Tag Archives: travel

A Monumental Divide

At the center of Raleigh is the North Carolina Capitol building, in the midst of Capitol Square, surrounded by more than a dozen monuments to the memory of statesmen and soldiers. The most recent installation (1990) is the North Carolina Veterans Monument, while the tallest memorial is the monument erected “to our Confederate dead” in 1892, and the only monument referencing women is the 1914 statue honoring the North Carolina Women of the Confederacy. The Raleigh-Durham area has seen several intense protests against Confederate monuments over the past several years, resulting in the toppling of the Robert E. Lee and “Silent Sam” statues in Durham and Chapel Hill, but this past August the special “Confederate Monuments Study Committee” of the North Carolina Historical Commission voted that the Capitol monuments should stay in place, despite the request for removal from North Carolina governor Roy Cooper and the Committee’s own opinion that the statues are “an over-representation and over-memorialization of a difficult era in NC history.”

Mon 5

Mon 2

Mon 1

Mon 3

I would have to agree with that characterization, particularly of the Women of the Confederacy statue, which depicts a woman as a mother-historian, reading the heroic tales (I presume) of war to her sword-bearing son. The towering Confederate Dead statue nearby (which was very difficult to photograph) features anonymous soldiers and a rather simple message of honoring the dead, and so is perhaps not as confrontational as a statue of an individual and identified Civil War soldier, though there is also a monument to Henry Lawson Wyatt, purported to be the first Confederate soldier killed in action, on the Capitol grounds. In announcing its decision to let these statues stand, the state Commission called for additional interpretation, “to provide a balanced context and accounting of the monuments’ erection in their time in political history” as well as the erection of additional monuments honoring the contributions of North Carolina’s African-American citizens. I did not see such context, nor equal monumental representation, but we are less than a year out from this ruling and a long-term effort to establish an adjacent “Freedom Park,” designed by architect Phil Freelon, the leader of the design team for the Smithsonian Institution National Museum of African American History and Culture, appears to have accelerated over the past year.

Freedom Park

Plan for the proposed “Freedom Park” and monument in Raleigh.

As I wandered around Capitol Square this past weekend looking at all of its installations with my historical and decidedly northern (even more decidedly Massachusetts) perspective, I had the most visceral reaction to a monument which wasn’t even mentioned in the recent debate over Confederate memorials in North Carolina: that dedicated to Samuel A’Court Ashe in 1940. Ashe obviously lived a full life and was revered by many in his native state, but all I could see when I read this plaque was heroic defender of Fort Wagner. Just a few weeks before I was wandering another hallowed ground, Salem’s Harmony Grove Cemetery, where I saw the graves of several men who served with the 54th Massachusetts Volunteer Infantry Regiment, the first Civil War military unit comprised of African-American soldiers to be raised in the North. The soldiers of the Massachusetts 54th distinguished themselves during the assault on strategic Fort Wagner, which guarded the entrance to Charleston Harbor, at great cost, losing 281 men on July 18, 1863: 54 confirmed casualties (including commanding officer Robert Gould Shaw), 179 wounded, 48 simply lost, while the Confederate troops inside were reportedly “maddened and infuriated at the sight of Negro troops.” Their sacrifice confirmed their promise of hope and glory, in the words of Massachusetts Governor John Andrew, and was memorialized later by the Augustus Saint-Gaudens monument on Boston Common (1897), Robert Lowell’s poem “For the Union Dead”, and the 1989 film Glory. Ashe, the defender of Fort Wagner, has much to say about the war and its commemoration, as his long post-war career was characterized by prolific writing (and Confederate commemoration advocacy) both as a newspaper editor and historian. In his History of North Carolina, he makes no mention of the Massachusetts 54th at Fort Wagner, but only of “the splendid heroism and devotion of the North Carolina troops”, and his “historical” analysis of the causes of the Civil War focuses almost exclusively on the policies of an “unpatriotic” Abraham Lincoln, whom he never refers to as President: it is not true, as Lincoln said, that without slavery there would have been no secession. It was the absence of the spirit of compromise on the part of Lincoln and his party that brought about secession in 1861….Secession would have been averted if Lincoln had copied the example of his patriotic predecessors. But he made his anti-slavery feeling his ‘paramount object’ instead of his desire to save the Union. He was revered as “that stainless leader of the Lost Cause” in the 1940 address given at the dedication of his monument. Frankly, I don’t want to read anything more about or by Mr. Ashe, and the next time I am in Raleigh I will give his memorial a very wide berth.

Mon 7

Monument title 1933

Shaw Memorial

20190612_114421

The monument dedicated to Samuel A’Court Ashe in Raleigh’s Capitol Square and one of his telling titles; the Boston Common monument to Robert Gould Shaw and the Massachusetts 54th by Augustus Saint-Gaudens: two memorials which reference Fort Wagner, and the Civil War, in very different ways. The grave of  Salem native of Luis Fenollosa Emilio, a Captain of the Mass. 54th who survived Fort Wagner and lived to tell their tale in A Brave Black Regiment (1894).

 


City of Signs

I have just returned from Raleigh, NC where I attended my stepson’s graduation and made my usual mad dash around the city’s historical sites and streets when not attending attendant graduation festivities! I’ve been to the Raleigh-Durham area many times, but I’ve never really focused on the downtown area of the capital city, so this time I was determined to do so. This region has seen dynamic development for quite some time, and prior visits had given me an impression of sprawling suburbia (apart from the college campuses) which I knew wasn’t entirely accurate. So I spent some time downtown, in the historic Oakwood neighborhood, and at a few historic house museums. In the city center, the attempt to preserve and blend older and new architecture was very apparent, but more than anything I was impressed by the historic markers which are everywhere. At the moment, I’m obsessed with Salem’s inconsistent signage, which is probably one reason Raleigh’s uniform and comprehensive signage was so noticeable to me, and to complete the comparison, I also noted two other essentials of Raleigh’s public history presentation not present in Salem: 1) historic walking tours; and 2) a really great little city historical museum: the City of Raleigh (COR) Museum. Once again I am struck by the amazing commitment that other towns and cities have made towards protecting and presenting their unique heritage, which we seem to take for granted here in Salem.

20190607_085426

pixlr

20190607_081758Signs everywhere in Raleigh, which has held on to its state heritage markers (even for sites that no longer exist) and added lots more.

I loved the historic Oakwood neighborhood with its mixture of low-slung embellished bungalows and high-style Victorian mansions, but there are some preserved nineteenth-century residences in the immediate downtown as well, several converted to commercial or government uses. The Oakwood neighborhood is apparently not only Raleigh’s largest historic residential district, but North Carolina’s largest “intact 19th century residential neighborhood”, so it’s pretty specialEvery house and garden seemed to be in pristine condition; every porch perfectly positioned. Beyond the Oakwood neighborhood is the historic Oakwood cemetery, which I only had time to run through, and there is a slightly more modest neighborhood of shotgun houses (including some interesting new construction) running alongside that.

20190607_082014

20190607_081103

20190607_082604

20190607_082941

20190607_085257

20190607_084059

20190607_085817

20190607_083524

20190607_084903

20190607_083938

20190607_084656

20190607_084928

20190609_104252The Heck-Andrews House (under renovation), Polk House, and Executive Mansion in the city center, and Oakwood beyond—and beyond Oakwood.

The oldest houses in Raleigh are two eighteenth-century houses which are now house museums: the Joel Lane House (1769; owned and operated by the National Society of the Colonial Dames of America) and the Mordecai House (1785, owned and operated by the City of Raleigh). They are connected, because Joel Lane, a very important figure in the foundation of Raleigh, built the Mordecai (which is pronounced MordeKEY down there) house for his son Henry. There were interesting interpretations in both houses, with domestic life as a primary focus in both, but as the Mordecai House was situated in the midst of an extensive plantation there was more consideration of both slavery and the estate’s role in the development of Raleigh in the later nineteenth and twentieth centuries. The Mordecai House is now in the midst of a city park, and additional historic structures have been moved to the site, including the birthplace of Andrew Johnson, about whom I learned a lot. He is one of the the three presidents “claimed” by North Carolina, along with James K.  Polk and Andrew Jackson (what a trio! I can’t help but be a bit more proud of the Adamses and JFK from Massachusetts). While I love the Colonial Dames, I do think they tend to be a bit too dependent on plastic food in their houses, and I am remain a bit confused about the Mordecai family’s connections to the small Jewish community in early nineteenth-century North Carolina.

20190608_134619

20190608_141421

20190608_143247

20190608_144526

20190608_105052

20190608_112740

20190608_115053

20190608_120109

20190608_115748

20190608_115719

20190608_121744

20190608_112339Exteriors and Interiors of the Lane and Mordecai Houses + their gardens and the Andrew Johnson birthplace, adjacent to Mordecai.

I really want to give a shout-out to the City of Raleigh Museum, which presented the city’s history in professional and creative ways while focusing on the connections between the past, the present, and the future. It is: right downtown, in the center of everything, free, designed beautifully, completely engaged and engaging. If it were possible, I would love to entice our Mayor and City Council down there so they could see how powerful a real museum of Salem history could be! The museum utilized several different interpretive strategies and media in its presentations: permanent installations which presented an overview of Raleigh’s history around different themes with objects, texts and videos, a revolving spotlight on collection items, and temporary exhibits on topical themes connected to what is going on in Raleigh right now. I was so impressed, and am very envious.

20190609_115156

20190609_115300

20190607_134243

20190607_141343

20190607_134845

20190607_141000

20190607_141645

20190607_135707

20190607_140010The City of Raleigh (COR) Museum: a must-visit spot; this last question is existential!

And finally, a food footnote, because food seems to be at the center of every thriving city, and Raleigh is no exception. I am no foodie (although I do appreciate a well-crafted cocktail), but even I was blown away by my meal (and my drinks) at one of Ashley Christensen’s four (soon to be five) Raleigh restaurants: Death and Taxes. Christensen is this year’s James Beard award winner for outstanding chef, and just based on this one experience, I can see why: beautiful restaurant, beautiful food. The food trucks were lined up along Fayetteville Street for the monthly Food Truck Rodeo yesterday, ending our visit on a very lively note.

20190606_203753

20190606_203637

20190609_125556

20190609_123009Death and Taxes and my companions’ food truck choices, including meatloaf-on-a-stick!


Wonders of Winterthur

I am still processing Winterthur, so this is a rather premature post, but I wanted to get my first impressions and thoughts out there and sometimes posting is processing! It was just so wonderful, in so many ways, especially as my friends and I toured its many period rooms in the company of Wendy A. Cooper, Curator Emerita of Furniture and conservator Christine Thomson. If the majesty of the rooms and their furnishings was not enough, the commentary of these two brilliant women on style, detail, condition, context, and provenance provided a soundtrack of sorts which enhanced the whole experience. And we got to go where more scheduled tours could not–which is always fun: if we did not make it through Winterthur’s 175 rooms, we came pretty close, and by the time of the closing bell we were on the top floor. While Ms. Cooper’s specialty is furniture, she seemed to have a mastery of every object in every room, as well as the history of Winterthur itself, so the takeaway was a very personal, even intimate, view of both the museum, its collections, and its founder, Henry (Harry) Francis du Pont (1880-1969). During our tour, I was so focused on absorbing every little detail that I didn’t really process, but afterwards, and all this week, I kept comparing Winterthur to another famous house museum, across the pond: Sir John Soane’s Museum. I needed context, I needed a comparison, and while I know that Winterthur is comprised of parts of many different houses and inspired more by the tradition of installing period rooms that started right here in Salem with George Francis Dow’s exhibits at the Essex Institute and Soane’s (much smaller) house is uniquely his place and collection, and fixed at a more exact point in time, the two houses seem both stuffed and the stuff of very personal passions for collecting: materialistic rather than “scientific” wunderkammers.

20190427_135800

the_south_drawing_room_derry_moorePort Royal Parlor at Winterthur and South Drawing Room at Sir John Soane’s Museum, photograph by Derry More.

The personal was my window into Winterthur: somehow stories of Mr. du Pont entertaining antique dealers over dinner and then proceeding to invite them to help rearrange the furniture reminded me of the more eccentric Mr. Soane. As I did when I first visited the London museum, I really felt the stamp of Mr. du Pont on Winterthur: period rooms can be rather cold, detached places (as they are literally detached), but Winterthur felt warm. The big, showy parlors and dining rooms of the main floors less so than the upper stories, but still, altogether an inviting installation—impressive for a museum of such scale.

20190427_174024

20190427_172437

20190427_153703

20190427_154512

20190427_154601

20190427_154448

20190427_154426

20190427_153526-1

20190427_133830

20190427_145051So many rooms—and stuff—for eating and drinking, of course, but dining rooms can be very revealing in their details. After the famous Chinese Parlor are several shots of the Du Pont Dining Room, with the Derby family’s green knives and knife boxes (+ McIntire chairs and Needham secretary, and adjacent candlestick closet. I can’t remember the name of the second, simple dining room, which is one of my favorite Winterthur rooms, but the photograph just above is of Queen Anne Dining Room, which really represents Mr. du Pont’s creative abilities (as well as his collecting efforts).

Some more observations and thoughts not yet fully developed, impressions: you really have to put your New England preferences aside and pay tribute to Philadelphia and New York furniture when you visit Winterthur (particularly the former, wow), but Mr. du Pont seems to have been just as passionate a collector of American (or should I say eastern American) folk art as high-style furniture. I knew I could get pictures of the grand rooms from the Winterthur website (plus they have a great digital database) so I took pictures of lots of little things that caught my eye (see some below). How many eagles are there in Winterthur? They seemed to be everywhere. And tea tables! Apparently Mr. du Pont’s collections started with pink transferware and he continued to assemble pottery collections with great conviction: there are several rooms devoted entirely to a variety of wares, even spatterware. And yes, parochial person that I am, I did seek out Salem items, which were not hard to find: there’s a whole room dedicated to McIntire, and other pieces scattered around. In just one room, of painted furniture pretty high up, Ms. Cooper casually pointed out a lovely silk chimneypiece embroidered by Sarah Derby Gardner and a Silsbee chair. The Du Pont Dining Room (above) featured not only knives from the Derby family, but also some McIntire side chairs, and an amazing secretary/bookcase made by Nehemiah Adams. In his own suite of rooms, Mr. du Pont worked on another Salem secretary, with a Nathaniel Gould chest of drawers nearby. An entire room is wallpapered with a mural painted by Michel Felice Corné for the Lindall-Barnard-Andrews House at 393 Essex Street in Salem.

Winterthur Secretery best

20190427_153224-1

20190427_163422

20190427_165224

20190427_152226

Winterthur eagle

20190427_133515

pixlr-1

Winterthur Tea Collage

20190427_132758

20190427_161302

20190427_161025

20190427_164308

20190427_164321

20190427_160227The Montmorenci stair, taken from a North Carolina house, replaced the “baronial” staircase which Mr. du Pont’s father installed. Folk objects and images, just a few tea tables, and just one china room. Several Salem items: the chimneypiece embroidered by Sarah Derby Gardner, a Silsbee chair, Mr. du Pont’s secretary (and bed), and the Corné mural from the Lindall-Barnard-Andrews House.

I could go on and on and on, but I’m going to wrap it up with just a few more of my favorite things/rooms, in no particular order. I really loved the William and Mary Parlor, pretty much every image of George Washington (and there were many), the detail on an otherwise simple chest of drawers, two pastels by John Singleton Copley of himself and his wife (and the amazing high-style parlor which they overlook), a very early billiards table, and an elegant curved settee for which Mr. du Pont built a wall. And just to bring in a touch of a real wunderkammer, a wonderful little anatomical plate.

20190427_142749

20190427_142843

20190427_162201

20190427_131347-1

20190427_162240

20190427_140726

20190427_140431

20190427_155945

20190427_170140

20190427_142043


Brandywine Weekend

I am just back from a long weekend spent in the Brandywine Valley spanning the border of Pennsylvania and Delaware. A few friends and I drove down principally to visit Winterthur, but I think we were blindsided by all the attractions of this beautiful region: the lush landscape was a welcome escape from still-Spartan New England too! As usual, time was limited, so I felt like I was rushing around trying to see and capture as many houses, gardens, and treasures as possible, but there was simply too much. I’m going to have to go back and spend a week or more. So what you will see in these next two posts are rather impressionistic views of the region in general and Winterthur in particular. When I return, the first thing I’m going to do is drive down every single road slowly (or maybe bicycle) so I can see as many old houses as possible: stone, brick, wood, and combinations thereof, small and large.

20190427_085236

Brandywine Houses 4

Brandywine houses 5

Brandywine Houses 9

Brandywine Houses 8

Brandywine Houses 3

20190428_100837

Brandywine Houses 11

Just a sample of the many beautiful houses in the Brandywine Valley: you can see that I was drawn to the stone as it’s more unusual in New England. We were fortunate to be taken to see Primitive Hall, a 1738 manor house in Chester County, Pennsylvania, with its double (“pent”) roof, a common architectural feature of early houses in the region, including the Gideon Gilpin House at the Brandywine Battlefield site. The Battle of Brandywine was the Marquis de Lafayette’s first American battle, and he was quartered at the Gilpin House.

Brandywine Houses 2

20190428_105237

Brandywine Houses 10

Brandywine Houses 1

20190427_100956

pixlr-1

Primitive Hall exterior and interior and the Gideon Gilpin House at the Brandywine Battlefield site; outbuildings of both houses—I could write an entire post on historic Brandywine sheds!

The region is beautifully preserved, in large part due to the work of the Brandywine Conservancy, as well as the institutional presence of the Brandywine River Museum, Winterthur, and Longwood Gardens, and the efforts of farm (horses! mushrooms!) owners as well, I am sure. What really stood out for me, besides the abundance of open land, were a number of really stately trees—and I am no tree girl. Looming over the public part of the Brandywine Battlefield site is an American sycamore tree dating to 1787–almost a witness to the Revolution. We saw a seventeenth-century “Penn Oak” on the grounds of the London Grove Friends Meeting House in West Marlborough, Pennsylvania, and many old trees in Longwood Gardens.

20190427_101414

20190427_101127

20190428_101211

20190426_144635

Longwood Gardens, the lifetime passion and achievement of industrialist and philanthropist Pierre S. du Pont (1870-1954) was almost overwhelming in its beauty, scale, organization and administration. What a resource for this community! I would live there if I lived nearby. I think we visited at the perfect time with abundant spring blooms everywhere, but I’m sure it’s beautiful in every season and I intend to visit in every season. There was rather dreary day on the Friday we visited, but the sun miraculously appeared for the afternoon, so no filters were needed for these photos!

20190426_140806

20190426_141528

20190426_141645

20190426_142535

20190426_141858

20190426_143633

20190426_142712

20190426_152647

20190426_153003

20190426_153332

pixlr-2

20190426_153431Longwood Gardens + Conservatory and “Green Wall” surrounding restroom doors!

I don’t think that we were completely prepared (yet again) for just how charming the Brandywine River Museum of Art is, with its comprehensive yet intimate focus on multiple generations of the multi-talented Wyeth family. I was pretty familiar with patriarch N.C. Wyeth’s illustration work,, somewhat familiar with that of his son Andrew, and a bit familiar with that of his grandson Jamie, but I had no idea that all of his children were so talented, that he was mentored by my favorite illustrator of all time, Howard Pyle, and that he suffered such a tragic death (crushed by a train, along with his little grandson, in 1945). There was also a poignant tribute to Phyllis Mills Wyeth, the wife and muse of Jamie Wyeth, who died just this past January, in the form of an exhibition of Jamie’s works which depict and were inspired by her—including a series of charming Christmas cards which he made for her every year. A visit to the Wyeth family home and N.C.’s studio nearby enhanced the whole experience, and also highlighted how and why the Brandywine Valley was and is so inspirational.

Brandywine Museum

20190426_114708

pixlr-3

20190426_114325

20190426_111338

20190426_114047

20190426_134129

20190426_111751

20190426_132428

20190426_112800

20190426_115536Treasures of the Brandywine River Museum of Art, including: Howard Pyle’s influential “historic” illustrations and a N.C. Wyeth cover, Andrew Wyeth’s Snow Hill  and Jamie Wyeth’s Lime Bag, N.C.’s studio exterior and interior and in Andrew’s North Light, N.C. Wyeth, framed by his parents and looking down on his talented family, a Jamie Wyeth Christmas card for his beloved wife Phyllis.


Portuguese Pavement

Like everyone else in the world, I admire Portuguese sidewalks, paved in mosaic patterns of polished white and black limestone, hand-cut and hand-laid: calçada Portuguesa is definitely an important part of Lisbon’s municipal identity, with a bronze installation of two pavers (calceteiros) at work situated in one of its central squares. We had great weather last week, but I’ve been on these sidewalks in the rain before, and I know that they are definitely slippery when wet. Consequently they have their critics, but I think the more serious threat to their continuing existence comes from the production side, as low wages, arduous work, and long hours have diminished the number of calceteiros working in Lisbon in recent decades. One article asserts that there are a mere ten pavers in Lisbon today, compared with 400 in the eighteenth century. I saw several pavers working while I was there, and they looked just like this bronze pair below: craftsmanship from time immemorial, still very evident along the streets of Lisbon.

Port Pav 9

Port Pav 6

Port Pav 2

Port Pav

Port Pav 8pixlr

Even the beautiful store Vista Alegre was inspired enough by Portuguese sidewalks to design and produce an entire line of dinnerware with some traditional motifs: just stunning. It was hard to resist these plates but I was worried about breakage: and now I see I can buy them here!

Port Pav 4

Port Pav 3

Port Pav 5


City of Seven Hills

I’m just back from a wonderful vacation to Lisbon during which I took hundreds of photographs, so advance warning to those who are more interested in local history and culture: this is definitely going to be a “streets of Lisbon” week! I’ve been to Portugal several times before, but my last visit was quite a while ago, and I never spent more than a few days in the capital so there were many discoveries: plus Lisbon is incredibly photogenic as it is so full of texture and color. I walked everywhere so I could capture every little detail, only popping on a yellow tram near the end of a long day when I was looking up at yet another hill (there are seven, just like Rome) which had something I had to see at its top. We had wonderful weather, and Lisbon appeared very bright and shiny, with its multichromatic buildings, both tiled and color-washed, contrasting with its black and white sidewalks and squares. Yellow popped out particularly, not just on the trams but also on private and public buildings and even the cranes which hovered over sections of the city. Like so many other cities, Lisbon appears to be having a building boom, encompassing both the construction of new structures and the “renewal” of others. It’s a city that has always embraced the new and cherished the old in a particularly effective way, certainly since the devastating earthquake of 1755 and no doubt well before, as it is an ancient settlement. I’ve got my favorite photos from the trip today, and my next posts will focus on the sidewalks and shops of Lisbon, then I’ll get back to some Salem stuff (though I think I have enough photos to feature Lisbon for some time).

Yellow City 20

Yellow City 33

Yellow Lisbon Black Horse Square

Yellow City 2

Yellow City 25

Yellow City 5

Yellow City 26

Yellow Lisbon 2The arch of the Praça do Comércio, the Square of Commerce, is the proper entry to Lisbon, from the sea, but it’s a nineteenth-century construction after the rebuilding of the square following the earthquake of 1755. A great mural in the Museu Nacional de Arte Antiga shows the pre-1755 square. The Church of The Church of Nossa Senhora da Conceição, the ruins of the Cormo Convent (another memorial to the losses of 1755), the interior of Lisbon Cathedral, just another beautiful church square, and a quote by the 18th century Jesuit father Antonio Vieira “Para nascer, Portugal. Para morrer, o mundo” testifying to the still-evident Portuguese pride in its global reach.

Yellow City

Yellow City 9

Yellow City 10

Yellow City 8

Yellow Lisbon Castle2

Yellow City 31

Yellow Lisbon Castle

Yellow Lisbon Church

Yellow City 4

Yellow City 3I’m trying to show the integration and proximity of new and old with these pictures, which include several streetscapes, views from the Castelo de S. Jorge, the Church of São Vicente of Fora, and a shot of the botanical garden, but they also present a lot of yellow, a very conspicuous color in Lisbon.

Yellow Lisbon Belem 3

Yellow City 32

Yellow Lisbon Belem

Yellow Lisbon Belem 2

Yellow Clevely Belem

Tarts

Yellow Lisbon CarriageBelem: site of the iconic Manueline Jerónimos Monastery and Belem Tower + tarts and the maritime history and coach museums, and a very strident 20th-century monument to the discoveries. 

Yellow Lisbon Museum

Yellow City 24

Yellow City 23

Yellow City 21

Yellow City 40

Yellow City 12

Yellow City 22

PharmacyMuseums:  so many! History museums and museums of every conceivable form of art: “ancient” (pre-1850), modern, decorative, TILES, marionettes. The famous Gulbenkian collection and several less well-known house museums: I was blown away by the CasaMuseu Medeiros e Almeida in particular. I have a new appreciation for Portuguese artists of the Renaissance (Gregório Lopes in particular: look at that Martyrdom of St. Sebastian). And I couldn’t leave without visiting the Museu da Farmácia, of course. 


Land of the Livingstons

This past weekend I toured six “country seats” built by various members of the venerable and prominent Livingston family of the Hudson River Valley in the later eighteenth and nineteenth centuries: most privately-owned, one owned by the state of New York. My brother and brother-in-law live in Rhinebeck, so I have visited this region quite a bit, but I find new old houses every single time I return, and this time was no exception. When we started off, I was thinking only 6 houses? we’ll be done in a flash and $60 for six houses! as our Christmas in Salem tour features more houses and a lower ticket price but it took us most of the day and was well worth it: I had an urban house tour in my mind where you just walk from place to place but these are rural county seats situated on vast acres of land—-mostly waterfront. The scale of both houses and land was much larger than your average house tour, and the tour was a bargain: I’m alway happy to support historic preservation in any case, and in this case it was Hudson River Heritage. I’m going to present the tour in the very order that we saw these houses and give you my impressions of each along the way: no interior photography was allowed except in the state-owned property, Clermont, but as one of the houses is currently for sale and others are included in the amazing (again, expensive but worth it) newly-published book by Pieter Estersohn titled Life Along the Hudson. The Historic Country Estates of the Livingston Family and other publications I can show you some interior views.

You will notice it getting progressively brighter; the day started out pretty dreary and ended with sun. Still all houses shone.

RICHMOND HILL, built in 1808

This federal—-no I think proper Palladian is more accurate–house was simply stunning: beautiful proportions and details. It is the most formal farmhouse I have ever seen as it sits in the midst of 58 acres and many outbuildings, including a period Dutch barn, also unlike anything I have ever seen (I’m such a New Englander!). It has not been lived in for some time and is currently for sale: the photographs on the real estate site (I’m including the west bedroom and basement kitchen below–there’s a modern kitchen too!) are not really doing it justice in terms of the details: one of the mantles had a pinecone design which (again) I have never seen before. 

Hudson 1

Hudson 7

Hudson 6

Hudson 10

Hudson 11

Hudson 2

Hudson 8

Hudson 4

Hudson 5

 

CHIDDINGSTONE, Built in 1860

This is a “Bracketed Italianate” house which has recently been restored and redecorated with 15-foot ceilings and a stunning river view. The interior is all about height over width: the rooms were not all that large in terms of size but those high ceilings, along with the floor-to-ceiling windows and furnishings, made them seem positively grand.

Hudson CH 2

Hudson CH 3

Chiddingstone_834_510_000000_s

The front parlor photographed by Pieter Estersohn

Hudson CH 4

 

CLERMONT, Built from 1779-82

Then it was on to the oldest Livingston house, Clermont, which was built in the 1730s but burned mostly to the ground by the British during the Revolutionary War and rebuilt between 1779 and 1782. Clermont is a state historic site with an informative visitors’ center and extensive grounds along the river. Here we had a proper (essentially genealogical) tour and were able to take photographs: the interiors are furnished in the Colonial Revival style adopted by the last Livingstons to live at Clermont in the 1930s.

HUDSON CL2

HUDSON CL 3

HUDSON CL 4

HUDSON CL 5

HUDSON CL 6

HUDSON CL 7

HUDSON CL

 

MIDWOOD, built in 1888

Midwood is a sprawling Colonial Revival house situated on 87 acres along the Hudson: it made quite the contrast from Clermont as it is a very much lived-in and lively house, furnished in an eclectic style that must reflect the spirit of its owner and felt very “Bloomsbury” to me: we spent quite some time there just because there was so much to see and we were not alone. You can take your own tour here, and I’m sharing two interior views below.

Hudson M3

Hudson M4

Midwood collage

Side Parlors photographed by Christopher Baker

 

CLARKSON CHAPEL, built c. 1860

One of many board and batten Carpenter Gothic structures in the region, the Clarkson Chapel was built following a dispute–a schism, I suppose– at St. Paul’s Episcopal Church in nearby Tivoli. Here we met a wonderful guide/steward who had made her own chart of the division of the original Livingston Manor. This was very helpful, and another informative source is here.

Hudson Chapel

Hudson Chapel 2

 

EDGEWATER, Built in 1825

Our last stop was at Edgewater, a magnificent Greek Revival mansion perched on the Hudson shore in Barrytown, the long-time home of Richard Jenrette, who died earlier this year. My first house was a Greek Revival, and so I studied and bought everything I could about this iconic architectural style, and Mr. Jenrette’s Adventures with Old Houses (1995) became a bible of sorts: my copy is coffee-cup stained, page-marked, and well-worn. Edgewater is preserved, polished, and furnished to perfection, and signs of Mr. Jenrette were all around within: notes, cards, the lift on the magnificent stairs, the program to his memorial service. Of course the whole house is a memorial to him, as is the foundation which now owns Edgewater and his other homes: the Classical American Homes Preservation Trust. I had pored over pictures of Edgewater so many times that when I finally found myself inside, I felt like I was returning to it, which is the first time I’ve had that experience. That said, it’s even more beautiful than its photographs and is a very real, much-loved house indeed.

Edgewater

Edgewater 2

Edgewater 3

Edgewater 7

Edgewater 8

Photographs of the Music Room and Dining Room by Dorothy Hong for the Wall Street Journal (above); the Edgewater guesthouse (below) was built in 1996.

Edgewater 6

Edgewater 4

Edgewater 5


%d bloggers like this: