aware of Salem houses being picked apart but really no Massachusetts house was safe!

Triangular Pedimented Doorways:

Deerfield Brown

Sheldon House text

Deerfield Red

The Sheldon House (1755), today and in a 1910 photograph in Miller’s text, and a private home across the street.

Flat-top Doorways: not sure these all fit the exact designation, but they have flat tops!

Flat-top Allen

Flat-top Allen doors

Flat-top Barnard

Flat-Top blue

Deerfield Yellow Garden

Deerfield Yellow Door

The Allen House (1734), home of Henry and Helen Flynt, the founders of Historic Deerfield; the Barnard Tavern (1795), with reproduction flat-top door on right and reproduction triangular-pedimented door on left; the beautiful BLUE Wells-Thorne House (1734) and two private homes in between. Not sure how to categorize this last doorway……….

The Federal houses of Deerfield, with their fanlights and transoms and rounded doorways, don’t look so unfamiliar to me: obviously the region was increasingly open to trans-Atlantic and national aesthetic influences in the later eighteenth and nineteenth centuries. As is the case with every outdoor or living-history museum that I’ve visited, you do get that still, out-of-time feeling, although the Deerfield experience is enhanced by the proximity of private homes and Deerfield Academy. Still, it was nice to return home to historic Salem, even though it’s a bit too lively for me at this time of year.

Deerfield Stebbins

Deerfield glass 5

deerfield glass 4

Deerfield Glass 3

Deerfield glass

Deerfield Printing

The Stebbins (1799), Williams (remodelled 1817) and Wright (1824) houses of Historic Deerfield; two adjacent private homes; the Wilson Printing Office (1816).

And of course we must have flagrant pumpkin displays for this time of year:

Deerfield Pumpkins


Change in the Weather

The weather actually did change very perceptibly here, at about 9:30 or 10:00 yesterday morning, from muggy late summer into breezy crisp fall. In about a half hour: I felt it, and everyone I ran into yesterday felt it too. But I still have weather history on the brain, so my title is referring to a volume by the amazing antiquarian of a century ago, Sidney Perley: Historic storms of New England : its gales, hurricanes, tornadoes, showers with thunder and lightning, great snow storms, rains, freshets, floods, droughts, cold winters, hot summers, avalanches, earthquakes, dark days, comets, aurora-borealis, phenomena in the heavens, wrecks along the coast, with incidents and anecdotes, amusing and pathetic (1891). What a title! And it does not disappoint.

Weather Historic Storms of NE

I have written about Sidney Perley many, many times here before as his works are the starting place for anyone interested in Salem history and culture—and often the culmination of inquiries as well: that’s how good he was. Perley (1858-1928) was lawyer by profession but an historian by passion—I’ve met many people like this over my career but Perley managed to somehow excel at both pursuits simultaneously, publishing a steady stream of books (History of Boxford, 1880, Poets of Essex County, 1889, History of Salem, 1924, and all those invaluable articles in his Essex Antiquarian along with many texts on probate law) over the course of his career. Quite logically he was an expert in utilizing the will and the deed as a historical source, but he clearly mined any and every source he could find for essential “anecdotes”. When I begin to delve into the history of a Salem house I always start with Perley, a practice that began long ago when I first moved here and started researching house histories for Historic Salem, Incorporated. He remains an essential guide to the history of Salem for me, and I thought about him a lot last summer, when Proctor’s Ledge was formally recognized and memorialized as the execution site of the victims of the Salem Witch Trials—culminating a process that began in the 1920s with his advocacy for this site. With the inaccessibility and closure of the Phillips Library it is apparent to me that his works are probably our best connection to Salem’s early history. The other day I found an old copy of his Historic Storms on my bookshelf, opened it up, and just like that, several hours went by in what seemed like a minute. It’s one of those books that is quite easily read intermittently but I had lots of other less interesting stuff to avoid so I just settled in and read about the weather.

Perley2

Perley 3

Because the book is focused on weather events, you come away with a perception of very dramatic weather, and maybe it is just because the crisp coming-of-October breeze was coming through the windows of my study while I was reading, but it seemed to me, anecdotally, that October had the most changeable weather of all: severe drought and rain, snow, thunder, lightning, shipwrecks, earthquakes, Indian Summers, and above all, excessive winds. The first of the famous “Dark Days” (of 1716 and 1780, now attributed to forest fires in the north, then very mysterious and perhaps the wrath of God), occurred in October, the second in May, another very changeable month. During the “great” Dark Day of 1780 in Salem, the Reverend Nathaniel Whittaker’s congregation heard that the gloom was divine judgement of their cumulative sin, while out in the streets, [drunken?] sailors paraded about, “crying out to ladies who passed them by, ‘now you may off your rolls and high caps'”. A bit over a century later, Perley serves as his own source in his account of the less famous “Yellow Day” of September 6, 1881: On the morning of “the yellow day” there was no apparent gathering of clouds, such as occurred on the dark day 0f 1780 but early in the morning the sun and sky appeared red, and towards noon every part of the sky assumed a yellow cast, which tinged everything, buildings, ground, foliage and verdure, with its peculiar novel shade. All things were beautiful, strange and weird, and it seemed as if nature was passing into an enchanted state. It was at first intensely interesting, but as the hours dragged on, and but slight change occurred the sight became oppressive. The wonderful spectacle will never be forgotten by those who witnessed it. Love that line, all things were beautiful, strange and weird. Perley was also, it should be acknowledged, a very good writer.

Perley 5

Perley 6

Perley 4

Nocturne: Black and Gold - The Fire Wheel 1875 by James Abbott McNeill Whistler 1834-1903

Scenes from the first crisp Autumn day of 2017 in Salem cast in darker, yellowish hues—as preparations for our annual neighborhood party were ongoing across the street in the Chestnut Street park + James Abbott McNeill Whistler’s Nocturne: Black and Gold – The Fire Wheel (1875, Tate Museum), just because.


Salem Roses

You can have your showy, ant-filled peonies: at this time of year it is all about roses for me. This is rose week in Salem–everywhere you go (except perhaps for the Ropes Mansion Garden, which peaks in late summer), there are beautiful roses in bloom. I’ve got some relatively new bushes in my garden as last year there was a roofer-induced massacre. When I first put in roses, I chose only hard-to-find old garden varieties of the rosa gallica type: I was a purist who prioritized history over flowering (similar to the pink and white varieties below in the Derby House garden, which look much better than mine ever did—I also had an herb garden full of straggly herbs used as medieval plague cures). These heirloom roses were a bit too shrubby for me, and so I replaced them one by one with more modern varieties, mostly from David Austin. And after the decimation last year, I went all David Austin: pale pinks and yellow, almost-orange, no red. They all popped yesterday (see collage), and I went for a walk to see some more: so here you have it, my rose-tour of downtown Salem.Rose Collage

June Roses 1

June Roses 3

June Roses 4

June Roses 5

June Roses 6

June Roses 7

June Roses 9

June Roses 8

My roses, a cascade on Cambridge Street, in front of the John Ward house, off Orange Street, the Brookhouse Home side garden, and Derby House garden.


May Flowers

I’m sorry that my posts are short and spare these days, with more space between them: this is the busiest time of the year for me. The spring semester is technically “over”, but it dies a lingering death: with reports to write, two commencements and many meetings to attend. I want to spend as much time in my garden, which is overrun with violets, but can only snatch an hour or two each day. The weather has been very erratic here: rainy and raw last weekend, followed by lots of sun and very hot days, then a big cool-down. It ranged from 90-something degrees to 60 degrees at the end of the week: on Thursday night I sweated through our graduate commencement wearing my polyester and velvet academic regalia in an un-air-conditioned gymnasium, but yesterday I was pretty comfortable, even a bit chilly. Fortunately, it’s a beautiful time of year, so even though I don’t have much to say to you at the moment I have lots to show you: some shots of the most beautiful May flowers in my garden and around my neighborhood. We have shifted from the pink period of spring into a mostly-white-with-purple-accents phase, with many more colors to come.

May FLowers T

May Flowers TBW

May FLowers LW

May Flowers A

May Flowers LV Trillium, lungworts, anemones and lillies of the valley in my garden above; viburnam, wisteria and irises at the Ropes Garden below, along with the best viburnam hedge in Salem along Federal Court and Solomon’s Seal in the Peirce-Nichols garden.

May Flowers BW

May Flowers Ropes

May Flowers I

May Flowers V

May Flowers SS2

May Flowers SS

P.S. I did see some real mayflowers in the Salem Woods a few weeks ago but unfortunately did not take a picture!


Pink Portfolio

Certain times of the year are just defined by colors: early May reads pink to me, with touches of white (and green of course) for contrast. It’s all the flowering trees and shrubs and the pink version of one of my very favorite plants, Bleeding Hearts. Spring has been rather chilly here in Salem so far, and this is a really busy time on the academic calendar, but the quest for pink gets me out there on the streets, and in some cases, in (public!) backyards. The sloping garden behind the Peirce-Nichols house, for example, is Bleeding Heart heaven, and while I found no pink (though sometimes lilac can pass) behind another PEM house, the Gardner-Pingree, I did find a rabbit, so I’m including him/her too–along with a photograph of some absolutely beautiful pink borscht from a new bedside book which I bought more for its colors than its recipes: Dinner with Georgia O’Keeffe: Recipes, Art & Landscape (Assouline, 2017).

Pink and White 8

Pink and White 7

Pink and White 5

Pink and White 6

Pink Bleading Heart

“Papplerose” (which looks like Bleeding Hearts to me) drawing by Dagobert Peche (Austrian, 1887-1923); watercolor on paper, Smithsonian/Cooper Hewitt Museum.

Pink and White 4

Pink and White2

Pink and White 3

Pink and White

Pink and White 3

Pink Tulips

Pink and White georgia-o-keeffe-cookbook

Drawing of pink and white tulips by Tommi Parzinger, ca. 1930; graphite on paper, Smithsonian/Cooper Hewitt Collection; borscht from Dinner with Georgia O’Keeffe: Recipes, Art & Landscape by Robyn Lea.


What’s up in Salem

I had a dream the night before last about William Huntingdon Sanders, shivering with his Malaria-induced fever on a hospital piazza in Cuba, unattended and very much alone. When I woke up, I walked up to Harmony Grove Cemetery to see his grave, and on the way home, looked for signs of spring in Salem. We’re not quite there yet: you can tell that next week will see the big burst that always seems so sudden to me. But there was some color, highlighted by the emergence of the sun in the course of the day. Nothing much in my yard–which is very much dominated by later-blooming herbs and perennials–except for these amazing variegated plants whose name I have forgotten (last photograph below): I saw them in a small courtyard garden at Hampton Court Palace last year and had to have them, and a colleague’s husband graciously supplied me with three. I lost one, but look at the two remaining:  they’ve been blooming for a month and now I’m wondering how big they are going to get. I want more!

whats up6

Whats Up

Whats up 7

Whats up 2

Whats up 6

Whats up 5

Whats up 4

Whats up tulips

Whats up 3

Name this plant, please!


Winter and Spring

Looking out the window on the last day of winter 2017, a grey snow-threatening day, it seemed as if the seasons were in battle, with Winter struggling to muster up the energy for one last blast before Spring inevitably prevailed. By the end of the day the sun came out, and I interpreted this as the triumph of Spring! The seasons have been personified from the classical Horae and their Renaissance revival on, but my wistful weather musings were influenced more by materialism than any intellectual curiosity or poetic sensibility on my part: I was engaging in a favorite Sunday pastime of browsing upcoming auction lots, and came across Louis Rhead’s watercolor Lady Spring banishing Father Winter, circa 1890, in an upcoming Swann auction of  illustration art.

M34760-7 001

Louis Rhead, Lady Spring banishing Father Winter, c. 1890

Of all the seasonal personifications, only Winter is portrayed as masculine, but not exclusively: perhaps this is because Winter wasn’t really recognized as a season in the classical era so he/she is more gender-flexible. Rhead portrays “Father” or “Old Man” Winter in the European folklore tradition, but other artists of  his era preferred the all-feminine “four seasons”. Walter Crane’s Masque of the Four Seasons (c. 1903) seems to mirror Botticelli’s Primavera (c. 1482) except for the feminization of the brooding, blue Winter, which the latter depicted as Zephyrus, who effects the transformation of Flora into Spring, with her ever-present basket of flowers.

Winter and Springe Masque of the Four Seasons Walter Crane

botticelli-primavera

Walter Crane, Masque of the Four Seasons & Sandro Botticelli, Allegory of Spring, or Primavera (c. 1482), Uffizi Gallery Museum

Winter and spring are feminine companions/opponents in Alphonse Mucha’s seasonal series from 1896, women are in season in Henri Meunier’s Four Seasons series from 1900, and sullen Winter looks on the more cheerful and cherubic seasons in Henry Wallis’s drawing from the same year. The seasons become more strident in the twentieth century: charging rather than prancing about the garden in William Walsh’s series of covers for Women’s Home Companion, 1931. Riding in on her unicorn, Spring definitely looks triumphant.

Winter and Spring Mucha collage

Seasons collage Meunier

Four Seasons V and A

Winter and Spring 1931

Alphonse Mucha, Winter and Spring from The Seasons series (1896); Henri Meunier, Winter and Spring from the Four Seasons series (1900); Henry Wallis, The Four Seasons (1900); William P. Walsh, May (Spring) and February (Winter) 1931 covers of Women’s Home Companion.

 


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