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COGSWELL, ELIZABETH WAVLAND AGEE THE HENRY LIPPITT HOUSES A DOCUMENT DF LIFE AND TASTE IN MID-VICTORIAN AMERICA. UNIVERSITY OF DELAWARE (WINTERTHUR PROGRAM), M.A., 1981

COPR. 1981 COGSWELL, ELIZABETH WAYLAND AGEE

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ELIZABETH WAYLAND AGEE COGSWELL

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University Microfilms International

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE HENRY LIPPITT HOUSE:

A DOCUMENT OP LIFE AND TASTE

IN MID-VICTORIAN AMERICA

By Elizabeth Wayland Agee Cogswell

A thesis submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Master of Arts in Early American Culture.

June, 1981

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE HENRY LIPPITT HOUSE: A DOCUMENT OP LIFE AND TASTE IN MID-VICTORIAN AMERICA

By Elizabeth Wayland Agee Cogswell

Approved: KennethVi TL Ames, A m A n "DirtPh.D. T"\ Professor in charge of thesis on behalf of the Advisory Committee

O l f C j-XI 1CJ*I ILL O U • n U l i . | V il« i J » X ^ Coordinator, Winterthur Program in Early American Culture

Aonroved: H.'B.iJ. • J-' * TTurray 1 1 tAJL X •,"~Ph X 1 1 * J-/ « University Coordinator for Graduate Studies

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS

Sincere thanks to Mr. and Mrs. Lytton Doolittle for their warm and gracious hospitality during my stay at the Lippitt House, and to Mrs. Doolittle for sharing her memories and collections with me. To Providence members of the Lippitt family— Mr. and Mrs. John S. Chafee, Mr. Frederick Lippitt, Mr. Gorton Thayer Lippitt, Miss Mary Ann Lippitt, Mrs. George Metcalf, Mr. and Mrs. Charles Steedman— my appreciation for their willingness to allow me to examine their collections and discuss their recollections. Special thanks to Mr. Henry F. Lippitt, 2nd of Los Angeles for his encouragement, and for generously furnishing materials which he has assembled about the Lippitt family and their mansion. My gratitude to the following individuals who gave me assistance in using materials from their institutions: Mr. Mark Brown, Manuscript Librarian, John Hay Library, Brown University; Mr. Harold E. Kemble, Jr., Manuscript Curator, The Rhode Island Historical Society; Mr. Roger Williams, Jr., Historian and Librarian, Stonington Historical Society; and Ms. Margaret Stearns, Curator, The Museum of < the City of New York. Thanks too to Kathryn Keller for her help in checking references. My appreciation to Kenneth L. Ames, my thesis advisor, for his enthusiasm about the topic of this thesis and for his insistence on a tighter manuscript than might otherwise have been produced. Most of all, my thanks to my husband James for his unfailing support and for having borne the brunt of this project, and to Thomas for having suffered my preoccupation during the first year of his life.

lii

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OP CONTENTS

Pace List of Illustrations vi Introduction 1 Notes to the Introduction 5 Chapter I Henry Lippitt and the Construction of His House 7

Notes to Chapter I 23 Chapter II Interior Ornamentation and Furnishings: The Main Floor 29 Notes to Chapter II 101 Chapter III Interior Ornamentation and Furnishings: The Upper Stories 122

Notes to Chapter III 1^5 Conclusion 1^9 Notes to the Conclusion 155 Illustrations 156

Bibliography 177 Appendix A Transcription of Henry Lippitt's Contract Book 189 Appendix B Transcription of "New House Account" 202 Appendix C Transcription of Bill from Anthony, Potter & Denison 211 Appendix D Transcription of Bill from Pottier & & Stymus 221

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Page Appendix E Transcription of Bill from Knowles, Scholze & Co. 223 Appendix F Transcription of Bill from French, Wells & Co. 225 Appendix G Transcription of Bill from Alex. T. Stewart & Co. 226

Appendix H Transcription of Three Bills from E.V. Haughwout & Co. 227 Appendix I Transcription of Bill from C. Earle Whitaker 229 Appendix J Transcription of Bill from Gorham, Co. & Brown 230 Appendix K Transcription of Bill from Vose & Huxford 231 Appendix L Transcription of Bill from American & General Commission Agency 232

Appendix M Transcription of Bill from Potter & Co. 234 Appendix N Profile of Anthony, Potter & Denison 244

Appendix 0 Profile of Carpenter & Childs 249

Appendix P Profile of Cattanach & Cliff 251 Appendix Q, Profile of Pottier & Stymus 255

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OP ILLUSTRATIONS

Page Pig. 1 Schematic Floor Plan, Main Floor 156 Pig. 2 Schematic Floor Plan, Second Story 157

Plate 1 Henry Lippitt House, Providence, Rhode Island 158 2 Thomas Hoppin House, Providence, Rhode Island 158 3 Marshall Woods House, Providence, Rhode Island 159 4 Left: Drawing Room Short Arm Chair— Pottier & Stymus Right: Hall Chair— Anthony, Potter & Denison 159 5 Hall Stand— Anthony, Potter & Denison 160 6 Front Hall, Main Floor, circa 1890 160 7 Reception Room, circa 1890 161 8 Center Table— Anthony, Potter & Denison 161 9 Etagdre Top— possibly Anthony, Potter & Denison 162 10 Etag&re Base— possibly Anthony, Potter & Denison 162 11 Detail, Reception Room Fireplace Grater- William H. Jackson & Co. I63 12 Detail, Reception Room Chandelier— attributed to Cox "others I63 13 Library, circa lbyO 164 14 Ornament from the Arches of the Court of the Lions, Alhambra. Source: Wm. Gibbs, The Universal Decorator: A Complete Guide to Ornamental Design 164

15 Dwarf Bookcases— Anthony, Potter & Denison 165

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Plate Page 16 Sideboard— Anthony, Potter & Denison

17 Dining Room Side Table— Anthony, Potter & Denison 166

18 Dining Room Mantle Mirror— Anthony, Potter & Denison; Mantle Clock—-Cox Brothers 166

19 Silver Tea Set— Gorham & Co. 167 20 Dining Room, circa 1890 16-7 21 South Lawn with Fountain and Conservatory 168

22 Drawing Room 168

23 Drawing Room Suite Arm Chair— Pottier & Stymus 169 24 Mirror Etag&re— Pottier & Stymus I69

25 Bronze Cabinet— Pottier & Stymus 170 26 Billiard/Music Room, circa I89O 170

27 Stair Landing with Bronzes by Carrier 171

28 Ceiling, Mary Lippitt's Sewing Room 171 29 Mary Lippitt's Sewing Room 172 30 Mary Lippitt's Desk— Anthony, Potter & Denison 172

31 Drawing Room Chamber 173 . 32 Billiard Room Chamber 173 33 Jeanie Lippitt's Chamber 174 3^ Charles Warren Lippitt's Chamber 174 35 Billiard Room Chamber Bureau and Glass— Anthony, Potter & Denison 175 36 Drawing Room Chamber Dressing Case—-Anthony, Potter & Denison 175 37 Billiard Room Chamber Bed— Anthony, Potter & Denison 176 38 Mr. and Mrs. Lippitt's Chamber 176

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. INTRODUCTION

Several months after the close of the Civil War, the socially prominent Anne Brown Francis Woods of Providence, Rhode Island, wrote to Mrs. Henry Lippitt, wife of a wealthy cotton manufacturer, also of Providence: I cannot leave home even for a few days with out taking some method of thanking you for the pleasure you conferred upon me in permitting me to be the first to see your beautiful surroundings— I can assure.you that I have never seen any mansion to compare to yours in decoration, finish and tasteful design, and really it is a source of pride that we have a house so refined and elaborate in our midst. Do thank Mr. Lippitt for his courtesy in pointing out the chief points to admire... Mrs. Woods's enthusiastic approbation of the recently com

pleted Henry Lippitt mansion at 199 Hope Street, corner of Angell, Providence, is significant. Her own home, designed by Richard Upjohn and completed but a year earlier in 1864, was said to be the only house in the state larger 2 than the new Lippitt dwelling.

While the Civil War spread destruction to many areas

of the country, it brought unprecedented prosperity to Providence.^ City factories provided rifles, cannon, and h uniforms for Federal troops; and unlike the mills of Lowell, the Rhode Island cotton mills continued to yield high pro-

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. fits.-* Real estate transactions were brisk, and despite an increase in the cost of both labor and materials averaging thirty-three percent,'the construction industry continued to experience a boom.^

It is against this backdrop that the Lippitt mansion

was built in 1863-65. The house stands today as one of a number of remaining Renaissance nalazzo style dwellings built in mid-nineteenth century Providence. With its inter ior ornamentation almost completely intact, having undergone only cleaning and minor paint retouching, and its major furnishings still present, it is a unique landmark. The interiors of the Providence houses of Marshall Woods, George Corliss, Tully Bowen and Thomas Hoppin have been converted for modern commercial and institutional uses or.subdivided into apartments. Many other contemporary dwellings have been destroyed entirely. The Lippitt mansion serves, therefore, as the only nearly complete document of the taste and life style of the mid-Victorian Providence elite.

Unusually complete records survive in various loca tions concerning the mansion's construction and furnishing.

These include: (1) A memo book in Henry Lippitt's handwriting in which are copied the contracts negotiated between Lippitt and the various craftsmen and firms who worked on and pro vided materials for the construction of the house. Also interleafed in this book are trade cards of some of the com-

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panies consulted or contracted for this project. This hook shall be referred to as the "Contract Book" in the following text.''7 (2) Henry Lippitt's book of "Private Accounts" for the years 18^5 to 1867, which is broken down into his 'Cash Account,' 'Stock Account,' 'Social Manufacturing Account,'

Q and 'New House Account.' (3) Bills for household wares,

furnishings, and art works from 1836-1891.^ (b) Diaries of Henry Lippitt's children: Jeanie Lippitt (Weeden), Charles Warren Lippitt, and Abby Prances Lippitt (Hunter).10 (5) Scrapbooks kept by Henry Lippitt, Mary Ann Balch (Mrs. Henry) Lippitt, Jeanie Lippitt, and Robert Lincoln Lippitt, the Lippitts' youngest son.11 (6) Henry Lippitt's Letterbook

of 1872 to 1891.1^ (7) Miscellaneous receipts, 182^ to 1891.1^ (8)Two albums of photographs of the interior and exterior of the mansion, most of which appear to date from circa 1890.^

These records reveal that although some decorative

items were purchased for the house in New York, most of the furnishings, the decorative painting and plastering, the con struction, and even the working plans for the house were obtained locally. Hence, the Lippitt mansion reveals to historians the names of Providence firms and craftsmen in the 1860's, the products they offered, and the level of accomp lishment which each had attained by this time. The complete ness of these records, the presence of many of the original

furnishings, and the good condition of the structure and its

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. interior ornamentation give the house a significance which extends far beyond Providence. It survives as a rare example of high style in the America of the i8601s.

For these reasons, this house merits not only scholarly study and interpretation today, but also careful protection in the future.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. NOTES TO THE INTRODUCTION

Letter, Anne B.P. Woods to Mrs. Henry Lippitt, No vember 26, John Hay Library, Brown University, MSS #A12362. Although the letter does not include a complete date, it must have been written in 1865. As shown below, the house was far from completion in 186^, and by 1866 the family had been in the house for nearly a year. Thus, an. 1866 date would preclude the possibility of Mrs. Woods's having been "the first to see your beautiful surroundings." 2 Manufacturers 1 and Farmers 1 Journal (Providence), December 5, 1864, p.

-^Welcome A. Greene, The Providence Plantations for .Two Hundred and Fifty Years (Providence: J.A. & R.A. Reid, 1886), p. 94. A John Hutchins Cady, The Civic and Architectural Development of Providence 1636-1950 (Providence: The Book Shop, 1957), P. 131.

^Kurt B. Mayer, Economic Development and Population Growth in Rhode Island (Providence: Brown University Press, 1953), P. 42. . . •

^Manufacturers1 and Farmers1 Journal (Providence), November 30, 1863, p. 7 'The Contract Book is owned by Lippitt's grand daughter, Mrs. Lytton Doolittle, Providence. 8 Henry Lippitt, "Private Accounts," John Hay Library, Brown University, Lippitt Papers, v. 85. This collection of Lippitt family manuscripts is hereafter cited as "Lippitt Papers." o 7Rhode Island Historical Society, Lippitt Collection, Henry Lippitt, I836-9I.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The diaries of Jeanie Lippitt and Charles Warren Lippitt are in the Rhode Island Historical Society, Lippitt Collection. Abby Prances Lippitt 's. diary is now’ in the possession of her daughter, Mrs. Lytton Doolittle.

■^Henry Lippitt, "Literary Scraps," John Hay Library, Brown University, AC999/-L51/*; Mary A. Lippitt, "Scrapbook," Lippitt Papers, v. 101; Jeanie (Lippitt) Weeden, "Scrapbook," John Hay Library, 2-E/=L662W/*; Robert Lincoln Lippitt, "Scrapbook," Lippitt Papers, v. 92,

^Henry Lippitt, "Letterbook, 1872-91," Lippitt Papers, v . 8 3 .

■^Lippitt Family, "Receipts," Lippitt Papers.

Owned by Mrs. Lytton Doolittle.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER I HENRY LIPPITT AND THE CONSTRUCTION OP HIS HOUSE

The wealth revealed by the Henry Lippitt mansion represents, in a sense, the prosperity of Providence as a whole at the time of its construction. Indeed, the develop ment of the fortune which made the mansion possible was inex tricably linked to the economic growth of the city.

The history of Rhode Island in the first half of the nineteenth century is one of the shift of wealth and power from Newport to Providence as maritime industries declined and manufacturing, particularly textile production, became the major economic base of the state.1 Prom 1832 to I860, the capital invested in cotton manufacture alone had in

creased from $5.6 million to $12 million and the related labor force expanded from 9,100 to 15,700.^ While the mills themselves were generally located in the smaller milling towns around Providence, the city became the center for the commercial aspects of the industry and the home of the wealthy mill owners.

Because of its location between Boston and New York and its convenience to the manufacturing regions of Massachu-

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. setts, Rhode Island, and Connecticut, Providence became a transportation hub and the trade center of southern New England. By the outbreak of the Civil War, Providence was served by six railroad lines, and steamboats departed for New York several times daily.^ The capital generated by the expansion of industry and transportation contributed to a spectacular growth in banking as well. In I860 the Provi dence Daily Journal reported that Rhode Island possessed more banking capital per capita than any other state in the Union. Providence, with its thirty-six banks, controlled almost three quarters of that capital.Furthermore, the city was the insurance center of southern New England, serv ing the marine and fire underwriting needs of eastern Connecticut, southern Massachusetts, and all of Rhode Island.6 t

Henry Lippitt (1818-91) responded to and helped generate these economic trends. His father, Warren Lippitt, had been a ship's captain and cotton merchant before inher iting from his father Charles a large share of the Lippitt Manufacturing Company. This company was one of the first cotton milling firms in the state, founded in 1807. Born in Providence on October 9, 1818, Henry's first employment was in the maritime industry, where he worked for several years as a clerk with the whale fishery firm of Burr and Smith in Warren, Rhode Island. But soon, like his father and grand

father, he became involved in the cotton industry. By 1835

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. he served as a bookkeeper for the cotton merchants Josiah Chapin & Co. In 1838 he bacame a partner in his own commis sion business with Edward Walcott and Amory Chapin, handling

primarily bale cotton and print cloths.

Mill ownership was to occupy most of Henry Lippitt's business career, however. In 1848 he, his father, his brother Robert, and several other Providence captialists 7 purchased the Tiffany Mill in Danielsonville, Connecticut. The Social Mill and the Harrison Mill in Woonsocket were purchased together in 1854. Upon the death of his brother in

1858, Henry gained majority interest of the controlling firm, the Social Manufacturing Company. A shrewd and able businessman, Lippitt was able to turn profits into ever

Q greater profits, expand the capacity of his mills, and purchase related firms, such as the Silver Springs Bleaching and Dyeing Company, which he acquired in 1862.^

In addition to his cotton manufacturing interests, Lippitt profited from the other economic sectors which spurred the growth of Providence. By 1861 he was on the board of directors of one bank (Arcade) and three insurance companies (Atlantic Fire and Marine, Commercial, and State Mutual Pire). In all but one (State Mutual) he owned stock. In the field of transportation, he owned stock in two rail road companies and by 1864, at least, he was a trustee of one of these, the Hartford, Providence and Fishkill Line.'1'0

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So successful was Lippitt in the decade of the 1850's, that the value of his assets in stock and real estate increased from $37,226 in 184-9 to $216,4-55 in 1861. By the end of the Civil War, his expanded milling interests and stocks in railroad and steamship lines and the newly attractive mines and oil companies in the West brought this value to

$552*222.11

By the end of 1862, Henry Lippitt had acquired a fortune substantial enough to begin the construction of the mansion he was to occupy for the rest of his life (Plate 1). Just exactly how long he had thought about this project is unclear, although he bought the property on the southeast corner of Hope and Angell Streets, on which the house sits, as early as April 3, 1851, for the sum of $5,000.^ Most of the mansions being built in the 1850's and early 18o0's in what is now known as the College Hill area of Providence were some five or more blocks west toward the center of the city from this Hope and Angell location. Nevertheless, Lippitt must have worried about the threat of urban expan sion. By i860 the population of Providence was 50,666 and growing, and the population density was one of the highest in the nation, at 7,500 persons per square mile.^ In the decisive manner which made him such a successful business man, Lippitt moved to protect the future site of his home by buying or encouraging his relatives to buy the surround- 14- ing land. By the time he began to build his mansion in

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1863, he owned the land on three of the four corners of Hope and Angell Streets. The house next door, on the corner of Hope and Waterman Streets, which had been owned by his brother Robert, was now owned by another relative, Mrs. Chris

topher Lippitt.

Between the time he purchased the land on which the mansion would be built and May 31, i860, Lippitt scent over $3,000 to level the land, build a barn with a fence around it, dig a cistern, and plant trees. ^ In the meantime, how ever, he built a preliminary dwelling across Hope Street on the southwest corner of Hope and Angell. Begun in 1855 and completed in 1856, this house still stands today. His accounts show that he and his cousin James H. Coggeshall 16 divided the cost and ownership of this double house. According to city directories, Coggeshall lived in the house from 1856-60, and Lippitt moved there with his wife, the former Mary Ann Balch (1823-89), daughter of a prominent Providence apothecary Joseph Balch, and their three children 1 7 by 1857. However, by December of 1862, when Lippitt began negotiating contracts for work on the mansion, the need for larger quarters had become obvious: three more children had been born, and a seventh child was expected.^

According to his Contract Book (see Appendix A), Lippitt contracted in December, 1862, to have the Providence partners Sturgis Carpenter and Henry Childs do all the car-

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pentry work on the new house. The most important passage

of the contract reads: Mr. Childs it is agreed will make all the Drawings necessary for the erection and completion of the House but will make no charge for the drawings for the original plans and elevation of the Building when those are adopted and finished and the Work commenced. He will charge at the rate of Two Dollars per day for all time actually employed by him in making the Working Drawings or arranging and assist ing in the progress of the work.

Little evidence remains from which to determine Childs's experience in the design aspects of architecture. Throughout his career he was listed in city directories as a carpenter or builder, never as an architect. Although he served with Alpheus Morse as an advisor to the committee to

select the design for City Hall in 187^, the only other pro jects on which he is known to have worked are in the nature of repairs and additions rather than original structures (see Appendix 0). While the Lippitt house was under con struction, Carpenter and Childs were also engaged in repair

ing the First (Benevolent) Congregational Church of Frovi- 19 dence. 7 Henry Lippitt, an active member of the church, served on the committee to oversee these repairs.

Exactly why Lippitt did not engage the services of a professional architect for this major undertaking remains a mystery. The best-known residential architect of Provi dence, Thomas Tefft, had, of course, died by this time.

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James Bucklin, who had designed the Providence Arcade, was

primarily noted as an architect of public and business structures. The logical choice for an architect would have been Alpheus Morse (1818-93), who had designed a number of homes in the Italianate style in Providence in the late 1850's and early I860's. But Morse too was turning in- 20 creasingly to public buildings in the decade of the 1860's and may not have wished or had time to undertake yet another Italianate mansion.

Perhaps the answer lies in the fact that the archi tect with whom Lippitt had had the closest relationship, Russell Warren, died in November, i860. Although apparently 21 unknown by Warren scholars, Lippitt's accounts indicate that Warren designed the Italianate double house for Lippitt and Coggeshall in the mid-1850's and drew plans in the late 18^0's for another house for Lippitt which was apparently 22 never built. No drawings for either structure seem to survive. One wonders whether Lippitt had intended to call upon Warren again to design the mansion, and if perhaps they may even havo discussed ideas for the new house before Warren's death.

Family members recount that Lippitt always boasted that he himself designed the house. Indeed the wording: of his contract with Henry Childs seems to indicate that the drawings to be made by the latter may have been working plans rather than original creative designs. In one of the rare

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surviving personal letters written by Lippitt to his wife, we learn that he was interested in observing new homes in New York.2-^ It is therefore possible that he had a good idea of the design he preferred and needed but a builder to translate these ideas into working drawings. The success of the design may be due to his previous contact with Warren.

Lippitt chose the severe and stately astylar Italian palazzo mode for his new home. Derived from Roman and Florentine Renaissance city architecture, this style seems to have found its first expression in Providence in business 2k structures such as the What Cheer Block, about 1850. By 1853, at least, it began to be used by the east side elite for their mansions. In that year Thomas Tefft introduced it in the brownstone house he designed for Tully Bowen. The more common materials of brick with brownstone trim were utilized in the house of Thomas Hoppin, designed in the new

style by Alpheus Morse. J The palazzo style continued to be favored on College Hill well into the 1860's in the Marshall Woods house (1860-6^, Richard Upjohn, architect), the William Binney and Smith Owens houses (i860 and 1861, Alpheus Morse, architect), the Lippitt home, the Thomas Jenckes house (circa i860), the Zachariah Allen house (circa 1868), and others.2^

While most architectural advisers in the period recommended the asymmetrical Italian villa style as suitable .for the picturesque terrain of the country, the astylar

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Renaissance palazzo mode was considered suitable not only for city structures, but for suburban homes as well. In speaking of a house in this style, Philadelphia architect Samuel Sloan noted that "its symmetry and chaste character are in harmony with the regular and cultivated scenery of the suburb.The corner of Hope and Angell Streets must certainly be considered as suburban in 1862. The streets, though unpaved, were laid out in blocks, but the density of houses was much less than on Benefit Street where the Bowen 28 and Hoppin houses were built.

A house in the palazzo style associated its owner with the status of the merchant princes of the Italian Renaissance, about whose houses a Lippitt contemporary wrote, "we enter them with respect, expecting to find them inhabited 2Q by beings of a nature superior to ours." 7 On a local level, by building a house in this style Lippitt associated himself with the status of such financially and politically success ful residents as cotton merchant and legislator Tully Bowen. The style had also been chosen for the homes of the artistic elite, the arbiters of taste of the city, such as Paris- trained artist Thomas Hoppin and Marshall Woods, a Commis sioner and Member of the Jury on Pine Arts of the 1855 Paris International Exposition.

Lippitt seems to have drawn on the houses of these men for elements to incorporate in his own mansion. A com

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parison of the Hoppin (Plate 2) and Lippitt houses reveals a number of similarities:-^0 The three-story, three-bay facade; brick and brownstone construction; bracketed roof; rusticated quoins extending to the height of the first story with flat corner tracings above this level; and trabeated windows. The side entrance portico on the Lippitt house is reminiscent of the front portico on the Hoppin house. Simi larly, the three-story rounded bay found on either side of the Lippitt mansion had already appeared on the front of the Marshall Woods house (Plate 3).^

While repeating many phrases of these contemporary Providence Renaissance Revival homes, however, the Lippitt mansion, perhaps more than any other of its time draws from the homes of an earlier Providence elite. As a three-story, central hall-planned cube with rusticated quoins, belt courses, tri-partite Palladian window over the entrance porch, and projecting central pavilion .capped with triangular pediment, the Lippitt mansion repeats the vocabulary of the John Brown house (1786) and the Joseph Nightengale house (1791). Although of the Corinthian rather than the Ionic order, the semi-circular balustraded front portico of the Lippitt house repeats that of the 1806 Thomas Poynton Ives house, perhaps the ultimate source of the three-story semi circular bays already mentioned.Whether Henry Lippitt consciously intended his mansion to serve as a public state ment that his wealth and civic responsibilities placed him on

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the same social plateau as these previous commercial and industrial leaders, or was merely expressing the architectur al conservatism believed by some writers to be endemic to the Providence merchant class,remains subject to debate. Both factors may have played a role simultaneously.

Architectural historians have referred to the Re naissance palazzo style as "antipicturesque" and "academic" 3 ij, or as having a "rather portly...righteous dignity. Indeed, the Lippitt house most resembles those of Federal Providence in its frontal symmetry and academic vocabulary of detail. At the same time, its greater plasticity of sur face, the shadows cast by its quoins, trabeated windows and bracketed roof, and its bulging porticos and bays, create a muscularity foreign to the measured restraints of the earlier style. This vitality must have been heightened by the ori ginal color of the dwelling. A nineteenth-century scale model of the house and the early photograph of the mansion (Plate 1) reveal that originally the brick was painted or

stuccoed a light gray-beige color, ^ with the front and side porticoes painted to match the brownstone trim, a color scheme recommended by architectural writers of the day.^ This contrast of light and dark surfaces was, as shall be described below, a major theme carried out in the interior woodwork as well. Studies of College Hill architecture of the nineteenth century do not mention this exterior coloring of the Lippitt mansion. Neither do they discuss the possi

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bility that other oalazzo style houses in the area originally had painted or stuccoed exteriors. Perhaps further research would indicate whether or not the Lippitt mansion was unique

in this respect.

In addition to providing working drawings, Carpenter and Childs were hired as contractors to provide all laborers for the carpentry work, according to the Contract Book. Pitz Herbert Peabody-^ served as foreman for both carpentry and masonry work (see Appendix A), while Sturgis Carpenter was charged with purchasing the necessary materials. Accord ing to the contract, Carpenter and Childs received $2.00 per day for their own services, and one shilling per day profit over the cost of the laborers. Unfortunately, Peabody's salary was never entered on the copy of the contract kept by Lippitt. According to the 'New House Account' (see Appendix B), the first payment to Carpenter and Childs was on April 18, I863: "April 18 /To paid7 Carpenter & Childs a/c

to Mch 31 $^97.52." Altogether, twenty-four payments were made on account to Carpenter and Childs, the last, of $518.0^, being made on December 31, I865. They received a

total of $3^,8^1.91. Beyond what he received of this amount, Peabody received $1015.07 between July 16, 1866 and

November 30, I867, according to Lippitt's 'Cash Accounts.' Peabody's partner at the time, C.P. Hull, was also paid $1390.21 on February 23, 1867, according to the 'New House

Account.' The exact nature of the carpentry work performed

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volvement in -late 1865 through 1867 is unknown.

The firm of William Andrews and Son, who also worked on the repairs at the Congregational Church,received the contract for masonry work on the mansion, providing workmen, derricks, staging, and tools, and purchasing materials' (see Appendix A). The first recorded payment to them, listed in the 'New House Account1 was: "June 6 /To paid7 Wm Andrews & Son /Labor & c7 to Nay 30 $572.86." Twenty-two payments were made between this time and January 13, 1866, when they were paid for laying a sidewalk, with a total expenditure for masonry of $10,114-.25 (see Appendix B).

Building stone for the house was purchased from Richard Fenner of nearby Cranston, Rhode Island (see Appendix A) for a total of $941.51. Nost of the brick for the double walls, constructed as a fire prevention measure, were supplied by George W. Hall of Providence (see Appendix A) for a total of $3127.84. Lumber for floors, joists, attic, etc. was supplied by a number of firms, both local and out- of-state, with spruce and pine serving as the predominant structural woods.

Although contemporary Providence newspapers included advertisements for heating systems available locally, pre sumably none of these was considered adequate or competitive

in price, for Lippitt purchased his system from H.B. Smith

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 20 and Company, Westfield, Massachusetts, for a total of ^1360. In an age when central heating was in its infancy, it is not surprising that Lippitt showed anxiety for its efficiency by stipulating in the contract (see Appendix A): "They also agree that if the /systea7 does not give me sufficient heat for the whole house to put in any additional required at half price." He also provided all major rooms with wood or coal

burning fireplaces.

Lippitt's 'New House Account' provides a fairly clear idea of the progress made on the mansion. On March 30, 1863, payment was made for surveying the land and by May 16, 1863, the foundation had been dug. Masonry work was underway by May 30. On January 19, 1864, Andrew Blair was paid for "sawing oak for.Balusters,"presumably for the main interior stairway. By March, 1864, payment was made for tinning the roof, for plumbing, and for the installation of gas pipes. The first of many payments to the local painter John Townsend began this month, and work on the interior must have begun, based on payments for finer finishing woods such as oak and cherry. Between February 24, 1864, when the contract was signed, and April 4, when payment was made, the steam heating apparatus had been delivered. By May, 1864, plate glass and French crystal for windows and interior doors had been pur chased from firms in New York, and Andrew Dempster, a local

craftsman, had begun plastering the interior walls. Light

ning rods and hardware were purchased by September, and by

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December mantles were being installed. On December 5, 186^, the Manufacturers1 and Farmers1 Journal reported: "The resi

dence of Henry Lippitt, on the corner of Angell and Hope Streets, began (sic) last year, is still in course of con struction, and will not be completed before next summer.

By March, 1865, marble thresholds and shutter trimmings were installed, and the local carver J.R. Swan carved the capitals of the portico. Landscaping was underway by July, as was the decorative interior painting. By August, the iron fence around the house had been paid for, and by October gas fix

tures arrived from New York.

The exact point at which the Lippitt family moved across the street to their new mansion remains unclear. During August and September, 1865, according to the bill of Anthony, Potter and Denison, furniture manufacturers and dealers (see Appendix C), repair and reupholstering of old furniture began in earnest. On September 1^, 1865, Lippitt sold his share of the double house on the southwest corner of

Hope and Angell, complete with furniture, to Lyman B. Frieze for $20,951, having previously sold the land on which it Il q stood to Frieze. (Frieze was no doubt a suitable neighbor, for he was an agent for the Lippitt-owned Silver Springs Bleachery, as well as a tax collector and a director of two local banking institutions.^1) Surely the Lippitts spent

Christmas, I865, in their new home, for the Anthony, Potter and Denison bill indicates that the major portion of the

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furniture was delivered by early December of that year.

Thus, although minor payments continued to be made until November 30, 1867, the house had been built and fur nished in exactly three years at a total cost of $115,3^7 .06, exclusive of land and furnishings. Its excellent construc tion and the exquisite detailing of its interior indicate that the three-year building period was time well spent, and thet the local craftsmen, under the sharp scruting of Henry Lippitt, possessed the competence to fabricate a lasting monument.

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Perhaps the best discussion of this shift in-eco nomic activities is to be found in Peter J. Coleman, The. Transformation of Rhode Island 1790-1860 (Frovidence: Brown University Press, 1963).

2Ibid.. p. 119.

•^Ibid., pp. 16*1- & 178.

^Providence Dally Journal. February 7, i860, p. 2.

^Coleman, op. cit. pp. 18*<- & 201.

6Ibid.. p. 216,

^The Lippitt interest in this mill was sold in 1850 when Henry and his brother began to operate the Coddington Mill at Newport, which they maintained until 1855. g‘ Large profits were made, according to Lippitt*s account book, by purchasing large blocks of stock in firms during the troubled war years and selling them in the boom years after the war. For example, between October, I863 and July, 1866, Lippitt paid $*<-9,590.9^ for shares in the Man- ville Company of Lincoln, R.I., and by August, 1866, was able to sell the same shares for $88,326.18. Similarly, he bought one quarter of the Smithfield Manufacturing Company in July, 1860, for $2,500.00 and .sold this in July, 1866, for $*<4,998.89. according to his 'Stock Account' for those years. Henry Lippitt, "Private Accounts." o 70utlines of the business career of Henry Lippitt can be found in: J.D. Van Slyck, Representatives of New England: Manufacturers (Boston: Van Slyck & Co., 1879), II, p. 136; and in "Henry"Lippitt," The Biographical Cyclopedia of Representative Men of Rhode Island (Providence: National Biographical Publishing Co. , 1881), II, pp. *<-00-02.

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•^Providence Daily Journal. January 12, 1864, p. 2.

' Stock Account' for 184-9-61 and 1866, in Henry Lippitt, "Private Accounts."

■^Providence, Office of the Recorder of Deeds, Plat Book #3, p. 32; Deed Book 122, p. 252. On April 3, 1851, Sally Thompson deeded to Henry Lippitt for $5000 the lot of land hounded West by Hope Street 135'*, North by Angell Street 259|'; East by Elizabeth Waterman's property 190'; South by property of the grantor and of Wm. R. Watson and Moses D. Ives, trustees of Elizabeth Rogers 258'. Inexplicably, Henry Lippitt's accounts list the cost of this land as $6000 in two separate entries. In his 'Cash Accounts' his entry for April 3, 1851, reads: "By cash paid Sally Thompson for lot of Land Corn. Hope & Angell Streets $6000." In his 'Stock Account' for January 1, 1852, he lists: "Cost of Lot Land on Hope Street $6000.00" Henry Lippitt, "Private Accounts."

■^Greene, on. cit.. p. 89; and Coleman, op. cit.. p. vi.

^Sometime between 1852 and 1854-, Henry's brother and business partner Robert bought the adjacent property on the comer of Hope and Waterman Streets, and had the young but prominent architect Thomas Tefft design a house to be built on it, in which Robert was living by 1854-. Providence Preservation Society, "Robert Lippitt House Polder." By June, 1855, Henry Lippitt was able to secure the lot directly across Hope Street, on the southwest comer of Hope and Angell, and his brother Robert purchased the adjoining land on Angell Street, which Henry himself acquired in the settle ment of Robert's estate in 1861. Lippitt Family, "Deeds, 184-0-1881," Lippitt Papers. See also, 'Cash Accounts,' September 28, 1861, in Henry Lippitt, "Private Accounts." On December 3, 1862, Henry recorded in his 'Cash Accounts': "/By cash paid/ Dr. Okie for Lot of Land Corner Hope & Angell Sts. 24-171 Sqr. feet $9668.4-0." This must refer to the land on the northwest comer of Hope and Angell Streets, for in his 'Stock Account1 of 1866 (those for the years 1862-65 are missing), he listed "/Estimated7val Lot N W Corner Hope & Angell Sts $15,000.00." Henry Lippitt, "Private Accounts."

■^See 'Cash Accounts,' 1851-60, ibid. 1 6 'New House & Lot on Hope St,' .1855-57, ibid.

■^Mary Ann Balch and Henry Lippitt were married in

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in 184-5. The three children who lived to accompany their parents from their rented house at 25 George Street to the new twin house on the southwest corner of Hope and Angell Streets were Charles Warren, born October 8, 1846; Jeanie, born January 6, 1852; and Henry Frederick, born October 12, 1856. Joseph Balch Lippitt, born on July 9, 1850, diedin infancy on November 18, 1851. The three children who died of scarlet fever were Henry Merriman (September 17, 1848- March 10, 1856), George Ernest (April 1, 1853-March 24, 1856), and Frederick (February 1, 1855-April 1, 1856). Jeanie was ieft totally deaf by the disease. (Jeanie Lippitt Weeden, "Information Concerning Gov. Henry Lippitt's Children and Other Members of the Lippitt Family Furnished by Mrs. Weeden," Lippitt Papers, v. 62, p. 133*)

■^Mary Balch, born July 14, 1858; Robert Lincoln, born March 22, I860; and Abby Frances, born October 31, 1861. The expected child, Alfred, was born in February, I863, but died on May 27, I863. (Ibid.)

IQ Benevolent Congregational Society, "Account of Expenses for Repairs to Church, 1863-64," Rhode Island Historical Society, Records of the Benevolent Congregational Society and First Congregational Church, Providence.’ 20 e.g. the Chemical Laboratory, Brown University (1862); Rhode Island Hospital (1866); Trinity Church (1868). 21 No mention of the Lippitt/Coggeshall double house is made in the only major study of Russell Warren: Robert L. Alexander, "The Architecture of Russell Warren" (unpub lished thesis, New York University, 1952). 22 Lippitt's 'Cash Account1 in his "Private Accounts" lists the following: June 24, 1847 Russel (sic) Warren on a/c Plan for House $50.00 Apl 17, 1848 Russel Warren on a/c drawings for house $25.00 The house referred to in these payments was apparently never constructed. In his "Private Accounts," under the heading 'New House and Lot on Hope St (Joint Expense J.H. Coggeshall & H Lippitt)' are the following entries: May 8, 1855 Russel Warren on a/c Drawing Plans &c $50.00 June 22, 1855 Russel Warren on a/c Drawing Plans for a/c J.H. Coggeshall $50.00

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Octo 27, 1855 Russel Warren on a/c Drawing Plans $50.00 Febry 20, 1856 R Warren on a/c Plans for House $50.00 April 12, 1856 R Warren bal due him for Plans &c $50.00

2^Henry Lippitt wrote to his wife Mary from New York City: It rained nearly all day Tuesday, but we spent the afternoon in walking about the upper part of the city, inspecting the fine private Dwellings, a large number of which have been built since I was in that part of the city. (Letter from Henry Lippitt to Mary A. Lippitt, August 24, 1850, Lippitt Papers, A12304.) 24 Cady, on. cit.. p. 124.

2-’The Hoppin house is dated by some as 1851-53 (Prov idence Preservation Society Files), by others as 1853 (Cady, on. cit.. p. 126), and by still others as 1858 (Osmund Overby, "The Architecture, of College Hill, 1770-1900: Resi dential Development in the Area of the Original Town of Providence, Rhode Island" /unpublished doctoral dissertation, Yale University, 1963.7* p. 178.) 26 The dates are those given by Cady, on. cit.. pp. 138-39.

2?Samuel Sloan, City and Suburban Architecture (Philadelphia: J.B. Lippincott.& Co., 1859), p. 84. 28 See. for example, the maps in Cady. op. cit.. pp. 122 & 142.

2^An unidentified Prench writer quoted by Sloan, o p . cit.. p. 54. SO J Photographs of the Lippitt house and the Hoppin house are placed side-by-side in Cady, on. cit.f p. 139. 31 These elements were, of course, fairly common in the Italian palazzo style, and appeared in contemporary American design books. The Lippitt house is perhaps most similar to Design XXX in Sloan, on. cit., with which it

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shares such features as quoins, bracketed roof, three-story, three-bay facade, projecting pedimented central pavilion, balcony over the front doorway, and trabeated windows. The three-bay facade with projecting pedimented central pavilion and side porte cochere are also' to be found in the design for an Italianate house by Calvert Vaux in his Villas and Cottages (New York: Harper & Brothers, 1857), p. 290. These books were fairly widely, read at the time and may have been known to Lippitt, although no evidence remains to substan tiate or refute this possibility.

32The similarity of the Lippitt mansion to the Ives house has been noted in Anita P. Glass, "Early Victorian Domestic Architecture on College Hill" (unpublished master's thesis, Brown University, i960), p. 63.

Ibid.. passim, and Overby, op. cit.. p. 182.

3\larcus Whiffen, American Architecture Since 1780: A Guide to the Styles (Cambridge, Mass.: M.I.T. Press, 1969), p. 76; and Talbot P. Hamlin, The American Spirit in Archi tecture (New Haven: Yale University Press, 1926), p. 153*

3^The model of the house, possibly built by Childs for Lippitt's approval before construction began, is in the basement of the house and is painted, in this color combina tion. According to family legend recounted by Mrs. Lytton Doolittle, the model was placed on the wagon of Carpenter & Childs for local parades. Mrs. Doolittle also remembers that the beige color was removed soon after her mother, Abby Prances Lippitt Hunter, took possession of the house in 1911.

3^Samuel Sloan, Sloan's Homestead Architecture (Philadelphia: J.B. Lippincott & Co., 1861),. p. 76 and p. 236; Gervase Wheeler, Rural Homes or Sketches of Houses Suited to American Country Life (New York: Charles Sr.rihwpy, 1851). P. 41: and Vaux. oo. cit.. p. 56.

3?Fitz Herbert Peabody (1825-1903), bora in Bristol, R.I., was first listed as a carpenter in Providence city directories for 1858. In 1866 he formed a partnership in carpentry with Charles P. Hull, and from 1868 to 1882 he was in partnership with Pardon Wilbur, under the firm name of Peabody & Wilbur, contractors and buildbrs. This partner ship seems to have dissolved about I883, at which time Peabody's son William G. Peabody joined his father to form Peabody & Son. This partnership lasted until 1897, after which Pitz Herbert is listed as a carpenter with a home address only. Peabody served as a City Councilman from the Third Ward from 1880 to 1888. (Providence city directories

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and "Fitz Herbert Peabody" /obituary7, Providence Journal. December 23, 1903, p. 5*)

-^Wm. Andrews & Son were paid $1,040.53 for masonry work at the First Congregational Church from 1863-64. (Benevolent Congregational Society, loc. cit.)

^Manufacturers1 and Farmers1 Journal (Providence), December 5, 1864, p. 4. The notice continued: "The interior is finished with the choicest kinds of hard woods, and it is next in size to that of Marshall Woods, the largest dwelling in the State. All the work has been done by the day in the most substantial manner. It is built of brick and freestone, three stories, and has double walls so as to render it as near fire proof as possible. Carpenter and Childs, carpenters."

^°Lippitt Family, "Deeds, 1840-41," Lippitt Papers. Lippitt noted in his 'Social Manufacturing Company Account1: "Sept 14 ./186.57 Cash reed from L B Frieze for House & Furniture $20,951.75.11 (Henry Lippitt, "Private Accounts"). 41 Providence city directories, 1855-66.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER II INTERIOR ORNAMENTATION AMD FURNISHINGS: THE MAIN FLOOR

In the mid-nineteenth century, the desire to impress those who saw or visited one’s house played a significant role in encouraging the expenditure of significant sums for the elaborate decoration of one's dwelling. As one critic observed at the time the Lippitt house was being constructed: ...we build our houses less for our own comfort, and to satisfy our own wants, than for the great American public gazing on. Our countrymen are not in the least what the English call snobs; they never tremble nor truckle before the illustrious great— but judging by the splendor they brandish in the face of the great American nation, they seem to think that, by building a grand house, the consequence which they never bestow on any one else may some how or other be reflected on themselves.1 An impressive house could well serve the interests of Henry Lippitt, businessman, civic leader, and politician, as a physical testament of his success. His mansion at 199 Hope Street seems to have been designed and furnished with the impression it made on the visitor in mind. To this end, as Lippitt's accounts indicate, more than $32,500 was spent for furniture, draperies, carpets, silver, china, bronze acces sories, and art works to decorate the house.

Imposing in its scale, formal in its symmetry,

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sophisticated in its borrowing of classical architectural elements, the mansion cannot fail to impress the passerby. Its imposing bearing is heightened by its situation at the crest of College Hill. The visitor must walk upward to approach it and, because its lot rises above the sidewalk, must climb eight steps before finding himself in front of the lofty entry porch. An additional five steps must be mounted in order to arrive within the Corinthian columns of

this porch.

While the exterior of the house creates an impression by way of its intimidating scale and formality, the interior marks Lippitt as a man of status by the opulence of its decoration and the correctness of its furnishings. By using photographs from circa 1890, furnishing bills, the Contract Book, Lippitt's "Private Accounts," and the various scrap books and diaries mentioned previously, a room-by-room anal ysis of the house can be made. This study will show, there fore, what can be concluded about the decoration of the house, the craftsmen responsible for its appearance, and the way the Lippitt family lived.

Vestibule and Hall

As the first space seen by most visitors, and the only one seen by some callers, the hallway of the mansion served to create an immediate impression of wealth and

culture. To arrive within this artery of the house, however,

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 31 one must first penetrate a series of barriers. After climb ing upward from the sidewalk and mounting the steps of the semi-circular portico, one is confronted by massive double French doors with their "new style knobs'! (That is, handle bar rather than round knobs), provided, like most of the hardware in the house, by Miner and Avery, 146 Mercer Street, New York (see Appendix A ).

Beyond these doors lies an octagonal vestibule with gilded cornice ornament and a coffered plaster ceiling painted to imitate wood. The white and black marble tiled floor was laid by the Providence Steam Marble Company at a cost of $1 per square foot (see Appendix A). As in the vestibule of the Marshall Woods house before it, niches for statues punctuate the otherwise plain stone-colored plaster walls. Two nearly life-sized statues in Greek garb— one a seminude female with a broken flower garland around her shoulders, the other a clothed male with a floral wreath in each hand--occupy the niches. Although no record survives to indicate where and when these statues were purchased, they are of the type being made in Home at the time, and could have been purchased by Mary Lippitt during her 1868 2 •trip to Europe. It is also possible that they were pur 's chased at auction.^ Their presence in the vestibule serves as an immediate statement that the Lippitts were a culturally aware and cosmopolitan family. Double doors equipped with a night lock, silver-plated hardware, and French plate glass

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windows etched in patterns of sunflowers and c-scrolls separate the vestibule from the long dark central hallway of

the house.

Of the "palace type,"^ the hall leads through the center of the main block of the house, joined by a side hall which contains the main stairway and a rather plain vesti bule from the carriage entrance. (See the schematic floor plan, figure 1.) Double in width through the main house, the hallway narrows to a single width through the service area, or what Lippitt termed the "addition building" in his Contract Book. To further differentiate the "zones" of the house,^ a solid paneled door separates the front hall way from the back hallway. In what was a conventional floor plan of its era, the hall divides the special occasion room, the drawing room, from the rooms used daily by the family— reception room, library, and dining room. Furthermore, the side hallway divides the center of feminine entertainment, the drawing room, from the very masculine billiard room.

As the front hallway was a communication channel between the family and visitors, the back hallway linked the Lippitts1 servants to the family. This back hall leads from the dining room to the kitchen and storage closets. Here hung the bell board signalling demands from family to staff. From this hallway a back stairway leads down to the cellar and up to the nursery and bathing room on the second floor, to the servants' chambers on the third floor.

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Although conventional in its spatial qualities, the front hallway's sumptuous ornamentation may have been un paralleled in the Providence of its day. The skill of Pitz Herbert Peabody and his crew of carpenters manifests itself in the elaborate dado of recessed oak panels surmounted by applied oak diamonds edged with black walnut moldings. While this diamond pattern borrows its design from the dado of the hallway of the Marshall Woods mansion, it goes one step further, for Woods used only oak. The light oak/dark walnut juxtaposition in the Lippitt dado adds a richness of effect and carries out the light/dark scheme found elsewhere inside the house as well as in the coloring of the exterior. The doors leading from the hallway to the separate rooms of

the house are made up of light bird's-eye maple panels set in

black walnut frames. The'light parquet floor of the hall way is inlaid with dark and light woods at its extremeties. Between these inlays must have lain the Bigelow Brussels 7 carpet which Lippitt purchased for the hall,' The main stairway continues the light/dark scheme with its oak step ends and balusters contrasting with walnut handrails and moldings. Carved black walnut patterae in the forms of leaves and berries alternating with scallop shells applied to the step ends of the stairway add to the effect. They were probably carved by the same Jonathan Swan who carved the capitals of the portico columns (see Appendix B, entry for April 25, 1864-).

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The ceiling of the hallway appears on first glanoe to consist of finely inlaid blond and medium-brown woods radiating like light beams from each of the two hanging gas chandeliers and enclosed in black walnut frames. In reality, however, the ceiling is plaster, exquisitely painted to simulate wood. The walls, a rich burnt-orange color, appear to be finely figured Siennese marble cut in ashlar blocks. In fact, they too are hand painted in precise imitation of

such stone.

Another falsification of materials involves the dentiled cornice of the hall and the large, ornately "carved” s-scrolled brackets which seem to support the archway leading to the side hall. Both appear to be of wood, but are in fact cast and painted plaster. This ornamental plasterwork, an important decorative feature throughout the house, was provided by Andrew Dempster who, like Carpenter and Childs, participated in the repairs to the Congregational Church Q overseen by Lippitt. As his contract for the Lippitt house, 'included in the Contract Book, indicates, he not only hard finished the plaster walls for the sum of twenty cents per square yard, but also agreed to, "run all the cornices and ornamental work as required and directed by Mr. Lippitt at fair and reasonable prices for the kind of work performed..." (see Appendix A). The significant amount of labor involved in the execution of Dempster's work in the house can be measured by the total paid him. According to the 'New

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House Account,' Lippitt paid Dempster a total of $3521.4-9 for the entire job in 1864-, just four years after the census recorded the total annual value of Dempster's product for Q "dwelling houses plastered and ornamented" at $2,100.

The hallway bespeaks opulence because, as in the rest of the house, the decoratively painted walls and ceiling, the inlaid floor, and the elaborate woodwork all represent hand workmanship. Similarly, the furniture in the hallway is made to order rather than of the mass-produced variety in creasingly available at the time of the mansion's construc tion. A multi-page bill from the Providence firm of Anthony, Potter and Denison (see Appendices C & N) reveals that they provided nearly all of the furniture and draperies for the house. In the margins .of the bill, in Lippitt's handwriting, are notations indicating which rooms the major suites of furniture were inteiided to occupy. Under the notation "Front Hall," the following pieces are listed:

1 Wal/nut7 & Oak Hall Stand $4-25.00 1 Plate for same 200.00 1 Hall Sofa ) nn ' 1 d/itt/o Chair ) 230.00 Enamelled Leather & Covering same 65.00 All of these pieces remain in the hall today.

If the hallway left an impression of wealth and tastefulness on Lippitt friends and social peers as they left' their calling cards or paused to remove outerware before pass ing on into the reception room, it must have intimidated strangers or social inferiors who probably waited there for

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an audience with the master or mistress of the house.The Lippitt hall furniture intimidates by its size. An average sized man who tries to sit back on the rigid, leather up holstered hall chair (Plate *0 or sofa finds that his feet will barely touch the floor. Once seated he faces an enor mous hall stand, nearly eleven feet tall (Plate 5).

Like the dado of the hallway, this Renaissance Revi

val hall stand is made of oak, a wood described by contemp oraries as expensive for furniture,^ trimmed with walnut moldings. Furthermore, although the cost of mirrors had been reduced by new processes of manufacture only a short time before the hall stand was made, the large expanse of plate used in this oversized piece left no doubt about the wealth of Lippitt. The total cost of this one furniture item was $625, or more than one and one half times the year- 12 ly wage of the average factory worker at this period. Carved on the urn finial of the hall stand is the letter "L" for Lippitt. This prominent initial, like the coats of arms on English hall furniture of the eighteenth and nineteenth century, signalled the family's pride in the wealth and position that made this grand house possible.

An invention of the nineteenth century, the hall stand was hardly a necessary furniture form, since in the Lippitt home as in others of the period, an ample closet

with pegs for hanging outerware hides neatly under the main

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 37 stairway. A circa 1890 photograph of the hall (Plate 6) shows the hall stand with a single top hat on its pegs and a card receiver on its low central marble shelf. The func~ tion of holding canes and umbrellas is served by an upright dog (in the left foreground of the photo). No longer in the house, this unusual piece, whose origin is unknown but

■ probably later than the original furnishing of the house, is surely that which was mentioned by Jeanie Lippitt, Henry’s eldest daughter, in her will: "To Dr. & Mrs. Charles V. Chapin, my bronze statue of a dog that receives cards in his

mouth.

References to animals and hunting trophies were seen by some as appropriate accessories for the front hall, the major conduit from the exterior of the house to its interior chambers.^ Such references were present in this hall not only in the dog card'and cane receiver, but also in the bronze deer heads which ornament the two chandeliers. These chandeliers, like the others on the main floor of the mansion were purchased from Cox Brothers of New York City,^ In his 'New House Account,1 Lippitt made the following entries: Octo 7, 1865 To paid Cox Brothers N.Y. Gas Fixtures $1858.00 Deer 20, 1865 To paid Cox Brothers Bill Gas Fixtures $1055.85 It may also have been in this hall that Lippitt hune: the "Wild Boar's Head" which he purchased for $^0 on February 2^, 1865, from Anthony, Potter and Denison (see Appendix C).

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As in the Woods house, and countless other homes of elite Victorians,^ sculpture was a major decorative element of the hall of the Lippitt mansion. The photograph of this space shows that statues on pedestals flanked the hall sofa. Nothing is known today about the subject of these figures, their origin, or their whereabouts. Furthermore, although the photograph shows a tall case clock at the end of the hall, the clock seems to have been a later addition. Another photograph of the hall (not illustrated) shows that this clock hides a mirror which is built into the wall and seems to be original to it. Perhaps in the 1860's, as now, a sculpture stood in front of the mirror at the end of the hall. Here light from the window in the stair landing could fall on it, providing a luminous contrast to the overall 17 darkness of this long corridor. '

By the time of the photograph, the stern portrait T ft of Henry Lippitt, painted in 1887 by Charles Stetson, hung as it does today over the hall sofa, reminding: all who pass that it was his efforts and shrewd business skills that made this grand house possible.

Recention Room

More often referred to as a "parlor" in contemporary literature, the sitting room in the southwest corner of the main floor was given the more formal designation of "recep

tion room" in Lippitt's memos and in the Anthony, Potter and

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Denison bills. On December 4, 1865, this firm billed Lippitt for the following furnishings for the reception room: 2 R/ose7 W/oo^& Gilt Tete-a-Tetes) 2 " Arm Chairs ) Crim. Satin $875*00 4 " Parlor " ) 1 " Inlaid Center Table 175.00 1 " Etegare (sic) ^50.00 1 Glass Plate & setting same 12 5.00 2 Map. Cornices & Curtain Pins 7°. 00 2 Suit Silk Tassels & Loops 50.00 100.00 Silk Fringe & Cord. 2 pair Gimp Bands 80.00 L/abor7 &M/aterial7 making up 2 suit old) 9n no Satin Drapery & 2 Valences ) 20.00 1 B/ird's7 Ej/ye7 Map/le7 Mantle 250.00

Little is known about the appearance of these pieces, for the only photo of the room, taken circa 1890 (Plate 7), postdates the refurnishing of 1879-80. The emphasis on the wood and gilt ornamentation of the seating furniture suggests that it was formal in nature, and that the legs and frames were exposed, rather than overupholstered as in the "confor- table" suites becoming popular at this time. The barely visible sofa-like piece at the extreme left in the photo may be one of the two t§te-&-t6tes. The s-shaped seating piece in the center of the room, a "Turkish conversation chair," was not part of the original suite but was added in the later refurnishing.1^ The chair to the left of the mantlepiece is part of the original drawing room suite and was apparently moved into the reception room at a later date.20 The chair to the right of the fireplace, with its arched openwork splat, may indeed be one of the four original parlor chairs mentioned in the bill. If so, it confirms our expectation that the suite was of a straight-legged

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Renaissance Revival style, as would be expected on the basis of the house itself and the furniture of the other rooms.

This chair seems no longer to exist.

As the bill notes, crimson satin upholstered the seating furniture. Thus, the upholstery repeated the color so subtly introduced in the centers of the flowers and in the chevron motif painted as borders along the top of the walls and around the windows of the room. At the same time, it repeated, in a deeper tone, the pink of the walls.

It is noteworthy that in spite of Lippitt's wealth and his lavish expenditures in furnishing this house, he was not so careless as to let good satin fabric go to waste just because it had been previously used. Hence, old draperies were reworked for the reception room, using expensive silk tassels and fringe to update them. Perhaps these were two of the three "Suits of Satin Drapery" purchased by Mary Lippitt from Anthony, Denison and Company on September 23, 1856, for use in the house across the street. The three suits cost a total of $300 at that time. Their color is not 21 noted in the firm's bill, but they too were most likely crimson, since, according to the later bill for furniture in the new house, upholstery fabric matched drapery fabric in every room where color is mentioned (e.g. in the library, dining room, bed chambers, etc.) The draperies from I865 are not those in the photograph, since the latter, made of satin damask, were put in the room at the time of the 1880 refur-

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bishing. At this time too, the original rosewood and maple cornices provided by Anthony, Potter and Denison were replaced by the brass arrow-shaped rods seen in the photograph and 22 still in the house today.

A rosewood center table with incised gilt ornament

and a top marquetried in gold, brown, and green woods on an ebonized field survives in the house today (Plate 8), and may

be the one referred to in the Anthony, Potter and Denison bill for the reception room. This may not be concluded with certainty, however, since the piece remaining today might just as well be a second "inlaid rosewood center table" which the firm provided at the same time for Mary Lippitt's sewing 23 room. J

24 Though its origins are somewhat uncertain, the two-

part cabinet etagere in Plates 9 and. 10 is in the Renaissance Revival style, and may in fact be the rosewood and gilt ^ta- g&re mentioned in the bill. Several factors lend support to such a conclusion. Like the table, it has incised gilt ornamental lines and panels of multi-colored marquetry on a - black field. In addition to rosewood, mentioned in the bill, it contains bird's-eye maple, the wood used in the cornices, fireplace mantel and door panels of the reception room in which it would have stood. Furthermore, its secondary wood appears to be the same as the unusual wood in the dining room sideboard,^5 known to have been made by Anthony, Potter and Denison. Apart from the marquetry panels and ormoulu center

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 42 26 mount which may have been imported, the piece is orna mented in much the same way as other pieces in the house made by this firm. Applied geometric panels of contrasting woods, applied moldings and incised lines dominate the decoration here as in other pieces throughout the house. It is indeed an elaborate piece, and the $450 price of the ^tagbre in the bill indicates a significant item, probably one that included a cabinet base, for it exceeds the price

of the gigantic hall stand (exclusive of mirror glass) pre viously discussed. Although the bill does not specifically state that the "glass plate" listed directly after the ^tagbre was a part of this piece, it probably was: the size of the mirror in the illustrated ^tagbre, in proportion to

that of the hall stand, which cost $200, would seem appro priate to a price of $125. Furthermore, the mirror listed in the bill was not intended for over the fireplace, because the Anthony, Potter and Denison bill uses the term "mantle frame and glass plate" for such mirrors in other rooms.

The fact that the Lippitts spent such a large sum of money on a piece of this sort— more than for any other item in the room— indicates the importance they attached to it and suggests its prominence as a focal point of the apart ment. In the absence of an inventory there is no way of concluding what the Lippitts displayed on their reception room 6tag&re, although some of the many vases purchased by Mr. and Mrs. Lippitt may have been placed there.^ Mementos

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of the two trips to Europe made by Mary Lippitt and her children in 1868 and 1882 might also have been "shown off" p O there, especially since the reception room seems to have become the repository for a number of paintings purchased or

painted abroad.

In the photograph of this room a copy of Titian's Flora, a work particularly popular among American Victorians, hangs on the back wall. According to Abby Lippitt's diary, her mother purchased this painting in Florence on May 13, 1 8 8 2 . On this same trip Jeanie Lippitt purchased the two copies of Fra Angelico angels, along with their gilded Gothic-arch frames, which flank the mantlepiece.^0 The copy of Murillo's Virgin and Child, hanging above the mantlepiece, must have been purchased before this trip, since Jeanie wrote in her 1882 diary that while in Florence she saw the original of their Murillo copy for the first time,

and thought their copy a good o n e .^ 1 A painting Marguerite and Fauste. signed by D. Giuerci, Rome, 1871, may also have hung in the reception room as it does today. In the photo graph of this room, at the far left, can be seen a portion of the painting View in the Alleghany Valiev by C.W. Knapp, which Mary Lippitt purchased at auction on March 17, 1868 (see Appendix K). Like the other paintings mentioned here, it remains in the room today.

If the dtag^re laden with ob.jets d'art was a primary focal point of the Lippitt reception room, so too was the

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mantlepiece. As the beauty of wood fires disappeared with the advent of coal grates and central heating, the focus changed from the fire itself to the trappings on and about the fireplace or stove. The international exhibitions of the era were filled with stoves, fenders and fireplace tools of all manner of design.-^2 The "fireplace" in the Lippitt reception room indicates this same phenomenon. Two- hundred-fifty dollars were spent on a mantle made of bird's- eye maple matching the window cornices and doors of the room. It is ornamented with applied panels of burl pattern imitating marble chimney pieces of the Louis XIII period in Prance. Ironically, this ornate mantle surrounds not an open fireplace, but a duct of the central heating system for which no mantle was technically required. The 34- register, marked "Culver Patent,"^ consists of an elaborate Renaissance strapwork pattern. Surrounding the register is a grate ornamented with foliated arabesques and Italianate •putti of cast and gilded bronze. (Plate 11). The "Gilt trimmings" specified in the order to William H. Jackson and Sons, New York, for the fireplace grate in the reception room (see Appendix A) were echoed in the gilt-trimmed bronze chandelier furnished for this room by Cox Brothers.^ With its gilded griffins perched on triglyphs, this gas lighting fixture introduces a hint of the Neo-Grec style, newly appearing at the time and prevalent in pieces provided for other rooms in the Lippitt mansion by this New York firm. (See Plate 12.)

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The reception room floor has none of the inlay to be found in the hall, dining room and billiard room. Lippitt's accounts list numerous payments for carpets. Although no specific mention of the one in the reception room remains, it is possible that the one in the photo of the room is the Axminster carpet purchased from A.T. Stewart,

New York, for $700 (see Appendix G). The ceiling of the reception room is painted a light green, contrasting with the pink walls in accordance with the "laws of complementary colors" being touted by decorators of the day.-^ As a decorative accent, the ceiling is orna mented with plaster beams, creating a ribbed effect, ^he close association of the plasterer Andrew Dempster and the decorative painter, identified below, can be seen in this ceiling. The plaster beams are grained to imitate the bird's- eye maple used throughout the room, then stencilled in crim son with stylized floral and strapwork patterns. Around the perimeter of the ceiling is a grained plaster border in an Elizabethan strapwork motif. Alternating courses of leafy cast plaster moldings and painted floral borders form the cornice of the walls.

With its gilded furniture upholstered in crimson satin, its showy ^tagere, its highly ornamental heating register, its gilt framed copies of old master paintings, its gilt-accented chandelier, the rich woods of its mantlepiece, and the elaborate treatment of cornices and ceiling, this reception room must have impressed those visitors who

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were held in enough esteem by the Lippitts to be admitted beyond the hallway, into the private rooms of the mansion.

The Library and Decorative Painting in the Lionitt House

If decorative painting serves as an accent in the reception room, it acts as the major feature of the adjoin ing library. Here the walls are painted with a lapis lazuli- colored ground covered by a large-scale, all-over pattern of multi-lobed curvilinear diapers and stylized foliage, executed in gold and silver leaf (Plates 13 and 15)• Gilt pinstriping and pinstripe arabesques accent the deep sky- blue ceiling. As in the reception room, this ceiling is ribbed with plaster beams. Here too the beams are grained in imitation of bird's-eye maple and stencilled with flat, stylized floral patterns. No fewer than four different foliated plaster moldings separate the ceiling from the painted cornice of the walls. Stylized anthemia form this cornice, painted in shades of blue, gray, and violet.

The ornamentation and furnishing of the library cannot be fully understood without a discussion of who was responsible for the decorative painting done here, as well as in the rest of the house, and of the sources used by crafts men for the wall designs in this room. In spite of the importance of decorative painting in this house, with its marbelized and grained hallway, grained billiard room, and stencilled borders and ceilings in nearly every room, no

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contract for decorative painting appears in the Contract Book. There is no evidence to support John Lorine's claim that the New York design firm of Pottier and Stymus was re sponsible for this ornamentation.-^ However, the 'New House Account' does list payments to two local firms for painting at the house. Prom March 18, 186^- to April 6, 1867, Lippitt paid Jonathan A. Townsend a total of $2^53*^9 for painting (see Appendix B). Between July 29, 1865, and October 28, 1865, he paid the firm of Cattanach and Cliff a total of $1,072.08.

Not much is known about Townsend, although he adver tised in the 1857 Providence city directory as a "House and Ship Painter and Dealer in Paints, Oils, Glass, Putty, Brushes, & C., No. 116 S. Water St., Providence." The ad also noted that he did glazing and paper-hanging. Exactly what kind of painting Townsend was capable of doing is not known. The last payment to Townsend, according to the 'New House Account,' was for "painting glass & c Conservatory." He also painted the barn on the new lot before the mansion was constructed and painted tree boxes for the twin house i|>0 across the street. This evidence suggests that his work was primarily basic painting of exterior and interior trim and plain wall surfaces.

Cattanach and Cliff (see Appendix P), on the other hand, were paid $182.3^ in 1862, for "Paintine: Dining Hoorn" at the earlier twin house.^ Furthermore, their 1863

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decorative painters: Cattanach & Cliff, House Decorators, Painters & Paper Hangers. Walls finished in Encaustic, Damask, Morocco, Stipulated Enamel, and various other styles, and also all kinds of decorations in Fresco, Seco or Distemper. Vestibules and Halls done in the various styles. Gilding and Frame Manufacturing in all the Various Branches. N.B.— Common House Painting in the very best of style. Their directory advertisement for the previous year noted that they also painted "in imitation of statuary marble."

A biographical sketch of Donald D. Cattanach (I838-I909) observed: For a number of years Mr. Cattanach carried on the largest decorative business in New England. He decorated several of the churches in Paw tucket and Providence and in other towns of the state. Many private dwellings, also bear testimony to his artistic ability.4,2

Not only had Lippitt employed Cattanach and Cliff in painting his earlier house, but also, as a member of the committee planning the refurbishing of the Congregational Church, he had overseen their job of painting that large structure. Church records show that Cattanach and Cliff were paid a total of $5,763.27 for painting the steeple and inside of the church, the latter done in the "polychromatic" style of painting, using such colors as orange chromate of lead, French ultramarine, English vermilion, Roman ochre, purple lake, and $252 worth of gold leaf.^ a newspaper article describing the church's refurbishing wrote of the job performed by Cattanach and Cliff:

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A beautiful combination of tints, comprising more than one hundred shades, etched with gold, give to the dome and the columns that support it a ^ completeness and beauty that cannot be excelled. In spite of the fact that the ornamentation of this church is no longer visible for comparative study, one may conclude from the written evidence that Cattanach and Cliff, rather than J .A . Townsend, were responsible for most, if not all, of the decorative painting in the Lippitt mansion.

On the other hand, the Lippitt grandchildren recount

that their parents, the Lippitt children, used to talk of Italian-speaking workers who painted the house. Perhaps it would not be incorrect to assume that Cattanach and Cliff had Italian workmen in their employ. Census records for i860 show that at that time the firm had a total of five L *5 employees. Furthermore, there were Italian decorative painters available in Providence at the time who might have constituted the firm's work crew.^ (According to the Congregational Church bills, Cattanach and Cliff charged

from 20d> per hour to 35^ per hour for labor, depending on the skill required for the various types of painting.^)

At the Congregational Church Cattanach seems also to have played a roll in determining the overall decoration of the interior, for records show that he travelled on be half of the church to New York to select stained glass windows. He also made contact with William G. Bright, carpet dealer in Boston (from whom Lippitt bought carpet for his hallway and dining room, as has been previously

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mentioned), for the purchase of Brussels carpeting for the church.**9 Unfortunately, there is no way to determine whether Cattanach played a similar role in designing the overall interior decoration of Lippitt's mansion, or in establishing contact between Lippitt and his various suppliers

in New York.

The biographical sketch of Cattanach noted regarding

his work, "The designs and colors were his own, and the 50 latter possess a durability not achieved by any one else."> The excellent condition of the painted walls and ceilings of the Lippitt mansion certainly seems to substantiate the claim of durability. If Cattanach did indeed provide his own designs, one wonders what sources this artist drew upon for this house. The flat painted borders of the reception room and dining room, and the flat, stylized floral stencils of the library ceilings and walls seem to indicate an awareness on the part of Cattanach and Cliff of the principles espoused in England at mid-century by such influential designers as Pugin and Owen Jones. These men and their disciples writing in numerous painters1 manuals decried any attempt to create three-dimensionality when decorating a flat surface. Instead of trying to recreate natural forms, they searched the ornamental painting of numerous civilizations, both ancient and modem, Eastern and Western for flat geometric or stylized foliate patterns to be used in the decoration of

private and public buildings.^1 The borders and ceiling

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stencils used in the Lippitt house resemble, but do not directly copy, many of the patterns in one of the best-known published collections of such motifs, Owen Jones's The Gram

mar of Ornament.

Another important decorating trend of the period was

the advocacy of polychromatic painting, using the laws of contrasting and analogous colors, discovered in Prance by <2 Chevreul and in England by D.R. Hay,-' to create harmonious effects.-^ As previously noted, Cattanach and Cliff created such prescribed color harmonies by using shades of pink and crimson and contrasting green in the reception room, and in the dining room they bordered maroon walls with contrasting green. They followed a further design prescription of the era by painting the ceilings of the library and billiard

room a deep sky blue.

Although Cattanach and Cliff could have become aware of such design fashions through the numerous painters' guides of the period, a more direct influence may have been the London Crystal Palace Exhibition of 1851. Cattanach's obituary notes that, although born in Scotland, he was a student in London between the ages of twelve and seventeen, that is, from 1850-55, precisely at the time of the Exhibi tion. This exhibition disseminated the current design prin ciples by way of the polychromatic decoration of the building itself under the supervision of Owen Jones. Already rebel ling against the military school to which his family had sent

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him, Cattanach had by this time begun his experiments with chemicals and paints that would be an important part of his business in America.^ Surely he must have taken note of the design trends displayed in Jones's ornamentation. It is not known when Samuel Cliff came to America from his native England. Perhaps he too was familiar with the ornamentation

of the Crystal Palace.

Most significant for the Lippitt mansion was Jones's much acclaimed recreation at the Crystal Palace of the Court of the Lions from the Alhambra in Spain. A comparison of the pattern on the library walls of the Lippitt house with a motif taken from the arches of this courtyard (Plate 1*1-) clearly indicates that the former design derives from the latter.

Since the publication in 1813 of James Cavanah Murphy's The Arabian Antiquities of Spain and of Jones's 18*1-2-45 work The Plans. Elevations and Details of the Alham bra. Moorish architecture had gradually become an important design source in England. So popular were the geometric patterns of the Moors by the time of the Crystal Palace, that adaptations of their designs appeared in everything from cast-iron stoves to drapery fabrics.^

While Cattanach's presence in London during the exciting days of the Crystal Palace Exhibition may have been the direct link between the Court of the Lions motif and the

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Lippitt library, Lippitt himself was probably aware of the craze for Moorish design, for it had also grown in popularity

in the United States from the late 18^01 s . ^ The dome of the New York Crystal Palace of 1853 was painted in the Moor ish style, "rich in color and flashing with a profusion of gold and silver ornaments."-^ Among the books in Lippitt's Moorish-style library was Washington Irving's Tales of the Alhambra. a major force in spreading an interest in this exotic culture throughout America. As early as 1836, Lippitt had included remarks about the influence of Moorish invaders on the armies of Spain in an address he delivered before the Franklin Lyceum.^ And a front page article on the battles between the Moors and the Spaniards in an i860 issue of Providence's foremost newspaper further substantiates a local interest in the Moorish culture.^

An oriental design may have been chosen for the library of the Lippitt house because of its association with comfortable furnishings, an appeal that reached extremes in the oriental smoking rooms of the 1880's. Certainly the circa 1890 photo of this room (Plate 13), with its two cushioned rocking chairs, suggests that considerations of comfort outweighed formality in this apartment. In I865, the Lippitts included in their furniture purchases for the oriental library, seating furniture in the oriental style. This room was, in fact, the only room in the house at this period to contain several pieces of oriental style furniture. Anthony, Potter and Denison's bill lists the following items

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. provided for the library (see Appendix C): 2 Suits Tan Drapery & Border 135.00 ^2?2*22 1 B.W. Burhl (sic) & Ebony Mantle 222’22 1 " " Frame for same (his.plate) 250.00 2 " " Cornice & Pins 37.00 75-. 00 2 " " Dwarf Bookcases 5-50.00 900.00 1 " " Library Table 175.00 1 Ottoman Sofa Tan Rep 175.00 1 Turkish " " " 1Z5*2° 1 " Easy Chair 70.00 2 Crinoline Chairs 68.00 136.00 1 Brougham Chair 58.00 2 Oval Back .Library Chairs (no arms) 70.00 1 Ro. Ottoman Stool for Library 10.00 2 pr. Crim G & BW & S Tassels Library 50.00 L & M Uph. Foot Rest on Library Table 8.50 2 Shades Complete Library 11.00

The paucity of trade catalogs or other primary materials including both illustrations of furniture and the contemporary nomenclature for each piece makes it difficult to know exactly what the oriental seating furniture in this room looked like. For example, the difference between a Turkish sofa and an Ottoman sofa costing the same amount is not clear. Neither is the photograph of this room of great help for this original period, for little, if any, of the original seating furniture appears in it.

As Downing noted, Ottoman pieces, available in various forms, were generally wholly upholstered, with no 6l exposed wood. A rectangular sofa of this type, with out wardly rolled arms and back of equal height, and upholstered with buttons, fringe around the bottom, and tassels hanging from the scroll of the arms, is in storage at the house today. It may well be one of the two sofas purchased for the library, reupholstered in the nineteenth century from

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the original tan rep mentioned in the bill to its current red satin damask. Red would have been an appropriate color for use in the library. As shown in the bill, crimson tassels were purchased for the room, probably for the draperies, and in 1880, a red plush cushion was purchased for a "willow chair," probably the bow-backed rocker to the left in the photograph. Although red was not used in the ornamentation of the walls of the library, it was one of the major colors, along with blue, used in the original Court of the Lions pattern at the Alhambra from which these walls derive. Thus, the fact that this sofa is now upholstered in red does not lessen the likelihood that it may have been one of the ori ginal oriental pieces in the library.

Neither has research into contemporary nineteenth- century sources yielded any clues as to the appearance of a "brougham" chair or a "crinoline" chair. A "Memo of Furni ture, H. Lippett (sic)," apparently written by an Anthony, Potter and Denison employee when furniture for the house was first being discussed,^ provides the further information that the library was to have "2 crinoline arm chairs" (ital ics added). Whether these chairs were called crinoline be cause, like the so-called "lady's chair" (a term which does not appear in the Anthony, Potter and Denison bill) they had recessed arms to accommodate crinoline petticoats , or because they were upholstered in a crinoline or horse hair fabric, remains a matter of speculation until additional sources utilizing this term can be found.

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An armless chair with an overupholstered seat and a button upholstered back which rolls outward in much the same manner as the sofa described above, is also in storage at the house. Upholstered only in muslin today, there is no clue to its previous outer fabric. Its front legs, although not matching those of the sofa exactly, are undistinguished and may once have been hidden by fringe. Whether this chair could have been part of the library suite (a "brougham" chair perhaps/) must also remain a mystery until further evidence is uncovered. It does not seem to fit the descrip tions of chairs in any other room.

A final matter of speculation is whether the chair to the extreme lift in the photo, in spite of its low round about back, could have been considered a "Turkish Easy Chair. " Its buttoned upholstery and fringe would be appro priate for the term "Turkish," but its low-backed form makes the application of the term "Easy Chair" somewhat less cer tain. Could it even, because of its extremely wide, round shape like a hoop skirt, have been called a "crinoline" chair?

If Spain was one area of Western Europe that fell to domination by an oriental culture, Venice was another. Appropriately, the pair of looking glasses which hung in the library, one of which appears between the two triple-portraits in the photo of the room, are Venetian. These mirrors, with their etched glass and deep blue glass frames and scrolled

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foliate crests, harmonize perfectly with the walls. It is perhaps these mirrors that Jeanie Lippitt described in her will as "the pair of long Venetian looking glasses together with their frames that belonged to Marie Antoinette and which were in her boudoir in Paris. Although they were bequethed, along with the two portraits between which one of them hung (a portrait of the three Lippitt daughters, the other of the three Lippitt sons), to a relative in California, both mirrors and the portrait of the daughters remain in the house today. Mo records indicate and no family members re collect how the mirrors came into the Lippitts' possession.

In addition to furnishings with oriental associations, the library contained pieces in the Renaissance Revival style which prevails throughout the house. Although no longer present in the house, one of the "oval back library chairs (no arms)" listed in the bill appears in front of the window in the photo of this room. Probably crafted of black walnut like the case pieces in the room, this chair has an uphol stered seat with exposed seat rails. Its back is composed of a large upholstered oval splat flanked by columnar stiles and topped by a pedimented crest. The latter elements echo the columns and pedimented crest of the mantle glass and frame.

The mantle and mantle frame in the library cost $360 and $250 respectively, by far the most expensive fireplace treatment provided by Anthony, Potter and Denison

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. anywhere in the house. It is also the most elaborate, although the materials are burl walnut and ebonized wood rather than true ebony. The mirror glass is flanked by columns whose bases are carved with stylized leaves, a- diamond-faceted shaft, and beaded collar. The columns support a "French"-arched frame (i.e. an arch with a flat top and rounded corners), with a triangular pediment and a cartouche incised with the letter "L." Fluted vases act

as finials at the corners of the frame. The mantlepiece itself has the same diamond-mounted panels found in the dado of the front hallway, as well as tapered pilasters with carved husk drops.

The mantlepiece surrounds a golden yellow marble fireplace with a French-shaped opening which echoes the shape of the mirror glass above. Although Lippitt originally contracted for a French-shaped grate and "English Fender Gilt Trimmings Complete for $85" from William H. Jackson and Company (see Appendix A), the order seems eventually to have changed, because the fireplace is trimmed with polished steel, a recommended material in this period.^ An elaborate polished steel fender and tool set complete the fireplace accessories.

The black walnut burl and "ebony" library table, no longer present in the house, appears in the center of the photograph. It consists of a wide central drawer with narrower drawers on each end. With its tapered and fluted

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legs, bulb feet, and converging c-shaped front-to-back side stretchers, the piece seems to borrow design details from French oier tables of the Louis XVI period. As noted in the bill, Anthony, Potter and Denison charged $8.50 to upholster its footrest which, with its fringe, linked the piece to the oriental seating furniture in the room, Nothing is known of the origin of the eighteenth-century snake-legged tilt top table to the left of the library table, or of the cabriole legged, claw-and-ball-footed slant-top desk on frame to the right of the library table in the photo.

At the time of the Lippitt mansion's construction, the library was considered the domain of the male head of household. Henry Lippitt left no doubt about the obser vance of this custom in his family. Painted in cartouches on the library ceiling above the entrances to the room are his initials "HL," the only instance in the house where his first initial is added to that of the family name. The library seems to indicate that Lippitt was neither an intel lectual nor a bibliophile. As their name implies, the two "dwarf bookcases" listed in the furnishing bill are relative ly small, with bi-level sections, the tallest of which stand only six feet high. These L-shaped bookcases are tucked unobtrusively into the corners of the room (Plate 15).

Perhaps the clearest insight about Lippitt's attitude toward reading was provided by his son Charles Warren Lippitt, who wrote in his diary when he purchased a subscription to

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the Daily Congressional Globe; Mother and Father have each abused me for wasting my money on this paper....Both have ridiculed my action on the ground that everything that was worth knowing would be published in the Providence papers...All Father and Mother seem to need is the bearest (sic) abstract...They are interested alone in the result, and care nothing for the facts. ' One of his obituaries noted, "Governor Lippitt knew not much of the learning of schools...He knew little and cared little for formal dialectics..."68 It would be wrong to conclude, 6g however, that Lippitt, noted for a quick intelligence, 7 con sidered education unimportant, even though he himself had 70 ended his schooling at the age of fifteen. According to a commencement speech he made at Brown University on June 16, 1875, he viewed education as a means of raising one's station in life.”'71 In a gesture characteristic of his relatively 72 liberal treatment of his mill operatives,' he provided the boarding house built for his Social Manufacturing Company workers with a three-hundred volume library and equally matched every dollar contributed by the workers for addition- 78 al books.

But as a man of action who was interested in results, Lippitt probably had little time for leisure reading or scholarship. A search through the volumes remaining in the house and the small size of his bookcases seem to substan tiate this hypothesis. Those books which bear his bookplate, a surprisingly sentimental design of doves and interlocked

hearts, most frequently bear dates from the 1830's and 18^0's,

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when he was a young man just starting out in business. Most prevalent among his volumes from this period are the Roman tics: Lord Byron, Sir Walter Scott, and Washington Irving. Also dating from this early period are works about the explor ations of DeSoto and expeditions into Indian territories. Pew books (most of these biographies of statesmen and other public figures) date from the 1850's onward. During these later years, in addition to his substantial business interests, he was heavily involved in civic activities as committeeman for the Rhode Island Society for the Encouragement of Domes tic Industry, President of the Providence Board of Trade, Commissioner for the Draft in Rhode Island during the Civil •War, and President of the Providence Opera House Association.

Always interested in improving Providence, he played an important role in deepening its port, building the Narragdn^ sett Hotel, adopting a water works system, and introducing electricity to the area. He served as President of the Electoral College, and was a two-term Republican Governor of 7^ the state.' With these many activities and a large family, his attention to books, and hence his book collection was probably rather limited.

The photograph of the library also seems to confirm the statement, made upon his death, that in spite of his brusque exterior, he left "a wealth of filial love such as 7 6 is seldom seen." Portraits of his children occupy a large portion of the wall space of the library. Photographs of

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family members so cover the library tables and desk that one assumes most of his paper work must have been done in the offices of his business firms rather than in this room.

With its wide sliding double doors to the reception room on one side and double doors to the dining room on the other, always shown open in the photographs of the house, the library seems not to have acted as a private retreat for Henry Lippitt. Instead, this room, with its ornate walls and ceiling, its amply padded furniture and richly appointed fireplace, must have placed Lippitt with comfort and style in t.he center of family activities.

The Dining Room and Its Appendages

The dining room' is the most remarkable apartment of the Lippitt house for the scholar of American Victoriana, for it remains virtually unchanged from its 1865 appearance. Furniture, silver, china, and glassware have all survived, and even the still life paintings ramain in the same spaces they occupied over a century ago.

The etched French plate glass windows in the double doors separating the dining room from the library, supplied by Cooper and Belcher of New York (see Appendix A), intro duce the decorative theme of the dining room. Here are depicted stags in the wilderness. Within the dining room symbols of the hunt, finely carved in walnut, ornament the massive oak furniture: on the side table is the head of a

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hunting dog1, a wild boar's head crests the mantel mirror; and a stag's head, flanked by the heads of a fox and a hound,

crowns the sideboard.

The nineteenth-century breadwinner, who like Li.ppitt, earned his money from the output of machines, seems to have delighted in the symbols of the hunt, the process by which food was obtained and manhood established in less complicated eras. The Lippitt furniture confirms, as do other surviving examples, that the nostalgically romantic theme of man against beast was not confined to the elaborate dining room suites 76 made expressly for display at the international exhibitions.' It filtered into the homes of well-to-do Americans as well. Despite the sense of humor manifested by the incorporation of real eyelashes and whiskers in the carved animal heads, how ever, the Lippitt dining room suite exhibits a restraint often lacking in the display pieces. The carefully carved animals and swags of fruit confine themselves to strictly bounded areas and serve as accents to, rather than excuses for the items they adorn.

The entire dining room suite, as listed by Anthony, Potter and Denison on December I865, survives today: 1 Oak & Wal/nut7 Sideboard $900 $700.00 1 " " “ Side Table 275!00 10 " " Dining Chairs, Steel Nails $38.00 380.00 2 " " Arm Chairs $60.00 120.00 1 " " Couch 112.00 1 " " Mantle Frame & Glass Plate 325.00 3Sets Drapery Green Hep. Poles & Rings §1^0.00 ^20.00 The two prices listed for the sideboard reflect credit given

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for a marble top and glass, as shown in Lippitt's annotations to the bill (Appendix C). The marble top was substituted by 77 one purchased from Leon Larmande of New York for $15^•

No mention is made of a dining table in the bill. The origin of the oval extension table which appears to be part of the suite is, therefore, uncertain. It is probable, how ever, that it was brought from the house across the street and made to look like the rest of the set by the addition of applied fruit swags, diamond shapes, and moldings of black walnut. This hypothesis is supported by the following evidence: Anthony.and Denison sold the Lippitts an oak 78 sideboard for the house across the street, which would con firm that the suite in the earlier house was of oak, as is this extension table. On September 18, 1865, Anthony, Potter and Denison charged the Lippitts the considerable sum of $63.3^ for "L/abor7 & M/aterial7 altering and scraping Exten sion Table," and on September 30, another $13.90 for "L & M Staining & Waxing Ex Table." On February 21, 1866 the firm charged $^0.8^ for upholstering six oak arm chairs in "Gr Leather." These chairs still remain scattered throughout the mansion, and appear to have originally been dining chairs. Thus, other pieces of the earlier dining room furnish ings seem to have been salvaged and renovated for use in the mansion.

A close similarity may be noted between the major dining room pieces and French design books of the period.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. The sideboard (Plate 16), with its glazed upper cupboard, open side shelves and enclosed bottom cabinet closely resem bles French prototypes. It bears a striking resemblance to 79 a buffet illustrated in Qudtin's Magasin des Meubles.'7 The looking glass over the fireplace resembles a design by H. Sauvestre illustrated in Guilmard's contemporary Decora tion au XIXe Si&cle...^0 The large side table (Plate 17) nearly approaches the size of many sideboards of the period. With its high pedimented back board and open lower side shelves, it is very similar in form, if not in details of 81 ornament, to another design illustrated in the latter book.

These similarities raise the question of where the Providence cabinetmaking firm of Anthony, Potter and Denison were getting their designs. Did they own copies of these books or was there some other source? The exact match of the woods and ornamental details between the furniture and the dado into which the pieces fit would seem to prove con clusively that the furniture, rather than merely retailed by this firm, was actually made by them in Providence, and in close association with the house carpenters. An entry in the Anthony, Potter and Denison bill may provide a clue to the design source for this furniture and perhaps much of the rest of the furniture provided by the firm. On Decem ber 12, 1865, they passed on to Lippitt the following cost: "John Protin's Bill Drafting $258.00." A search through city directories of Providence, Boston, Pawtucket, and New port reveals no person by the name of John Protin. In the

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New York City directory for 1865, however, appears: "Frotin, John V. designer, h. 368 Sixth Ave." In other years, the same John Frotin is listed variously as a carver, an artist, Q O and a model maker, hut little more is known of him. When commissioned to construct pieces for a house which might be frequented by New York businessmen and whose drawing room would contain New York-made furniture, the local cabinetmaking firm may have wished to turn to a designer living in New York for patterns to avoid an appearance of provincial ism. The sum of $258 paid to Protin for his "drafting" is not inconsiderable, since Lippitt was paying Henry Childs two dollars per day for his work on the plans for the house. The remarkable similarity of the dining room mantle mirror (Plate 18) to that in a contemporary New York City residence^ raises questions of a common design source with which Protin was in some way connected.

Also similar in form to French designs are the twelve Q/i dining room chairs which remain in the mansion. These heavy oak chairs with black walnut moldings have s-curved front and rear legs, arched stretchers, and foliated crest rails that are pierced to form hand holds. The specification for "steel nails" in the Anthony, Potter and Denison bill suggests that in I865, as now, the chairs were upholstered with leather over their spring seats and padded backs. This was no doubt true too of the "Couch," which with its one scrolled and padded arm was the Victorian successor to the Federal recamier sofa.

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A search through contemporary sources has yielded no specific mention of the function of a couch in the context of the dining room.8^ One may hypothesize, however, that it may have been used for lounging by gentlemen as they relaxed in the dining room, smoking and drinking wine, after the ladies had retired to the drawing room. That such a custom

was followed in the social circle of the Lippitts is con firmed by a passage written in Charles Warren's diary, describing his first formal dinner party at the home of a

friend: The dinner occupied about three or four hours and the latter part was passed in making occa sional remarks that served to relieve all em barrassment, but did not lead to much conver sation. At the close the ladies retired, and for half an hour the gentlemen were alone. This custom is very proper. We had been together for several hours, and particularly after a dinner it is to be presumed individuals of both sexes would desire to be at liberty to absent themselves from the room for a short time. b

Perhaps in part because of the ritual of men remain ing in the room after dinner and because of the male- role as host and food provider, most household advisors recom mended somber colors and a distinctively masculine atmosphere 0 1 7 for this room. The Lippitt dining room is in keeping with this vogue. Although the ceiling has been altered from its QO original dark paint, the walls remain today as they always were, a deep crimson approaching maroon. They are relieved at top and bottom by flat floral borders painted in the contrasting color of green with gilt accents. The draperies made of rep, a fabric recommended for the dining room because

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of its durability,8^ repeated the green of these borders. Adding’to the rich color of the room is the mantlepiece of rose Pyrenees marble with black marble bosses, purchased for

$550 from Leon Larmande of New Y o r k . ^ 0

Carpet was prescribed for dining rooms to deaden the noise of servants* feet,^ and Lippitt chose a V/ilton Velvet carpet,^ considered to be among the most beautiful and

durable of the types available at the time, J for this room. Red, yellow, and black geometric floor inlays of cherry, maple, and rosewood surrounded the carpet. This inlay appears to have been machine made^ and laid in strips around the edge of the hardwood floor.

Echoing the color of the curtains and decorative wall borders was the green rim of the white French china which the Lippitts purchased from E.V. Haughwout and Company of New York^ on October 23, I865, and January 2^, 1866, for the sum of $529 (see Appendix H). The term "Rich dinner set" used in the bill probably refers to the ornamentation of the service by gilt edges and the gilt initials "ML." These initials of Mary Lippitt are one of few instances in the furnishing of the house where her important role in the running of the household is acknowledged. The total number of dining chairs ordered for the room suggests a maximum of a dozen guests. The purchase of china items (6-|" plates,

7 i" plates, 6|" oyster plates, and preserve plates) in lots of thirty-six each, and the diversity of serving dishes (soup

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tureens, sauce boats, sauce tureens, casseroles, covered dishes, salad bowl, fish dish, pickle dishes, bakers, and cake plates), testify to the complexity of the lengthy Vic torian dinner. The date of purchase of this set of china and its harmony with the color scheme of the room leave little doubt that this was the set intended for use at the mansion. A fragmentary set of Sevres china bearing the cipher of Louis Philippe, part of which remains in the house, may have been purchased in travels abroad at some other date.^

Purchased from French, Wells and Company of Boston in 1859 (see Appendix F), while the family was still living in the double house, the cut crystal set also bears the engraved initial "L" in a cartouche. Engraved grape vines meander around the top of each piece. Included in the pur chase were three dozen goblets, one dozen champagnes, one dozen wines, a pair of decanters, a footed bowl, two bowls, two nine inch dishes, and two spoon glasses, for a total of .'*>168. The family also owned a dozen "canary engraved clarets," a dozen cut lemonade glasses, and two dozen mono- grammed tumblers (see Appendices H & I). Although prohibi tion had been enacted in Rhode Island for a time in the 1850's and was to become a major issue supported by the opponents of Henry Lippitt in his bid for the governorship in 1875,^ wine drinking remained an integral part of the dinner menu. Lippitt's 'Cash Accounts' indicate purchases of port, madeira,

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and sherry, and ample quantities of unspecified wines, as well as brandy, whiskey, gin, and rum.

In 1863, the Gorham Manufacturing Company was incor porated in Providence and was soon to become one of the largest silver producers in the nation. Not surprizingly, therefore, it was Gorham silver flatware which Mary Lippitt purchased in 1866 from Gorham, Company and Brown, a local retailing outlet for the firm (see Appendix J). Just as the china chosen by Mary Lippitt indicates a rather restrained elegance, so too does her silver, for she selected the plain but very popular "Cottage" pattern, engraved with the ini tials "MBA" (Mary Ann Balch) in an ornamental cipher. A dozen table spoons, a dozen tea spoons, two dozen dining forks, one dozen dessert forks, one plated slop bowl, a dozen gilt egg spoons, and two round waiters were purchased at this time for a total of $3^8 *

Very little mention of silver hollow ware appears in Lippitt accounts or bills. The mention of a plated slop bowl in the above order suggests that at this time Mary Lippitt may still have been using the silver plated tea set purchased by her husband in 18^5 from 3. Gardiner of New 08 York. Not until 1870, the year of her twenty-fifth wedding anniversary .does she seem to have owned her own sterling tea set. Made by Gorham and inscribed "M.A.L. December 16th 1870," the set consists of a hot water urn and stand, a creamer, sugar bowl, waste bowl, and three pots. No bills

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remain to indicate the price paid for this set. With floral arabesques banding: the feet and necks of the pieces (Plate 19) and repouss^ arches connected by swags of roses around their shoulders, the pieces complement the Renaissance Revival style of the house and furnishings. At the same time, the large anthemion in the stand of the hot water urn, and the overall shape of the pieces, reminiscent of antique vases, reveal the coexistence of the Neo-Grec style.

Only hinted at in the tea set, the Neo-Grec style reaches full development in the mantel clock (Plate 18) which bears the name of Cox Brothers, New York, and in the chandelier and wall brackets provided for this room by the qq same firm. • Made of bronze, a material dating from anti quity, the clock consists of a round dial supported by Atlas like monopodia and created by a bold anthemion. Aggressive gorgon heads ornament the lighting fixtures.

Under the gas chandelier, the dining table, with its full complement of china, crystal, and silver, must have created the effect of a shimmering jewel in the center of the deep, richly colored room-(Plate 20). Adding to the abundance of the sumptuous food which the Lippitts no doubt served their guests, were the paintings which, in their gilded frames, enlivened the walls. Still lifes of fruit by Leavitt,'*"^ J.E. Grouard,^^ and the local artist Freder- 102 ick S. Batcheller, and others of dead game, which rein forced the theme of the hunt already introduced in the furni ture, hang today in virtually the same spots they occupied

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one hundred years ago. In their trompe 1'oeil technique they appealed to the same materialistic delight in verisimil itude that prompted Anthony, Potter and Denison to provide the carved creatures on the furniture with eyelashes and whiskers. In subject matter, they served to remind the guest of the lavish hospitality of the host, and by their- own beauty they augmented the opulence of the dining space.

Two appendages to the dining room were considered as important to the enhancement of the dining experience. One, the butler's pantry was generally spoken of as a virtual necessity, while the other, the conservatory rated as a delightful, if dispensable addition.

Since the dining room was on opposite sides of the hallway from the kitchen, the Lippitt pantry was not needed for its usual function of separating the dining room from the-noise and odors of the kitchen. But in an era when the so-called "Russian" style of serving dinner (That is, with guests serving themselves from dishes and platters held by 103 servants) was fashionable, the slicing of meats and arrangement of serving dishes could be carried on there. Referred to in the Contract Book as the "Dining Room Closet," it contained not only cabinets for china and glasswares, but IqZj. also a safe, to protect the silver and other family val uables. It is impossible to determine whether, as today, it had a sink with running water. (It is situated directly beneath the bathing room on the second floor, however.) Such a sink would probably not have been essential, since a wash-

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stand with marble slab and basin, surmounted by a large wall mirror, all contemporary with the house, stands in the hall way between the dining room and the kitchen. Used perhaps to fill water pitchers and the like, the sink and mirror might also have been used by the servants to freshen.their appearance before waiting table, answering the front door, or otherwise serving the family and guests. The family seems not to have employed a butler, since census records indicate its usual staff consisted of three to four Irish 10=; maids and a coachman.

Although no trace of the conservatory remains, a notation in Lippitt's 'Mew House Account' testifies to its former existence: "Apl 6 , 1867 To paid J.A. Townsend Paint ing Glass & c. Conservatory $186.16," (see Appendix B). Photographs of the exterior indicate the location of this conservatory as being.off the south side of the dining room, approachable both from the south lawn and from the floor- length French windows of the dining room. (See Plate 21, where a small veranda with rocking chairs is also visible at the left, adjoining the reception room.) There are no records to indicate a particular interest in horticulture by either Henry or Mary Lippitt. Perhaps they felt their mansion would be lacking without a conservatory, considered by some at the time as "a necessary adjunct to a villa.

Steps led from the conservatory to the south lawn, where one of the garden statues representing the four seasons

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still stands today. This was the scene of one of the most lavish parties given by the Lippitts, a reception celebrating the return of Lippitt, then Governor of Rhode Island, from Newport in the summer of 1875* All of the area newspapers carried the story. One expressed particular interest in the fountain (visible in Plate 21), which had recently be come the centerpiece of the lawn: /The/ fountain...has attracted the attention and received the unqualified praise of so many hun dreds since its erection two years ago. This fountain was made in Scotland, and is the only one of the kind in this country. It is eighteen feet high, with three basins, the lower one of granite, twelve feet in diameter, and the other two of iron, respectively six and two and a half feet in diameter. Two or three feet above the lower basin there are six jets of water flowing from the mouths of dragons, and above these numerous other smaller jets.10' Another article emphasized the food: Beneath the tent was one of the finest laid tables ever seen....Boned turkey, salmon, lobster salad, fruit of all kinds, cake, assorted and of great abundance, charlotte russe, wine jellies, strawberries, pyramids of ice cream of every flavor, together with innumerable dishes with long French names. On the lawn at the side was a table on which were three large punch-bowls of lemonade...which was liberally dealt out with silver ladles by the waiters...in full dress, with black swallow-tail coat/s7 and white gloves. This party was catered by H.L. Humphreys of the City Hotel. There are no records to indicate the organization of the household staff with regard to kitchen duties for smaller dinner parties or on a day-to-day basis. Neither can any thing be concluded about the physical layout of the kitchen, for its equipment is all of twentieth-century origin.

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The Drawing Room

Fondly referred to as the "Christmas Room" by

Lippitt grandchildren, the drawing room is the largest room in the house. It hosted the special events of the household, whether Christmas festivities, evening galas, or family weddings.

To create a festive atmosphere, brightness and ele gance were sought in the decoration of the Victorian drawing room. The Lippitts1 success in creating such an atmosphere is documented by the photograph of the room (Plate 22) and by its furnishings, many of which survive. The photo reveals that the walls and ceiling were kept light and free of all ornament except the delicate plaster cornices and molded centerpiece provided by Andrew Dempster. ' ^ 0 The talents of Cattanach and Cliff were unnecessary here, for artistic references were provided by the furnishings themselves, and color was supplied by upholstery fabrics, carpeting, and the.best clothes of the guests who filled the room. Adding to the lightness and formality of this apartment was the mantle, made of white statuary marble in the "Louis XVI Style," which Lippitt purchased from Leon Larmande of Mew York for f?500.m

The Lippitts achieved elegance in their drawing room by choosing the most delicate style of furniture available at this period, the very restrained and correct "Louis XVI" style. Contemporaries viewed the drawing room as the measure

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 76 112 of a family's wealth and artistic discrimination. Ferhaps for this reason the Lippitts bypassed the local firm of Anthony, Potter and Denison and turned instead to the New York City decorating establishment of Pottier and Stymus (see Appendix Q). exactly why this particular firm was chosen ia unknown. Naturally, as a French-trained craftsman, Pottier could be expected to have a familiarity with the popular French styles. This aspect must have appealed to Mary Lippitt, who not only purchased her wardrobe from French 111 couturiers in New York and Paris, J but also included articles about French royal parties and Empress Eugenie's dresses and jewels in her scrapbook. Perhaps because the relatively new firm of Pottier and Stymus had not yet achieved the fame of other New York-based French firms such as Alexander Roux or Ringuet LePrince, they were best able to deliver quality furniture on time and at a reasonable price. Perhaps no better testament to the high quality of workmanship by the firm exists than the fact that virtually all the pieces which they made for Lippitt still exist. De spite nearly continuous use for over a century, they are still sturdy and pristine in finish, the seating furniture only having been reupholstered. This suite of furniture is still considered the best furniture in the house today.

The bill for the Pottier and Stymus drawing room suite, transcribed in Appendix D, is dated May 17th, 1865, and a notation appears that the suite was ordered April 12th, 186^, According to a stamp on the bill, payment was received

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on June 2, 1865. This is the only bill extant for goods or services furnished by Pottier and Stymus for the Lippitt mansion. There is no evidence to support the claim, made by John Boring,11*4, that Pottier and Stymus were responsible for the interior decoration of the house as a whole. There is no mention of a contract with the firm for such decorating in the Contract Book. The only payments made to Pottier and Stymus, according to Lippitt's account book, were the follow ing, entered under 'Cash Accounts:' "May 31» 1865 By Cash Bill Furniture to Pottier & Stymus $3680.00" and "March 3,

1866 By Cash Pottier & Stymus Bill Curtains & c $839.97." The amount of the first payment equals that charged for the drawing room suite; the exact service rendered with regard to the curtains in the second entry is unknown. Certainly the evidence suggests that the firm's activity was limited to the drawing room and was not a factor throughout the rest of the mansion.

By matching the extant pieces with the entries in the bill, the relative value and contemporary nomenclature of each item can be determined. All of the seating furniture is made of ebonized wood, with tulip veneers in diagonal patterns of grain applied in strips on the seat rails and around the frames of the upholstered backs. Incised and gilded line ornament surrounds these veneers and fills the flutes of the tapered front legs. All pieces except the short arm chairs have bronze medallion mounts on their crest rails, and all but the latter and the suite arm chair have

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The sofa and t£te-b,-t§te are identical in form, the only difference being that the latter is six and one-half inches narrower and three-quarters inch shorter in height than the former. The difference in price amounted to thirty dollars. Only two dollars separated the "Suite Arm Chair" (eighty dollars) from the "Lady's Arm Chair" (seventy-eight dollars), the latter having arms recessed to accommodate crinoline petticoats. The "Suite Arm Chair" is the largest of the chairs, with its open arms partially padded on top .. (Plate 23). The "Stuffed Back Chairs" are like the suite arm chair except that they have no arms and are proportionally smaller. The "Short Arm Chairs" have recessed arms like the "Lady's Arm Chair," but whereas the back of the latter approximates the back of the suite arm chair, the upholstered back of the short arm chair is a wide lyre shape. This chair is shorter than the other pieces in the suite. The grace, delicacy, and comfort of the seating furniture in-the drawing: room, the most feminine apartment of the house, becomes obvious when this short arm chair is contrasted with the massive, rigid oak and walnut chair from the front hallway (Plate 4).

The formality of these pieces and their relative delicacy of proportion befits the decorum of behavior ex pected in the drawing room, and it is these aspects, along with their tapered front legs, ebonized wood, and bronze

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mounts which link them with the pieces of the original Louis XVI period. Mo direct prototypes for these pieces can be found in the earlier period.

Even more delicate than the suite chairs are the two straight-backed chairs in front of the left window in the photo of the room. Not a part of the Pottier and Stymus suite, their origin is unknown. Such chairs appear frequent ly in French design books of the era, referred to as "chaises l^gferes. They generally consist of gilded wood frames, button upholstered seats, and backs that often incorporate small padded and upholstered cushions in the splat or ears. The origin of the two spindle back chairs with tapestry seats in the photograph is also unknown.

Unlike the buttoned seats of the chaises l^g&res. the chairs of the Pottier and Stymus suite, visible at the right in the photograph, seem not to have buttoned uphol stery. The photograph of the reception room (Plate 7), how ever, indicates that one of the short arm chairs was moved from the drawing room to that room and was reupholstered in silk velvet and satin damask with buttons to render it more compatible with the "Turkish Conversation Chair" purchased 116 for the reception room in 1880.

The Lippitts1 insistence on elegance and high quality in their drawing room is evidenced by the fact that original ly this suite was to have been upholstered in silk at ten dollars per yard. Instead, they ordered imported "figured

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. satin" for the suite at more than three times the cost (thirty- four dollars per yard), along with twenty-seven yards of "plain satin" for the curtains. It is probably these same curtains which are seen still hanging in the later photograph of the drawing room, for the method in which they are hung in the photo is more consistent with the style of the ‘1860's than with the style of later decades. (Contrast them, for example, with the newer style curtains in the photo of the reception room, Plate 7, where the original maple cornice has . been replaced by a large brass arrow-shaped rod.) In the photo of the drawing room, the swagged curtains still hang from the cornices which the Lippitts purchased from Pottier and Stymus for forty-five dollars each. The flowered borders . of the drapes, which echo the fowers of the carpet,‘are not mentioned in the original Pottier and Stymus bill. Perhaps their addition accounts for part of the $839.97 paid the firm on March 3 , 1866 for some goods or services related to the curtains. Lace curtains for the drawing room, as well as for the other major rooms of the house, were provided by Anthony, Potter and Denison, as shown by the entry in their bill (Appendix C), which is annotated "Drawing Room" in

Lippitt1s handwriting: "December b, I865 3 Sets Lace Curtains 65.00 $195.00." These lace curtains, visible in the photograph of the drawing room, were three times as expensive as those provided for the guest bed chamber, and half again as expensive as those purchased for the reception room, according to the Anthony, Potter and Denison bill.

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Anthony, Potter and Denison also hung the cornices and cur- • tains provided by Pottier and Stymus, and set up the furniture 117 suite, which was apparently shipped to them.

Unfortunately, the Pottier and Stymus bill gives no indication of the color of the furniture upholstery or draperies in the drawing room. Blue may be suggested as a possible color for several reasons, none of which can, how ever, be regarded as conclusive. First, the 1880 bill for repairs mentions recovering the arm of a blue satin easy chair. Perhaps this refers to the suite arm chair with its upholstered arm, since crimson was the color of the furni ture in the reception room, tan rep was used in the library, and blue satin does not seem to have been used elsewhere in the mansion. Second, the mantle garniture of two.vases and an ormoulu clock in French Sevres style, which Cox Brothers of Mew York provided for the room1^ has blue as its predom inant color. Finally, blue was often mentioned as a suitable color for hangings and furniture in drawing rooms where light walls, light marbles, and gilding prevailed.120 The use of blue in the best parlor became so ubiquitous in the homes of the wealthy, that critics soon ridiculed the prac- 121 tice. Whatever the color of the upholstery, the Lirraitts sought to protect it from coal dust, dirt from unpaved Hope 122 and Angell Streets, and damaging sunlight, for they pur chased from Pottier and Stymus slip covers for the suite for sixty-eight dollars.

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Even further removed from Louis XVI prototypes than the seating furniture is the "Tulip Ebony & Gilt Mirror Etegere (sic) Best French Platq"1-^ which sold for $490 (Plate 24). The function of the btagfere in Victorian society was generally to display the knickknacks and mementos that summed up one's interests and life experiences. A feature of note in this drawing room btagbre is the relatively limit ed area for the display of objects on its small, discreet shelves.12-^ It appears to function rather as a vehicle for exhibiting fine workmanship in the use of delicate veneers and rich marquetry. A prime example of what Thorstein ^eblen 124 would later refer to as "conspicuous consumption," this piece, the most expensive in the room, had as its primary function to serve as a decorative testimony to the wealth and correct taste of the Lippitt family.

The 4tagere does, of course, contain an important expanse of mirror glass. Indeed, the Lippitt drawing room documents the contemporary predilection for expanding the size of the room and multiplying the gaity of the central gas chandelier by means of mirror reflections. In addition to the mirror of the etagere, a $320 "mantle frame and mirror" graced the room as did two floor-to-ceiling wall mirrors which appear in the photograph of the room. Oddly, there is no record of these two looking glasses in any of the bills, but their frames appear to match that of the mantle mirror, suggesting that they too were purchased from Pottier and Stymus. Perhaps, like the adjustment to the curtains, their

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cost was included in the March 3, 1866, payment to the firm.

The tour de force of the New York firm in the Lippitt drawing room suite, from the point of view of cabinet making, was the "Tulip Ebony, and Gilt Bronze Cabinet with Bronze Centre Pannel (sic) Season" which they supplied for $325

(Plate 25). This form, often referred to as a drawing room or parlor cabinet, sustained its popularity in the United States from about the middle 1850's through the I8?0's, before changing significantly in its appearance with the ad vent of the reform movement. Related to the English chiffonier and the eighteenth-century French lacquered commode or meuble d'entre deux, its closest antecedent seems to have been the marquetried and ormoulu-mounted French meubles d'appui of the Louis Philippe period, such as that exhibited in the Paris Industrial Exposition of 1844.^^ While the English cabinetmakers at mid-century exhibited a predilection for pieces made of light woods, the French preferred ebonized 126 cabinets with ormoulu mounts as part of their revival of the eighteenth-century masterpieces by such renowned crafts men as Adam Weisweiller and Gauthi^re. In the United States, the vast majority of drawing room cabinets of the type pur chased for the Lippitt home, consisting of ebonized wood, marquetried panels, gilt bronze mounts, and bronze or porce lain plaques, seem to have been made by French immigrant firms in New York City like Pottier and Stymus.-*-27

Although contemporary literature seems not to describe

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the exact function of the drawing room cabinet in America, several suggestions may be advanced on the basis of the design of the Lippitt piece. The highly varnished, well- fitted curly maple interior of this example suggests that it was likely to be opened in the presence of or by guests. Its interior shelves may have held drawing room magazines, gift books, sheet music, family photograph albums, etc., to be taken out for the amusement of guests. The fact that its function of containing objects was of secondary importance, however, manifests itself in the shape of the piece, since its concave sides minimize its functional space. Like the etagere, its primary role was as a self-contained work of art, ornamenting the most luxurious room in the house with its rich surfaces and dark woods, which contrasted with the light walls. Its large oval bronze mount depicting the harvest season repeats the theme of the Cox Brothers1 mantle clock ornamented by ormoulu putti representing the four seasons.

As an object of beauty in itself,the cabinet was well suited to another probable function, the support of bronze statuettes, as suggested by its designation as a "bronze cabinet" in the Pottier and Stymus bill. The raised top of its center section serves as a kind of pedestal suitable for the display of such obiets d*art. The Victorian rage for collecting small domestic bronze statuettes, matched perhaps only during the Mannerist period of the sixteenth

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century, is well known.128 In America even tradesmen, in cluding Sturgis Carpenter, the builder of the Lippitt house, had bronzes in their parlors as a testimony to their cultural awareness.12^ On her 1868 trip to Europe, Mary Lipnitt pur chased in Paris, "1 Rich Bronze Groupe The Thinker" for 240 francs, "1 Rich Bronze Groupe St Julien" for 35 francs, ".1 Bronze Groupe 'Diana'" for 460 francs, and "1 Groupe Three Graces" for 200 francs (Appendix L). Perhaps some of these bronzes stood on the drawing room cabinet. Jeanie Lippitt recorded in her diary of the later European trip that she

"bought lots of bronzes" in V e n i c e . 1^ Among these may have been the statuette of Mercury which stands on the Pottier 111 and Stymus center table'in the photo. J

The Lippitts probably did not consider themselves art collectors. Henry Lippitt apparently did not care much for art,182 and an art gallery, frequently included as an integral part of the home by wealthy collectors of this era, was not built in the Lippitt mansion. Nevertheless, a degree of interest in art, perhaps primarily on the part of Mary Lippitt, is indicated by the family's subscription to the London Art Union as early as 1848.18^ (The significance of this subscription is heightened by the fact that, accord ing to published statistics, as of 1859, there were only 502 subscribers to the Union in the entire United States,1.8^)

If fashionable art bronzes symbolized the availabil ity of the European artistic heritage to the American middle

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classes, the simultaneous emergence of an American school of art also received recognition in the Lippitt drawing room. As the photograph indicates, in this apartment hung the four oil paintings by Martin Johnson Heade, for which Lippitt paid the artist a total of $750 on March 17, 1866."^^ Heade, who had first come to Providence in 1857, lived in the College Hill area of the city intermittently before and after his first trip to Brazil in 1863-65. He may have been personally acquainted with the Lippitts, who lived only blocks away. The Providence Daily Journal wrote of Heade*s "gorgeous" landscapes which were considered "true to nature," on view at the local Vose and Jenckes Gallery, and urged that Providence collectors prevent them from being taken away to ’ 117 New York or Boston.

The importance of the Lippitt purchase, and the degree of the family's enthusiasm for Heade's work becomes obvious, if we accept Stebbins* statement that in the artist's most active year, I863, his total sales amounted to a total of only $ 9 9 2 . Instead of purchasing Heade's landscapes of Narragansett Bay, the Lippitts purchased four Heade paintings of Brazilian subjects: Brazilian Forest, the unique Harbor at Rio de Janiero. and two paintings of Hummingbirds with their 139 Young. Full of color and expression, these Romantic paintings delight with their depictions of exotic flora and fauna and the wonders of far-away South America.

If Brazilian themes dominated the paintings which the

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Lippitts purchased from Heade, the American landscape was well represented in paints which Mary Lippitt purchased at auction on March 17th, 1868 (see Appendix K). Amonsr these were View Near Cayuga Lake by'James M. Hart, purchased for

$512.50, View in the Allegheny Valiev for $177.50 (already mentioned in the discussion of the reception room), and Atum (sic) Morning at Comcton by George Loring Brown for $205.OO.1^0 The art critic and historian Henry Tuckerman called the latter artist "one of our best landscape painters" and devoted a lengthy chapter to him in his 18^9 book Artist- 141 Life; Sketches of Eminent American Painters. Perhaps Mary Lippitt was familiar with this assessment of Brown's art, for she included a newspaper obituary of Tuckerman in her scrapbook. 142 That some of these landscapes hung in the drawing room seems to be indicated by a' partial reflection of one in the mantle mirror in the photograph of the room.

In addition to bronzes and paintings, this photo indi cates that by the late 1880's at least, the statue of "Susanna" was also placed in this room, although it may once have stood in the hallway where it remains to da y. jusp as the purchase of American landscapes indicates that the Lippitts participated in the trend of wealthy Americans turning to paintings by their fellow countrymen, the purchase of "Susanna" was part of a growing taste for and gradual acceptance of nudity in sculpture."1^ This statue is signed and dated "G Lombardi, Roma 1871." The family has always referred to the subject of the statue as being Susanna, the

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dutiful wife in the Apocrypha, thus providing a Biblical .justification of the statue's nudity for any potentially disapproving visitor.

Fainting and sculpture were not the only art forms associated with the drawing room, where the performing arts also received recognition. The ormoulu furniture mounts on the Pottier and Stymus suite provide clues to the other cul tural activities which may have been performed there. On the t£te-&.-t§te is a mount which depicts a Greek maiden playing the lyre, and the sofa mount shows a classical female with theatrical props. Dramatic readings, skits, and musical recitals provided evening entertainment in Victorian drawing rooms. Whether the Lippitts frequently included such per formances in the activities of their soirees is uncertain. However, in a later newspaper interview, Jeanie Lippitt re called that her father, who was chiefly responsible for the building of the Providence Opera House, counted many of the most popular actors of the day— Booth, Cushman, and Jeffer son— among his personal friends and that they were guests in Ike the Lippitt house. Payments to the Dramatic Club and others for "music" and "dancing class" indicate a participa- 1^6 tion in the arts by family members. A Frovidence newspaper of the day wrote, "What is a home without a musical instru ment of some kind? Scarcely any house is considered furnished without a piano or parlor organ.The Lippitts were also a part of this trend, purchasing a Steinway semi-grand piano 1^8 for $600. That it stood in the drawing room seems virtual-

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ly certain, for in a letter of 1867, Mary Lippitt wrote about her deaf daughter Jeanie and the latter's friends danc- 149 ing in the drawing room.

Furniture mounts on the drawing room chairs depict Greek women with Gupid, introducing the theme of love. Not only would this room have served as the setting for flirta tions during evening parties, but in later years the wedding receptions of the Lippitt daughters were held here. Jeanie's wedding ceremony itself was performed in front of the drawing room fireplace.1^0

The theme of antiquity introduced in the furniture mounts with their Greek maiden motifs was repeated in the gas-burning wall brackets and central chandelier, where ormoulu medallions imitating Antique coins fall from chains attached to arms formed in Greek key shapes. A classical urn surmounts the chandelier, and gilded griffins perch atop the wall brackets. The restrained, even elegant Neo-Grec elements in the drawing room— the circular medallion mounts and the graceful lighting fixtures— contrast sharply with the aggres sive Neo-Grec forms in the clock and lighting fixtures of the dining room. This contrast adds to the femininity of the drawing room, the masculinity of the dining room.

More than any other apartment in the house, the draw ing room was intended as a public room, a social room, and one that was "considered to correspond with a gentleman's 151 means." J The Lippitt drawing room, where over $4500 was

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 90 spent on furniture and draperies alone, reflected for all guests to see, Henry Lippitt's financial success. Yet, lavish spending did not, in this case, imply vulgarity. An aura of restraint controls the room, whether viewed overall, as in the photograph, or represented by individual furnishing-items.

The Billiard Room

While the drawing room hosted artistic entertainments, polite conversations, and dancing, a more masculine form of entertainment took place across the side hallway, for here was located the billiard room. Although played in America since colonial times, billiards underwent a rapid increase of popularity in the years directly preceding the building of the Lippitt mansion. ^ 2 By 1866, Providence residents could choose from seven public billiard halls, at least one 161 of which contained six tables, and Providence newspapers reported plans for international matches in New York to be attended by thousands of people

If the prevalence of public billiard halls reflected the popular interest in the game, the private billiard room in one's home represented its "elegant" 166 associations. Con sidered for centuries as a "gentleman's game" billiards implied not only the luxury of sufficient leisure time to develop the skills required by the game, but also, when played in the home, the wealth necessary for the purchase of the table and equipment and for the building of an extra room specifically for the purpose. The publishing architects of the day seem to have included plans for a billiard room

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In August, 1864, Lippitt contracted with the largest American billiard equipment manufacturer of the period, Phelan and Collender of New York, for the purchase of "one second size Billiard Table California Laurel Panels, Black Walnut Mouldings, Cap & Lipping of cushions Rosewood, finished in All Slate Bed..." along with "4 Balls, 12 Cues & Cue Rack, 2 Maces, 4 Bridges with Hooks, and a Set of Mark ers " (see Appendix A). On September 31, 1864, according to his 'Cash Accounts,1 Lippitt made full payment for the equip ment, in the amount of $750.

Lippitt's order indicates that he preferred to take advantage of recent technological advances in the game, for although wooden-bedded tables were still being sold here and abroad," the slate bed, invented in 1826 and prevalent only 167 by 1840, was considered best. By ordering from Phelan and Collender, he would have received the innovative "vulcan ized combination" cushion first patented by Phelan in 1856. The order for a "second size table," probably indicates that his table was 4|' by 9 ', the most popular size for private homes and second in size to the competition model of 5 ' by 159 10'. -'7 Furthermore, Lippitt ordered twelve cues and only two maces. Since the development of the leather-tipped cue early in the nineteenth century, the mace, a wide-tipped shovel-like implement, was rarely utilized, except by "ladies and children, in their first attempts to learn the rudiments

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of the game."^^

There exists no evidence for determining whether Mary Lippitt and her lady friends or children ever joined in the billiard playing. In Europe women had played the game since the ’ays of Mary Stuart.1^1 Phelan and Collender tried to appeal to women in its marketing strategy by arguing that the game promoted both physical and mental exercise and by suggesting that ownership of a table would keep the man of the house at home. Its brochures were illustrated with happy families— wives, husbands, children and even family clergy- T62 men— engaged in the sport. But whether these arguments were sympathetically received by Mary Lippitt remains unknown.

The decor of the Lippitt billiard room certainly suggests a masculine preserve. Its plaster walls are grained to imitate fine wood panelling. Its butternut and ash mantle and chimney glass, with the ubiquitous initial "L" carved in a cartouche on its pedimented frame, are bold and sturdy. The bronze chandelier and wall brackets ornamented with raging lions' heads introduce an aggressive element to the room. Furthermore, on December 4, I865, Lippitt purchased from Anthony, Potter and Denison, "1 Deer's Head & Shield $75.00," which, according to Lippitt's marginal notation, was destined for the billiard room (see Appendix C).

The only early photograph of the billiard room (Plate 26) was taken after the room was converted to a music room in 1880, Little conclusive evidence remains as to what

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furnishings were originally in the room "besides the billiard table and deer's head. According to the Anthony, Potter and Denison bill, only the mantle, chimney glass and frame were specifically noted as having been provided for this room, at a cost of $^85 (see Appendix C). However, the bill does list, in an entry for December 30, 1865: "L/abor7 & M/ater- iai7 setting Plate in Billiard Room Hall Stand & Setting up Same 3512.50." Furthermore, in the 1879-80 bill from Potter and Company for converting the room to a music room (see

Appendix M), the following entry appears: "Dec 31 /18727 Labor & Material Altering & refinishing Billiard Room Sofa $8.80/ Upholstery labor on same $22.50." Perhaps the sofa used in the billiard room was the one purchased from Anthony, Potter and Denison on June 16, 1866, as noted in the bill from that firm: "1 BW & Ash Sofa Gr. Leather $175." This hypo thesis is supported by the fact that ash is used in the mantle of the billiard room, and black walnut and ash are used in the real wood dado of the room. If this sofa was indeed used in the billiard room it may have been accompanied by the "6 Oak Arm Chairs Gr Leather" which'Anthony, Potter and Denison up holstered and furnished with casters on February 21, 1866. Six oak arm chairs remain in the house today, and one of them appears in the right background of the photo of this room after its conversion to a music room. These chairs, which may have served as dining chairs in the twin house, probably completed the furnishings of the billiard room. If so, this room would have been in keeping with the pattern,

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indicated in later trade catalogs, of furnishing one end of 164 the billiard room as an additional sitting or smoking room. Perhans it was here that Lippitt placed the pair of cuspi- dores which he purchased on November 13, 1866, for a total of $45 (see Appendix I). Indeed, in the twentieth century this room came to be known as the "Smoking Room" to Lippitt's grandchildren.

In the late 1850's, Henry Lippitt joined other aspir ing politicians, intellectuals, society dons and civic leaders for the so-called "Journal Sunday School," a weekly gathering of Republicans discussing political issues at the offices of 1_6 ^ the supportive Providence Daily Journal. D One wonders if during the 1860's and 1870's, as Lippitt increased his prom inence in both business and political circles and the Repub lican party split into rival factions, similar strategy sessions might have been held around the Lippitt billiard table. Perhaps Lippitt's friends entered the house by way of the side carriage entrance next to the billiard room and left their canes, umbrellas, and wraps at the hall stand placed in or just outside the room, never disturbing other family members in the rest of the house. An adjoining water 166 closet increased the privacy of the visitors to this room from the rest of the household. It seems fair to assume that during large parties the men used this facility, leaving the upstairs, where the only additional documented water closet was located, to the ladies.1^

The billiard room was also equipped with a marble-

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touped washstand with an ash and walnut base, silver-plated fixtures, and an elaborate ceramic basin glazed with a blue, green,and red floral pattern, made by Brown, V/esthead, Moore 168 and Company, Cauldon Place, Hanley, England. Whether a washbasin was a standard accessory of the billiard room remains uncertain, although Vaux included a closet for cues, equipped with a sink in his design for a billiard room in 16q Newport, Rhode Island. 7 Since cue chalk was being1 used 170 at this time, ' it may have been considered desirable for players to wash before handling cues and the felt-covered table and after play. Phelan and Collender seem to' make no mention of such etiquette in their contemporary writings on the subject.

The billiard room may be masculine in its effect, but this is not to suggest that it lacks elegance of detail. In addition to the floral washbasin and the ornamental bronze chandelier already mentioned, Lippitt ordered that his fire place grate have "complete silver trimmings" (see Appendix A). He selected decoratively etched double thick crystal panels for the door to the water closet. The floor is ornamented with inlaid patterns of diagonal stripes, a medieval-looking cartouche, and open fans of light and dark woods. This fan motif repeats a decorative device found frequently in the Federal period furniture of this region, which was no doubt very familiar to both Lippitt and the craftsmen working on the mansion. The rougher quality of the floor inlays in this room, when compared with those of the dining room, which

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were probably machine made, suggests that the former were made on the spot by the local workmen under Peabody's super

vision.

As was the case in the library, the decorative paint ing of walls and ceiling is the most remarkable feature of the billiard room. The exquisitely executed deception creat ed by Cattanach and Cliff in graining the plaster walls seems all the more audacious because real ash moldings separate the grained light wood panels from their grained walnut frames, and real paneling of ash, chestnut, and walnut forms the dado below. The ceiling is a deep sky blue rectangle accented with gold-leafed pinstriping and arabesques. A series of grained plaster frames, with recessed coffers in their corners surrounds the blue center panel.

The refurbishing of the house in 1879-80 focused primarily on the billiard room. In the rest of the house alterations consisted merely of adding a few seating pieces, reupholstering some of the original pieces, making small ’adjustments to draperies, and providing such minor accessories as the "Japanese Folding Screen Sbonized with Velvet border 860.00" (see Appendix which appears in front of the fire place in the photograph of the drawing room. The entire cost of the refurbishing, at least as far as it was reflected in the bill of Potter and Company, who seem to have done all the work, was $4152.^6.

What gave impetus to the refurbishing at this time is

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unclear. Deeds show that in 1876 this: Homestead Estate...together with Dwelling Hjause, stable, and all other improvements, /a/lso all furniture, books, paintings, statuary, household effects and goods of every name and nature contained in said Dwelling House, was conveyed to Arthur A. Simmons, a clerk in the firm of Henry Lippitt and Company. In 1879, the entire property 171 was returned to Mary Lippitt. 1 The reason for this convey ance is not certain. Perhaps it was executed to protect the property from potential liens against Lippitt's numerous business partnerships in a period of financial uncertainty. In 18?^- the brand new mill and tenement of the Social Manu- 172 facturing Company burned and had to be immediately rebuilt. Almost immediately Lippitt became liable for a large sum as a primary endorser of the neighboring Ballou Manufacturing Company which became bankrupt during the 1875-76 depres- 171 sion. Although accounts are vague, there was apparently grave concern over whether Lippitt could raise the large amounts of liquid assets needed to rectify the situation, and great relief when he managed to do so.1^ In the same year that the deed to the house was restored to the Lippitts, the refurbishing began. Perhaps its limited scope resulted in part from memory of the recent financial unrest.

In November of 1879, Lippitt advertised the sale of his billiard table, for which he received &150 (see Appendix M). As a former Governor he was no longer an aspiring politician. The lavish Narragansett Hotel, whose construe-- tion resulted largely through his efforts, contained a hand-

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some billiard room with five tables.Perhaps for these reasons he felt a billiard room no longer served a useful purpose in his home. With three daughters of marriageable age, a music room may have seemed more desirable.

Not only was the billiard table sold, but Potter and Company made a cylinder top of bird's-eye maple and gilded line ornament to cover the washstand. In the recess above the washstand they placed a mirror and bracket shelves, creating the effect of a roll-top mirror btag&re. In the recess on the other side of the chimney breast, in which a rack of cues and maces may originally have hung, a panel covered with white satin, plush, and fringe was erected (see Appendix M). This formed a shelf where, as can be seen in the photo of the music room, statuary was placed. By 1884, the old Steinway piano from the drawing room was traded for a Steinway grand,which was placed in the music room.

The Potter and Company bill (Appendix M) reveals two major aspects of the refurbishing that were to become widespread in the 1880's— the increased predilection for "Turkish" furniture, and a heavy reliance on the upholsterer's skills to create a more comfortable environment. The most prominent piece of furniture in the photo of the music room, apart from the piano, is the "Turkish Conversation Chair" provided by Potter and Company on December 31, 1879. The chair itself cost $65, but the upholstery labor and materials, including 13 yards of silk plush at $3.50 per yard,

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6| yards of cord, 4 3 A yards of fringe at $6 per yard, gimp, buttons, tacks, and twine, added another $91.35 to the price. The predominant upholstery fabric used for the new music room was olive silk plush, with accents of crimson plush, and possibly blue, as well. Many of the rooms in the house had cushioned window seats, and for the music room, two olive plush cushions were made at a total cost of $19.33* The draperies for the single wide window at the end of this room were also of silk plush, requiring thirty yards of silk

plush, 12 3A yards of silk rope, 10% yards- of silk gimp for the cross borders, sixteen inch fringe, seven inch fringe, cotton flannel and silesia lining fabrics, iron rods, hooks, eyes, pulleys, large drapery rings, and a heading border, all for a total of $300. The billiard room sofa, formerly upholstered in leather, was reupholstered in silk plush, and 177 four of the six arm chairs 11 were given new springs, new webbing, new hair stuffing, and new upholstery of olive and crimson plush. One "fauteuil chair," gilded and with olive plush cushions totaling $26.25, seems to have been added to the room on November 29. The appearance of this chair is unknown, although the price would suergest a relative ly insignificant piece. A Turkish sofa costing .$65, with $99- A worth of upholstery in olive plush was also added. Two Turkish armchairs were purchased, one costing $29 with $67.39 worth of upholstery in blue silk plush, the other costing $25 with $^8.31 worth of upholstery in crimson silk plush. Whether these were placed in the music room as varia tions from the olive color scheme, or were put in the drawing

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room and reception room where blue and crimson dominated the respective color schemes, is uncertain. Some form of chair with a rounded back and plush upholstery does partially appear behind the conversation chair in the photo of the music room. A smoking chair was also reupholstered in plush and tapestry, but since there is no designation of the colors Of the new fabric used for it, it is’not possible to say whether it too occupied the music room. A pair of sconces, perhaps the oval mirrored pair on either side of the ahimney breast, in the photo, was provided on December 9, 1879, for §95. No record survives to indicate whether the bear skin rug visible in front of the fireplace dated from the period of the billiard room, contemporary with the deer's head hung there, or was added in 1879. Certainly it is in keeping with the taste for such natural artifacts in the smoking rooms of the 1880's.

As the Potter and Company bill indicates, the 1879-80 refurbishing was minor vis-&-vis the mansion as a whole. Nevertheless, it created the most comfortable room in the house, and the only one where the aesthetic of the 1880's prevailed.

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■hf.P.C. Hastings, "Our Houses," The Galaxy. I (May 15, 1866), p. 196. ? Although these examples are not signed, most such statuary was being created in Rome during this period, either by Italians or by "other Europeans or Americans working in Rome. According to a memorandum by Jeanie Lippitt (Weeden), Mrs. Lippitt, Charles Warren Lippitt, and Jeanie herself traveled to Europe during the summer of 1868, leaving Henry Lippitt at home with the other children. (Lippitt Family, "Memoranda About Linpitt Family Possessions," Lipuitt Papers, A55672(l). • ‘ -^It is oossible that these were among the statues and vases which, according to Lippitt's 'Cash Accounts,' were purchased at auction on April 28, 1863, through Provi dence' auctioneer F.J. Sheldon for a total of $305.75* (Henry Lippitt, "Private Accounts.") ^For a discussion of hall tyoes and hall furniture in nineteenth-century America, see Kenneth L. Ames, "Meaning in Artifacts: Hall Furnishings in Victorian America." The Journal of Interdisciplinary"History. IX (Summer, 1878), pp. 19-46. c -'For a discussion of "zones" in houses, see Erving Coffman, The Presentation of Self in Everyday Life (Garden City: Doubleday, 1959). 6 ^Fanelling similar to the rectangle and diamond pat terned aado in th^s hall, and to the more comolex pattern jn the second floor hall dado can be traced to Renaissance de signs in both France and England. See, for examole, Eugene Rouyer. La Renaissance de Francois ler h Louis XIII: Decora tions Intgrieures (rans: J. saudrv. n.d.): arid' Henr-v Shaw. Details or Elizabethan Architecture (London: Wm. Fickering, 183^). In this country, a wardrobe in the "Renaissance school," whi<3h has diamond and rectangle panels is illustrated in A.J. Downing, Architecture of Country Houses (New York: D. Appleton & Co., 1050;, fig. 306. 7 ^ Interleafed in the Contract Book is the business card of Oliver Stearns with William E. Bright, carnet dealer 328 and 330 Washington Street, Boston. On the back of this card is handwritten, "Wilton Velvet for Dining Room 3 34.50

101

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per yard, about 65 yards. 3igelow Brussells (sic) for Hall 9 ^2".75 per yard, all made up ready to put down. July 27, 1865." Liopitt's 'Cash Account' shows that on December 8 , 1865, he paid William S. Bright & Co. 3454.20 for carpets. (Henry Lippitt, "Private Accounts.")

8Dempster was paid $324.03 for stucco work at the r- church. (Benevolent Congregational Society, op. cit.)

^Andrew Dempster (Scotland, 1828/29-1915, Providence) was a stucco worker in Providence from 1852 to 1906. At the time of the i860 census, he was in partnership with Robert and James Dempster. Census records indicate that 31000 was the amount of capital invested in the business; that they had §900 worth of plaster, 3875 worth of lime, and 3100 worth of other raw materials on hand; that they employed only hand power; had six male workers; had an average monthly labor cost of S273; that the annual value of their plaster and ornamental work in dwelling houses was 32,100; and that the annual value of their other work was 33,275. That Lippitt was pleased with Dempster's work on his house is indicated by the fact that this craftsman was hired to do all the plaster work for the new Opera House, built in 1872 under the direc tion of Lippitt, who was President of the Providence Opera House Association at the time. (Providence city directories; "Andrew Dempster," /death notice/ Providence Journal. March 17, 1915\ Rhode Island Historical Society, Census records for I80O and 1865; unidentified newspaper article in Henry Lippitt, "Literary Scraps," pp. 39-40.)

10Although no explicit reference to the use of hall furniture has been found in contemporary etiquette books, American advisors such as Miss Leslie imply that familiar visitors were shown to the parlor (or at the Lippitt house the "reception room") while awaiting the_apoearance of the master or mistress of the house. (Miss /Bliza/Leslie.- Miss Leslie's Behavior Book. A Guide and Manual for Ladies /Phila delphia: T.3. Peterson & Brothers, 1859/, p. 48.) Sheraton had written that hall chairs, which originated in the first half of the eighteenth century were "placed in halls, for the use of servants or strangers waiting on business." (Thomas Sheraton, citad in R.W. Symonds and B.3. Whinaray, Victorian Furniture /London: Country Life, Ltd., 1962/, p. 67.) 11 Sloan, 010. cit. . p. 316. 12 Just before the Civil War, wages for male textile factory workers in Providence had risen to 37 per week (or 3364 per year). Coleman, on. cit.. p. 233. IS -'Providence, Registry of Wills, "Will of Jeanie Lippitt Weeden, November 26, 1938," Probate /4l400.

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Goodholme wrote, for example, "A pair of horns, or several oair, can never be amiss, nor can any other decoration suggesting out of doors and the storied halls of the olden time," in his discussion of hall furnishings. (Todd 3. Opod- holme, A Domestic Cyclopedia of Practical Information /New York: Henry Holt & Co., 1872/, p. 223.) ^Whether these chandeliers and the others furnished by Cox Brothers for the major rooms in the house were made by the company or simply sold by them is unclear. Trow's Mew York City Directory (New York: John P. Trow, 1865) lists the Cox Brothers (Alfred H. and Henry T. Cox) as "importers of gas fixtures, clocks, bronzes, plated ware Sc c., manu facturers of silver ware" at 696 Broadway. On the other hand, John Cox and Co. of the same address in New York placed an advertisement in a Providence newspaper which proclaimed: "Gas chandelier makers wanted in New York. A few" thoroughly competent men, to manufacture all kinds of fine gas fixtures. To such, good wages_and permanent employment will be given." (Evening Bulletin /Providence7f March 2, I863, p. 3.) *| ^ Photos of the Woods house are in the possession of the Rhode Island School of Design, whose administrative offi ces now occupy the house. For photographs of hallways-in other contemporary houses, see William Seale, The Wasteful Interlude: American Interiors Through the Camera's E y e s ' 1860- 1917 (New- York: Praeger, 1975); see also Jav E. Cantor, "A Monument of Trade: A.T. Stewart and the Rise of the Million aire's Mansion in New York," Winterthur Portfolio, X (1975). 17 'Goodholme, reflecting a practice of the period, noted, "If the hall be rather dark, a white cast or bust at the end will be very effective." Goodholme, loc. cit. 1 8 This 39?:" x oil on canvas on board portrait is signed "Op. 81 Ch. Walt: Stetson 1887." On December 19, 1887, the Boston artist Charles Walter Stetson (18 58-1911) wrote a letter to "Miss Lippitt" (probably Jeanie Lippitt), expressing regret that she does not like this painting, which had been intended as an official portrait. He refuses to alter it, believing it to be a good likeness, and stating, I felt that in painting it I owed a duty to the State to be fulfilled by making it as accurate in form as possible and by giving his face and figure an expression which would indi cate the powerful will and straight?orwardness which have made him so marked a man and the greatest business man that we have in Rhode Island." The exact nature of Miss Liooitt's reservations about the portrait are unknown. (Letter -Prom Charles Walter Stetson to Miss Lippitt, December 1° i««7 Lippitt Papers, A55888(*M&). *

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^0n February 26, 1880, Potter & Go. billed the Lippitts for a "Turkish Conversation Chair" upholstered in satin damask and silk plush, at a total cost of ■t203.50. •This was the same day on which they provided satin damask draperies for the reception room (see Appendix M). 20 It may be the "Ladies Chair" referred to in the Potter & Co. bill on February 26, 1880, as having been repaired, refinished, regilded, and upholstered in satin damask and silk velvet with burtons, along with a sofa, easy chair, two reception'chairs and a large easy chair (see Appendix M ). 21 "Account of Mrs. Henry Linpitt with Anthonv, Denison & Co.," Aug. 2, 1856-Feb. 17, 1859. Rhode Island Historical Society, Lippitt Collection, Henry Lippitt, 13.51-

220n February 26, 1880 Potter & Co. provided "2 Satin Damask Drapery Brass Poles & rings for Reception Room as follows: 2 sets Square Brass Poles rings tips and brackets Complete..." (see Appendix M).

2^See page 129 infra.

p h Although this piece is now stored in the basement of the Lippitt house, it was moved there from the basement of the house next door, owned by Mr. Charles. Steedman, grandson of Henry Lippitt. It was stored there with another piece known to have come from the Lippitt house, namely, a library step chair marked "H. Lippitt" in chalk. However, the Steed- mans are not sure whether the ^tag&re came from the Lippitt house or from the home of another relative originally.

“^Microscopic analysis of this wood by Gordon Salter of the Winterthur Museum Materials Laboratory proved incon clusive. Although the secondary wood of both pieces atmeared identical and resembled a willow or a buckeye, it did not conform totally to either species. o £ Sloan wrote of the importation of such marquetry work from France at this time. "(Sloan, Sloan's Homestead Architecture. p. 32^.) On the importation of ornamental hardware, see Beriy Tracy, Nineteenth-Century America: Furni ture and Other Decorative Arts (New York: Metropolitan Museum of Art, 19?0), pp. xx-xxi. 27 Sntries under 'Cash Account' in Henry Lippitt's “Private Accounts" include the following:

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Aol. 28. 1363 F.J. Sheldon Statues & Vases at Auction $305-75 *eb. 18. 1865 F.J. Sheldon Vases &c Auction C179.00 Mov. 10, 1866 E.V. Haughwout Bill Vases &c *>250.00 Dec. 24-, 1867 Vases at Auction -*• 20.00

2^'During the 1868 trip abroad, Mary Lippitt purchased many bronze statuettes (see rage 85, infra). During the 1882 trip to Europe made by Mary Lippitt and her children (henry Lippitt seems never to have traveled to Europe), objects pur chased included two old delft vases purchased in The Hague, a cony of the Tower of Fisa, a terra cotta plaque, three china elates, a 'gilt moor," two bronze hunter candelabra, three Homan lames, two has reliefs, and other miscellaneous mementos. (Lippitt Family, "Receipts," Lippitt Papers.)

7Among the most popular paintings for Americans to have in their homes were copies of Titian's Flora. Parlors and drawing rooms from Philadelphia to Boston displayed this painting (see, for example Seale, on. cit.. pp. 118 & 157.) Of this painting, which still hangs in the reception room, Abby wrote in her diary from Florence on May 13, 1882: "Spent the morning looking for pictures & went to the gallery of modern artists. I bought a Mme LeBrun & Momma bought Titian's Flora." B0 J Receipt to "Miss Lippitt" from Ferdinando Valdinoci e Figlio, Fia dei Fossi #7, Florence, Lippitt Family, "Receipts," Lippitt Papers.

•^On May 5, 1882 she wrote from Florence, "Saw the original of our Murillo's Madonna. Our copy is very fine." (Jeanie Lippitt, "Diary, 1882," Rhode Island Historical Society, Lippitt Collection.

-^2Art Journal, The Industry of All Nations 18 51: ^he Art-Journal Illus trated'Catalogue (London: George Virtue. I83I),“p. 77.' 33see for example the Louis XIII period fireplace at the Hotel de Vogue in Dijon (1607-35) illustrated in Rouyer. ot>. cit.. PI. 50.

On October 14-, 1862, J.E. Culver of .Hudson, New Jersey took out patent ,r36,64-3 for an "Improvement in Steam Generating Apparatus....The object of this invention is to obtain a combination of steam and gaseous oroducts of combus tion at as low a temperature as oosible (sic), and thereby not only obviate the difficulties attendant upon the use of steam and gases at a high temperature, but"to generate the greatest quantity of steam attainable from a combustion of a given quantity of fuel." Exactly how the devise in the

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Linoitt receotion room achieved this goal is unknown to the author. (U.S., Patent Office, Annual Reoort of the Commis sioner of Patents. 1862, I, p. 601.

-^See Chapter II, n. 14.

•^Lippitt's 'Cash Account1 lists the following pay- June 1, 1863 S L Slocum Bill Carpeting C 17.35 June 4, 1864- A Stewart & Co Bill Carpets $1122.00 Sept 13, 1865 W & J Sloane carpeting for nexv house C2.20.50 Nov 1, I865 A T Stewart & Co. Bill Carpets 088O.98 • Dec 8, 1865 Wm 5 Bright & Co. Bill Carpets $454.20 Dec 26, I865 Urn Barstow Bill Carpets &c §276.84 Peb 10, 1866 S L Sherman Carpets 2s Labor 8155*30 (Henry Lippitt, "Frivate Accounts.")

-^See Chapter II, n. 53.

-^John Lor.ing, "Historic Houses: American UiGtor-ian, The Henry Linnitt House in Providence," Architectural Digest, X3CC7 (March, 1978), p. 153.

^ A s is shown on page 77 infra, their only contribu tion was the provision of furnishings for the drawing room.

^ I n his account 'New House & Lot on Hope St,1 cover ing expenses on the twin house from 1855-62, Lippitt recorded: Peb 20, I856 By Cash paid Jno A Townsend Fainting Tree Boxes 2/ ea. "" §1.33 Lippitt's 'Cash Account' lists: Apr 27f I863 J.A. Townsend Fainting Mew Barn §113.65 (Henry Lippitt, "Frivate Accounts.")

^ I n the subsection "for a/c H Lippitt Individually" of the 'New House & Lot on Hope Street' account for the twin house, Lippitt listed: 1862 add for Cattanach & Cliff Fainting Dining Hoorn ac $182.3^ (Henry Lippitt, "Private Accounts.") 42 Hobert Grieve, An Illustrated History of Pawtucket. Central Falls and Vicinity (Pawtucket: Ibvl)r n. A3 ^Contract between Cattanach and Cliff and the Bene volent Congregational Society, July 16, 1863; also, record of payments by First Congregational Church Committee to Cattanach and Cliff, July, 1863-March, 1864, Records of the Benevolent Congregational Society and First Congregational Church.

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Unidentified newspaper article, March 20, 186^. Records of the Eenevolent Congregational Society and First Congregational Church.

^Phode Island Historical Society, Census Records for 1865. ^ I n the 186^ Providence city directory appears an advertisement for "G. Belloni & Co., Italian Fresco Painters ...House Decoratord, Fresco, Encaustic and Oil Painters." The same directory lists Thomas and Ferdinand Rondina as working for Belloni at 53 High Street. In the 1865 direct ory, 3elloni is no longer listed, but the Rondina Brothers are listed at the same address. 3y 1867, the Rondina Brothers are listed only at their home address, 104 Fountain Street-, and no occupation is listed for them. h,r7 'Bill of Cattanach & Cliff to the First Congrega tional Church Committee, July, 1863-March, 186^. Records of the Benevolent Congregational Society and First Congre gational Church. |lO uLetter to "Messrs Catannach (sic) & Cliff" from Robert Hamilton & Son, Glass Stainers, 122 Fourth Avenue, New York, March 12, I063. Records of the Benevolent Congre gational Society and First Congregational Church.

^Letter to T.L. Dunnell from Wm. E. Bright, Importer of Carpetings, 3^8-330 Washington Street. Boston, October 27, I863. Records of the Benevolent Congregational Society and. First; Congregational Church. ■ .

-^Grieve, loc. cit. 51 -' Augustus Welby Pugin, Floriated Ornament (London: Henry G. Bohn, 18^9). Owen"Jones, The Grammar of Ornament (London: Day "1 Son, 1856). See also H.W. Arrowsmith, Thi~ House Decorator & Painter's Guide (London: Thomas Kelly, 184 0) :' Journal of' Design, I '(London, 1849); James K. Colling, Art Foliage for Sculpture and Decoration (1st American edi-j tion; Boston: James R. Osgood & Co., 1873), which was origin ally published in England"in 1865; William Gibbs, The Univer sal Decorator: A Complete Guide to Ornamental Design (London': Haulston & Wright, n.d.); Michel Libnard, Specimens de la Decoration et L'Ornementation (Li&ge: 1865). For a secondary source, see Stuart Durant, Victorian Ornamental Design. (New York: St. Martin’s Press, 1972). ~ “~ 52 Michel-Eugbne Chevreul, De la Loi du Contrasta

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Sinultan^ des Cnuleurs et de 1 'Assortiment des Ob .jets Color^s (Paris: Pitois-Levrault & Cie, 1839). D.H. Hay, The Princi ples of Beauty in Colouring Systematized (Edinburgh & London: Vi. Blackwood L Sons, 1845).

53see for example Sloan, Sloan's Homestead Architec ture : Richard Brown, Domestic Architecture (London: Bernard ^uaritch, 1852); "The Chromatic Decoration of the. Crystal Palace," in B. Silliman and C.R. Goodrich, The World of Science. Art. and Industry Illustrated from Examples in the New York Exhibition (New York: B.P. Putnam & Co. . 18 5*0 , p. 84.

J "Donald. D. Cattanach Dead," Providence Daily Journal, January 12, 1909, p. 1*+. ^ Ibid.

^Art Journal, on. cit.. passim. 57 -"For a history of the influence of Moorish and other Islamic designs on American architecture and decorative art, see Gerald S. Bernstein, "In Fursuit of the Exotic Is lamic Forms in Nineteenth-Century American Architecture," (unpublished Doctoral dissertation, University of Pennsyl vania, I968). 58 J Silliman and Goodrich, on. cit.f p. 86.

50 -"Henry Lippitt, Draft of a sneech before the Frank lin Lyceum, November 19, 1836, Lippitt Papers, v. 84. ^ Q Providence Daily Journal. January 7, i860, p. 1.

^Downing, on. cit. . pp. 427-28.

Cn February 26, 1880, Mary Linnitt purchased from Potter Pi Co., "1 Red Plush Cushion for 'Willow Chair 713.00." (See Appendix H .) 6 "'Memo of Furniture H Lippett (sic)," /IS647. Rhode Island Historical Society, Lippitt Collection, Henry Linnitt, 18o4-65• 64 Jill of Jeanie Lippitt Weeden.

See for example, Catherine Beecher & Harriet Beecher

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Jackson, 1853), p. 98.

^ James Norbury, The World, of Victor iana (London & New York: Hamlyn, 1Q72), p . 84.

^Rntrv for December 7, 1872, Charles Warren Lippitt, "Diary," Rhode1 Island Historical Society, Lippitt Collection.

^W.B.W. /William B. Weeden?7, "Letter to the Bditor on the Death of Henry Linnitt," Providence Daily Journal. June 6, 1891, as found in Jeanie Lippitt Weeden, "Scrapbook."

^ Ibid. See also "Board of Trade: Tributes of Re spect to the Late 3x-Gov. Lippitt," Providence Daily Journal. June 8, 1891, as found in Lippitt Papers, v. 84, p. 60.

^°Van Slyck, op. cit.. p. 322. 71 ' "Commencement Day: Speech.of Gov. Lippitt," uniden tified newspaper article in Jeanie Lippitt Weeden, "Scrap book. " 7? '~For a discussion of Lippitt*s treatment of his workers, see Bllen Wattendorf. "The Labor Problems in the Rhode Island Cotton Textile Mills of the Lippitt Family, 1890- 1900," (unpublished Master's thesis, ^rown University, 1965), pp. 2-3. See also Lippitt*s obituary in the Woonsocket Evening Reporter. June 6, 1891; also "The Regular and Promi nent National Union Republican Candidate for Governor," The General Advertiser :: Gazette (Frovidence). April 3, 1*75 (both articles in Jeanie Lippitt Weeden, "Scrapbook: ") and an unidentified article from The Church Union. April 1875, in Robert Lincoln Lippitt, "Scrapbook.'1

73mphe Social Manufacturing Company," Providence Daily Journal. March 7, 1870, as found in Henry Lippitt, "Literary Scraps." nh, 1 For biographical sources concerning Henry Lippitt, see Chapter I, n. 9. n c______/identity unknown7, "Letter to the Tditor on the Death of Henry Lippitt," Providence Daily Journal. June 8, 1391, in Jeanie Lippitt Weeden, "Scrapbook."

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^^«'or> a discussion of the theme of the hunt in nine teenth-century" sideboards, see Kenneth L. Ames, "The Battle of the Sideboards," Winterthur Portfolio, IX (197*0, PP. 1-29.

^Listed in the 'Cash Account' is the following: "Kay 4, 186$ By oaid L. Larmande for Side Board Top $154.00." (Henry Lippitt/ "Private Accounts.")

^80n February 26, 1856, the Lippitts were billed 0212.00 for an oak sideboard. "Account of Mrs. Henry Lippitt with Anthony, Denison « Co."

7°'Conroare it with the "Buffet de Salle a Manger (Re naissance)" illustrated in Victor Q,uetin, Le Magas in de Meubles: Album de Meubles Riches (Paris: Qp.dtin, n.d.), Plate 188 fig. S59:

80La Decoration au XIXe Si^cle D^cor Interieur des Habitations (Paris: D . Guilmard, n.d.), Plate 21.

81Ibid.. Plate 45.

.8^Rode's New York City Directory for 1850-51 first listed a Victor Protin, carver, at 53 Mercer. The next listing is in Rode's directory for 185^-55, which listed John V". Protin, carver, at 209 Mercer. Trow's New York City Directory for 1855-56 listed Victor Protin, carver, 209 Mercer and in 1856-57 listed John Protin, carver, 209 Mercer. The next appearance of Protin is in Trow's directory for 1858-59, listed"as John Protin, carver, 200 Ninth Avenue. In the same directory for 1859-60 he was listed as John Protin, art ist, with his home at 438 Eighth Avenue. In 1861 and again in 1862 he was listed as John Protin, carver, with is home at 117 V/. 24th. In 1864 he was listed as John Protin, models, with his home at 401 Sixth Avenue. In I865 he was listed in the manner quoted in the text. (In none of these listings was a business address given.) In 1866, John V. Protin was again listed as a carver, at 388 Sixth Avenue. He con tinued to aopear as a carver throughout the decade of the 1860's, although in 1869 he once again changed his home address to 448'Sixth Avenue. In this year was the first appearance of a listing for the firm of "Protin Brothers, modelers, 71 Wooster." In Trow's 1870-71 directory the firm advertised for the first time as "Designers, Modelers, Mould Makers and Chasers, 74 Wooster Street," m the indivi dual listings for that year, John V. Protin appeared as a designer, and his brother Pierre A. Protin appeared for the first time, as a modeler. In the 1872-73 directory Pierre and John, both listed as designers, were joined by Albert P. Frotin, also listed as a designer, and Gaston L. Protin, list-

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Ill e& as a chaser. In subsequent years, although the brothers were variously listed as modelers, moulders, chasers, and bronze makers, John V. was always referred to as a designer in the firm. In 187^-75 the firm changed its location to 3*4- Amity, which became 3^ W. 3rd Street in 1875. By 1880 John V. Frotin seems to have left the firm, for from this date throughout the 1880's he was listed as an architect, with his Wi8 Sixth Avenue home address only. The firm of Frotin Brothers seems to have survived at various locations until 1902, with P. Albert Protin as the last surviving partner.

^ S ee the Renaissance Revival raantlepiece mirror with boar's head from the dining room of 2122 Fifth Avenue, hew York, illustrated in Ruth Ralston, "Hineteenth-Century New York Interiors: Eclecticism Behind the Erick & Brownstone," Antiques. XLIII (June, 19^3), p. 269.

®^See, for example, Le Garde-Meuble. Vol. CXCVIII *1172: Collection de Si&ges(Faris: Le Garde Meuble,n.d.); and La Decoration au XlXe Sifecle Ddcor Intdrieur des Habita tions . Plate 13.

^According to Sloan, a lounge was sometimes included in dining room suites to hold the extra leaves of the table, a function which the example in the Lippitt suite seems not to have been designed to fulfill. The same source illus trates a dining room suite with a sofa, which is descri-bed as "a comfortable lounging place." (Sloan, Sloan's Homestead Architecture. pp. 350 & 35^.) 8 6 Entry for December 10, 1869, in Charles Warren Lippitt, "Diary."

^See. for example; Downing, o p . cit.. p. 40^; J.C. Loudon, An Encyclopedia of Cottage. Farm and Villa Architecture and .Furniture ~7Lond on: Longman, Orme, Brown, Green E Tongraan,' 18' J

p Q Mrs. Doolittle recalls that her mother, Abby Lippitt Hunter, had the dining room ceiling painted white shortly after she took possession of the house. Her recol lection is that the original ceiling was painted to echo the wooden patterns of the floor in that room. Qq 'Sloan, Sloan's Homestead Architecturef p. 322. 90 • For the contract regarding this mantle see Appendix A. Lippitt paid Larmande for‘mantles on Nay 4. 1865, accord ing to the 'Hew House Account1 (see Appendix B). See also

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Chapter II, n. 111.

Habits of Good Society: A Handbook for Ladies and Gentlemen (New York: Carleton, 1865), p. 351.

9^See Chapter II, n. 7.

^Krs. K.W. Beecher, All Around the House (New-York: D. Appleton & Co., 1879), P. 29; and Goodholme, o p . cit. . p. 81.

^The popularity of inlaid floors was in part revived by their exhibition at the London Exposition of 1851. (Art Journal, on. cit.. p. 236.) The pattern in the Lippitt dining room floor is similar to the wood, mosaics of the Middle Ages from Ulm and elsewhere, as illustrated in H. Dolmetsch, Ornamental Treasure: A Collection of Designs of All Styles and Periods (New York: rtesslmg & Spielmeyfer, 188?~), Plate 39. That parquet flooring was being machine made by the time the Lippitt house was built is confirmed by such examples in the International Exhibition of 1862. (Art Journal, The Art Jour nal Illustrated Catalogue of the International Exhibition. 1862 /London: James S. Virtue, 18637, P. 59.)

^ T h e china bears no maker's marks. Haughwout's billhead, (see Appendix H) refers to the company as "Importers and Decorators of French China." In their book on the New York International Exposition of 1853. Silliman and Goodrich illustrated a plain bordered plate with initials in the center exhibited in the exposition by Mssrs. Haughwout & Daily of New York. They commented, "These gentlemen are engaged in decorating porcelain which is imported or manufactured for them. The’designs are chiefly copies from works executed abroad, and present, therefore, no point worthy of particular remark." (Silliman and Goodrich, op. cit.. p. 129.) 06 ''The author has not personally seen any of this set, but was informed of their existence by John Loring, 'who saw several pieces while visiting the Lippitt house in preparation for his article (see Chapter II, n.38). Accord ing to Loring, the set has been disbursed among family descendants. There is no information to indicate how or when this set came into the hands of the Lippitt family. 97 On the prohibition laws see Joseph Brennan, Social Conditions in Industrial Rhode Island: 1820-1860 (Washington, D.C.: The Catholic University of America, 19^0), p. 86. On the political battles of Henry Lippitt, see Robert C. Power, "Rhode Island Politics in the Gilded Age: The G.O.F. Machine of Anthony, Aldrich and Brayton" (unpublished honors thesis, Brown University, 1972), p.

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"’On October 30, 18^-5, the year of the Lippitts1 marriage, Henry Lippitt purchased from 3. C-ardiner, 285 Broad way, *Tew York, one plated tea set with one extra teapot for $36. At the same time he purchased a pair of plated salts, one dozen tumblers, one and one-half dozen champagnes, one and one-half dozen wine glasses, one dozen green wines, a pair.of mirror dishes, a brush tray, and one "rich cut set decanters." (Receipt from B. Gardiner, October 30, 18^5, Rhode Island Historical Society, Lippitt Collection, Henry Lippitt, l8^5-^6.) oq ■ See Chapter II, n. 15. In his 'Cash Account,1 Lippitt entered on November 30, 1866: "To paid Cox Brothers Bill Bronze Ornaments 81,204.00." (Henry Lippitt, "Frivate Accounts.")

^ ® A painting of grapes signed "Leavitt 186°" remains in the dining room. * There is no record of when or where it was purchased.

^■01Mrs. Lippitt purchased "Fruit Piece Peaches, Orange & Grapes" by J.E. Grouard on March 17th, 1868, from Vose & Huxford, Providence, for $75.00 (see Appendix K). The only listing of John E. Crouard in art references seems to be that in William Young, A Dictionary of American Artists. Sculptors, and Engravers (Cambridge, Mass.: By the Author, 1077 Massachusetts Ave., 1968), which places Grouard with the firm of Grouard and Dunning in Fall River, Massachusetts, in 1859. i n? Paintings by Frederick S. Batcheller (I837 -89) were exhibited at the Vose & Jenckes Gallery, 125-29 Broad Street, Providence, during February and March, i860. The Frovidence Daily Journal wrote on March 22, i860 (p. 2): ------The other Providence,artists are also well repre sented at the same.place. Mr. Batcheller, one of the most promising young men who has devoted himself to art,, has here two fine game Pieces, which show a marked improvement on his previous productions, excellent as they were. He has also one or more fruit pieces equally fine. We believe that Mr. Batcheller has already found purchasers for some of these. In his 'Cash Account' Henry Lippitt entered on May 7, i860: "To paid s. Batcheller for'3 Paintings 780." (Henrv Lippitt, "Private Accounts.") Two of the three paintings— one of' strawberries, one of pears— remain in the Lippitt dining room. It is possible that one of the unsigned game pieces which remain there may have been by Batcheller as well. 103 -(According to "Daisy Eyebright." Manual of Eti quette, 1868, as quoted in Russell Lyhes, The Domesticated

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Americans (New York: Harper & Row, 1963), p. 192.

June, 1864, Lippitt contracted with E.F. Miller h Son, Providence for an iron safe to be placed in the "Din ing Room Closet." It was to be four feet wide, five and one- half feet high, and twenty-three inches deep.(see Appendix A), in his ’New House Account' Linnitt recorded on August 6, 1864, "To Amount oaid Edw P. Miller for Iron Safe ^500.00." (See Appendix 3.) 10^Census records for i860 list three Irish-born domestics: Ann Donald, age 20; Ellen Drew, age 22; and Joanna O'Leary, age 21; as well as one Irish-born coachman, Edgar Tolland, age 25; and a Massachusetts-born nurse, Lydia Felton, age 41; as members of the Lippitts* household staff. Census records for I865 list four Irish female servants but no coach man or nurse, and the 1880 records list four Irish female servants and an English coachman. (Rhode Island Historical Society, Census records for i860, 1865, and 1880.)

10^Wheeler, op. cit. . p. 114. See also Sloan, Sloan's Homestead Architecture, p. 121. Vaux recommended that the conservatory be placed .just off the dining room, from which it could be entered. (Vaux, op. cit.. p. 81.)

"Reception of C-overnor Lippitt." unidentified newspaper article in Robert Lincoln Lippitt, "Scrapbook."

1 r\Q Unidentified newspaper article dated Saturday, May 29, 1875, in Jeanie Lippitt Weeden, "Scrapbook."

The framed damask panels which currently ornament the walls of this room were added during the ownershio of the house by Abby Lippitt Hunter, according' to her daughter, Mrs. Doolittle. 111 For the contract regarding this mantle, see Appen dix A. See also Chapter II, n. 90. It is possible that Leon Larmande himself sculpted this mantle and the one in the dining room, since his business card (found interleafed in the Contract Book) refers to him as "Leon Larmande, Sculp tor. American and Foreign Marble-Mantels, Monuments, Head stones. Cabinet and Plumber's Work. Tiling of Every Descrip tion. Mr. L.L. will furnish Designs for the above at the shortest notice." 112 Lorenz Booth, The Exhibition Book of Original Designs for Furniture (London: 1864), p. 37 . See also

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11 Purriture and Deconation,11 How to Build. Purnish. and Decor- ate (Hew York: Cooperative Building Plan Association, 1883), p. 6.

11^Letter from Henry Lippitt to Mme. Cuper, Paris, July 20, 187^, Lippitt Papers, v. 83. See also Mary Lippitt1s "Address Book, 1883," Lippitt Papers, A130^3.

•^Loring, on. cit,. p. 153.

11^See for example, Qu£tin, on. cit.. passim.

■^^See Chanter II, n. 20.

•^^On December 16, 1865, Anthony, Potter and Denison charged ^6.00 for nutting up cornices, including those in the drawing room, and ^7.50 for hanging the drawing room curtains. On December 26, 1865, they charged for unbox ing, carting and setting up the parlor (i.e. drawing room) furniture (see Appendix C).

■''■*'®See the entry for January 26, 1880, in the bill of Potter & Co., Appendix M.

119The clock bears "Cox Brothers" on its face. 120 See for example, D.R. Hay, The Interior Decorator: Being the Laws of Harmonious Coloring Adapted to Interior Decorations (First American ed. from the 6th London ed.; Philadelphia: Henry Carey Baird, I867), p. 80. 121 Hastings commented: "The modern parlor is more par ticularly obnoxious to criticism...decorated, as it often is, in gold, furnished and painted in light blue, a color admira- • blycalculated to destroy the effect of any paintings hung on the walls." (Hastings, op. cit.. p. 197.) 122 Family recollection has it that Mary Lippitt in sisted on having the drawing room built on the north side of the house because in the previous house across the street, the drawing room was on the south side of the house and, as a result, all the furniture faded from sunlight.

A mirror 6tag£re similar in concept, if not in style, to that in the Lippitt drawing room is illustrated in Sloan, Sloan's Homestead Architecture, p. 337. 12^ Thorstein Veblen, The Theory of the Leisure Class. (Mew York and London: Macmillan"& Co., I899. )

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12^Alburn del'E x p o s ition de L'Industrie. 1844 (Paris: Le Garde Meuble, 1844), Liv. 103 "#60. For a history of the development of the drawing room cabinet, see Elizabeth A. Cogswell, "American Drawing Room Cabinets of the Nineteenth Century," (unpublished paper, Winterthur Museum, Winterthur, Delaware, 1975).

■^^The Reports of the Artisans from the Paris Exhibi tion of 1867 remarked: "Our British exhibitors have a prefer ence for satinwood and gold; it looks very rich and chaste. In the French department ebony is all the rage..." Quoted • in Symonds and Whineray, op. cit.. p. 4-2.

^■2^The earliest cabinet of this type believed to have been made in America, an example which is now in the Museum of the City of Mew York, bears the label of Alexander Roux and dates from 1850-57. Other documented Roux drawing room cabinets are in the Metropolitan Museum of Art, the Yale University Art Museum, and. the Bowdoin College Museum of Art. Similar cabinets attributed to the French-born New York cabinetmaker Leon Marcotte are in the Newark Museum of Art, the Renwick Gallery, and the LeGrand Lockwood Mansion, Norwalk, Connecticut. 1 Pfl Frances Lichten has written: So high did 'French art bronzes' rank in Victorian estimate that to possess a bronze piece was the aim of even modest householders. During their greatest vogue— from the 1840's to the 1870's— extravagant sums were spent on them, for, as 'works of art' their possession was viewed as a mark of culture. (Frances Lichten, Decorative Art of Victoria's Era /New York: Charles Scribners Sons, 1950/, P. 90.) 12Q •'Providence, Registry of Wills, Inventory of Stur gis Carpenter, 1884, Probate #al4l29.

^°Entry for June 3, 1882, in Jeanie Lipnitt, "Diary, 1882."

I l l J In her will, Jeanie Lippitt Weeden left "my bronze statue 'Mercury' without its standard," to her nephew, Gorton Thayer Lippitt. 182 J Henry Lippitt's apparent indifference to art is suggested in a letter to her father written by Jeanie Lippitt from Brussels on September 12, 1882: "The Gallery (in Amster-

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dam), I think even you would have enjoyed..." (Lippitt Papers, A13130*) •'■■^Linpitt *s ’Cash Account1 records, "Feb. 24, 1848 By paid Subscription to the London Art Union £5.50." (Henry Lippitt, "Private Accounts.")

^^According to the Providence Daily Journal. March 6, I860, p. 1.

^■^In his 'Cash Account,1 Lippitt recorded, "March 17, 1866 By paid M.J. Heade 4 Oil Ptgs. &75.00." (Henry Lippitt, "Private Accounts.")

^^For Heade's chronology see Theodore 3. Stebbins, The Life and Works of Martin Johnson Heade (New Haven: Yale University Press, 1975), PP. 205-08. Stebbins shows that in 1860-61 Heade was boarding at 25 Waterman Street, Providence, only a few blocks from the Lippitt mansion.

^-^Providence Pail?/- Journal. March 22, i860, p. 2.

■^^Stebbins, on. cit.f p. 41.

139rphe Brazilian Forest. #84 in Stebbins1 catalogue., is 20" x 16" and is signed and dated 1864. It is currently owned by the Museum of Art of the Rhode Island School of Design. The Harbor at Rio de Janiero. #84 in Stebbins1 cata logue, is also signed and dated 1864. It is currently owned by Reynolda House, Winston-Salem, North Carolina. It is 18 3/8 " x 33 3/8". The hummingbird paintings, 13" x 11" are owned by Mrs. George Metcalf, Providence, Henry Lippitt's granddaughter (daughter of Abby Frances Lippitt Hunter)’. One of them is #74 in Stebbins1 catalogue. 140 Only the C-rouard and Knapp paintings remain in the house. The whereabouts of the other paintings is unknown. Although the Brown painting was left to Henry Lippitt of San Diego, California, by Jeanie Lippitt Weeden in her will, Mr. Lippitt's son (in a letter to the author) indicates it was never received, and does not know of its final disposition. 141 Henry T. Tuckerman, Artist-Life: Sketches of Emi nent American Painters (New York: D. Appleton h Co., 18#9).

Mary Ann Lippitt, "Scrapbook." See p. 38 supra.

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In the International Exhibition of 1862, English sculptors -J. Gibson and P. MacDowell exhibited respectively "Preparing for the Bath" and "The Day Dream" sensuous if not ooenly erotic nudes with no mythical connections to justify their state of undress. The critic J. Beavington Atkinson wrote of the trend: Now it must be confessed that out present-tastes incline less to the goddess or Amazon than to the yielding nymph...Tenderness of affection, or winning grace, and the transport of beauty, all go to fashion the school of modern romance, a style which, though not suited to a Greek temple or a medieval church, is yet admirably fitting for a salon or a boudoir. (J. Beavington Atkinson, "Modern Sculpture of All Nations in the International Exhibition," The Art Journal Illustrated Catalogue of the Internaional Exhibition. 1862. p. 323.)

■^^Edith A. Nichols, "H.I. Has First Deaf Mute to Read Lips and to Speak," The Evening Bulletin (Providence), January 24, 1940, as reproduced in Henry F. Lippitt, 2nd (ed.) Jeanie Lirmitt and the Mastery of Silence (Los Angeles: By the Editor, 626 Wilshire Boulvard, 1974),' p. 44.

In Lippitt's 'Cash Account' are the following entries * Aug. 13, i860 By paid Dramatic Club Mch. 28, 1862 By paid Music $10 Apl. 2$, 1862 By paid Music $16 Apl. 20, I863 By paid Dancing School $24 (Henry Lippitt, "Private Accounts."T 147 'Manufacturers' and Farmers' Journal (Providence). December 23, iboy, p. 2.’ 148 In his 'Cash Account' Linoitt entered: "Aoril lo 1861 By cash oaid Stineway (sic) h Son for Semi-Grand Piano forte as oer Bill $600." (Henry Lippitt. "Private Accounts.") Only a month earlier a local paper reported: The very long list of names of purchasers, which Mr. Peck, the agent, has hanging in his room, a list containing the names of numerous citizens holding the very first social oositions, and noted for intelligence and taste, is a oretty good guaranty (sic) that the claims o f Messrs^ Steinway & Son, as manufacturers, in this country, have been thoroughly canvassed in this community..." (Providence Daily Journal. March 4, .1861, p. 2.)

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^°5he wrote: I Wish these unbelievers could have been in my drawing-room last evening and seen Jeanie who had gathered a dozen of her little friends for a 'German'— not one of whom understood any signs or she eigher for that matter— but with whom she talked and danced and entertained without any perceptible difference between herself and them. (Letter from Mrs. Lippitt to Miss /Harriett/ Rogers, Februr- ary 9, I867 , quoted in an anonymous manuscript "Mrs. Lippitt's Education of Her Daughter," Rhode Island Historical Society, Lippitt Collection.)

^■-^The event was described as follows: .The ceremony took place in the front drawing room in front of the mantel and under a canopy of bride roses and asparagus plumosa. The mirror was covered with asparagus vines reaching to the floor. "An Event in High Life," unidentified newspaper article in Jeanie Lippitt Weeden, "Scrapbook."

^■^Lave.rton and Co., New Illustrated Catalogue of Furniture and General Price List (Bristol, England: Laverton and Co., 1875), p. 3.

■^2In 1859, a national championship match in Detroit paid an unheard-of 6>15,000 in prize money. In i860, the first intercollegiate match was played between Harvard and Yale, and by 1864, the first state championship match was played in nearby Connecticut. (William Hendricks., William Hendricks' History of Billiards /Roxana, Illinois:""By the Author, P.O. Box 1, 1971/, P. 42.)

153ihe Providence Directory for the Year 1866 (Prov idence : Adams, Sampson Co., 1866).

^ Providence Daily Journal. March 16, i860, p. 2. 166 -^The Providence Daily Journal wrote of "the elesant game of billiards," Ibid.

• ^ i n his City and Suburban Architecture. Sloan in cluded a billiard room only in his design for the home of a "gentleman of wealth," Joseph Harrison, Esq. of Philadelphia. Only one of Holly's house designs, made for "a wealthy gentleman, who has recently purchased one of the most charm-

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ing sites on the shores of the Sound," includes a billiard room. (Henry H. Holly, Holly1 s Country Seats, /New York: D. Appleton & Co., 1863./, #29.)

■^Hendricks, ot>. cit.. p. 31.

158Ibid.. p. 33.

■^h.W. Collender (ed.) Modern Billiards: A Complete Text-Book of the Game (New York: Trows Printing h Bookbinding, 1881), p. 15.

■^°Michael Phelan. The Game of Billiards (5th ed.; New York: D. Appleton, 18b3T^ p^ 30. 161 Hendricks, on. cit.f p. 7. 1 6? Collender, on. oit., p. 14.

^^See p. 64 supra. 164 Symonds and Whineray, on. cit.. p. 77.

-’Power, on. cit.. p. 18. 166 The fact that this water closet was original to the house is documented by its mention in the contract with Cooper & Belcher for the etched glass panels in its door (see Appendix A).

■^See p. 123 infra. 168 The basin bears the impressed stamp "Brown Westhead Moore." It also has a green glazed cartouche"enclosing the words "Miller & Coates/ J.R.B^ & Co." Outside the cartouche appears the number "64." Brown, Westhead, Moore & Co. (c. 1862-1904), manufacturers of high-grade earthenwares and porcelain at Cauldon Place, Hanley,'succeeded J. Ridgway, Bates & Co., owners of the J.R.B. & Co. mark. (Geoffrey A. Godden, Handbook of British Pottery and Porcelain Marks /London: Herbert Jenkins Ltd., 1968/, p. 112.) ’ 16q 7Calvert Vaux, Villas and Cottages (Mew York: Harper & Bros., 1864), Design #3B^ 170 Hendricks, op. cit.. p. 36.

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^■^Unidentified newspaper articles in Henry Lippitt, "Literary Scraps," pp. 82-83.

173n^]1ode Island: A Political Sensation— Rival Pactions in Conflict," unidentified newspaper article in Robert Lincoln Lippitt, "Scrapbook."

•^^.Rhode Island Historical Society, "Hon. Henry Lippitt (Necrology)," Proceedings of the Rhode Island Historical Society (1891-92), p. 107. 17 *5 '•'"The Narragansett Hotel, A Palatial Caravansary," unidentified newspaper article in Robert Lincoln Lippitt, "Scrapbook."

■^^Receipt dated April 7, 188^, from M. Steinert & Sons, General State Agents for Steinway & Sons, Nos. 192- 198 Westminster Street, Providence, to Mrs. Henry Lirvnitt, Lippitt Family, "Receipts," Lippitt; Papers. 177 ''See p. 93 supra.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CHAPTER III INTERIOR ORNAMENTATION AND FURNISHINGS: THE UPPER STORIES

The second story of the Lippitt mansion reflects three ma,ior interests on the cart of the family: to accommo date visitors elegantly and comfortably; to keep the younger children and the handicapped Jeanie in close proximity to their parents; and to provide a center for Nary Lippitt's activities. A study of the floorplan of this story (fig ure 2) indicates that the spaces here generally repeat those on the first floor. Just as the wide central hall below separated the "special" room i.e. the drawing room from the everyday rooms, the second floor hallway isolates the guest bedroom or "drawing room chamber" and its adjacent dressing room from the rooms occupied by family members. Just as the billiard room downstairs served as a secondary entertainment center, separated from other rooms by the cen tral and side halls, the billiard room chamber above seems to have served originally as a secondary guest room, until daughter May Lippitt was old enough to occupy it.'1' Above the reception room was situated another kind of sitting room, referred to as "Mrs. Lippitt1s sewing room" in tfte Contract Book and in Lippitt's marginal notations to the Anthony, Potter and Denison bill. Above the library was Jeanie's room, clearly marked by a carved cartouche with the

122

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initials 11JL" over the entry.

As below, the center hallway narrows as it leads to the "addition building." Here, over the dining room, were the bedroom of Henry and Mary Lippitt, and "Mrs. Lippitt's Dressing Room," which was accessible not only from the Lippitts' chamber, but from Jeanie's chamber as well. On the back side of the Lippitt's bedroom, over the butler's pantry, were located the only "bathing room" and "water closet" known for certain to have existed on the upper floors. Their existence is documented by their mention in Lippitt's "Memo— Finish for Rooms" in his Contract Book (see Appendix A). That they were located here may be concluded from the "Hot Water" bell pull which still remains in!-this compartment. Other details of the plumbing facilities and how they operated can no longer be ascertained, although Lippitt's 'Mew House Account' indicates that the considera ble sum of $^,^79.11 was spent on plumbing. (It is not known whether originally, as today, there were plumbing facilities in the dressing room next to the drawing room cham

ber.) The back stairway, bathing room, and water closet separated the nursery and nursery chamber (which later became the bedroom of the youngest daughter Abby ) from the other bedrooms.

A floorplan for the third story of the mansion has not been included here because it exactly duplicates the

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second story with only two exceptions. Since the "addition building" was only two stories high, the back stairway served as the rear terminus for this story. The two ser vants' chambers were positioned over the billiard room cham ber and over the Lippitts1 bed chamber. (The three to four maids presumably occupied these rooms. Exterior photographs of the carriage house suggest that an apartment for the coachman may have been located on the second floor of that structure.) Unlike the billiard room chamber, the servants' room above it has no access from the front hallway, but only from the narrower back hallway.

On this third floor, the room over the drawing room

chamber was occupied by the eldest son Charles Warren-^ ("Charley, born 1846, and later, like his father, Governor of Rhode Island.) As below, there is an adjoining dressing room, but again there is no evidence from which to conclude

whether, as today, it included any plumbing facilities. The round-ended room corresponding to Jeanie's chamber is always referred to in the bills and contracts only as the "Third floor room." The photograph of this room (not illustrated), which was taken circa 1890, shows this room equipped with two beds, possibly for the two younger sons, Henry Frederick (born I856, and later U.S. Senator from Rhode Island) and Robert Lincoln (born i860). There is no

photograph, and no written documentation whatsoever, to suggest the function of the room above Mary Lippitt's

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sewing room. Perhaps it was reserved for the children of

visiting friends.

Main Stair and Second Floor Hallway

The spacious main stairway provided an impressive

introduction to the second floor. The oak and walnut dado of the wide stairwell, whose walnut top rail acts as a hand rail, is even more ornate in design than the applied diamond pattern of the first floor hallway. By day an arched floor- to-ceiling stained-glass window lights the landing (Plate 27). Consisting of stained glass, as well as round panes of enameled glass painted with floral motifs, this window was furnished by William Gibson, Broadway and 13th Street, New York City. As a French window, its two halves open outward to provide access to a recessed window of clear glass in the rounded bay above the carriage entrance. The stained-glass window on this landing, and a more modest, less colorful one on the landing between the second and

third stories cost $200 and $125 respectively, as noted in the Contract Book (see Appendix A).^

At night, the landing between first and second floors was lighted by two bronze candelabra in the form of torch- bearing Greek maidens, placed in large gilded niches on either side of the stained-glass window. Signed "A. Carrier," these five foot tall candelabra were purchased

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on the 1868 trip to Paris for 1100 francs each (see Appen dix L). W.R. Farrington, from whom the pieces were pur chased, acted as the Paris agent for E.V. Haughwout of New

York,^ from whom the Lippitts bought their china.

The burnt-orange marbelized walls of the first-floor

hallway are continued throughout the front hallways of the second and third floors as well. The ceiling of the second- floor hall is stencil painted in a red, gray, and blue tromne 1 ‘oeil pattern imitating the coffered stone ceilings of the Renaissance. Painted floral medallions ornament the interior of each coffer.

Anthony, Potter and Denison furnished the second- floor hallway as a kind of sitting area, as their bill indi cates. According to Lippitt's marginal notations, the fol lowing pieces were provided for this space: 1 Inlaid Table $ 70.00 1 B/lack7 W/alnut7 Sofa Tapestry 1^0.00 1 " " Arm Chair " 68.00 1 " " Chair no /arms/ " 35.00 2 " " Recep Chairs " 35.00 70.00 1 Brougham ’ " " 60.00 1 Hall Curtain Cross Stripd " Poles &c150.00 1 Old Lounge) " " " 1 " Chair ) " " " ^0.00 Three months later, on March 13, 1866, was added for this area: 1 B W & Ash Burhl (sic) Desk 150.00

A photograph of the second-floor hallway (not illus trated) indicates that in addition to the furniture listed

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above, a walnut and burl bookcase with an enclosed lower cabinet and glazed upper portion, which is still in the house, also stood here. Marble or plaster busts and statu ettes appear on its bi-level top. A cheval glass in the earlier Rococo Revival style, which still exists, appears at the end of the hall near the billiard room chamber. Un fortunately, the only chairs in the photograph are the arm chair and the chair without arms mentioned above (plus a small "fancy chair" brought from the earlier house ). The "brougham chair," whatever its form, does not appear. The sofa, like the hall sofa in the main hallway below, has a rigid, frame-enclosed upholstered back. Its back is, how

ever, continuous rather than divided into three sections as in the sofa downstairs. Its bench seat is upholstered, and its continuous front leg/arm supports are ornamented with large bulbous turnings. The arm chair and armless chair also have rigid upholstered backs, upholstered spring seats, and straight front legs with bulbous turnings. All three pieces, none of which remains, appear in the photo to be upholstered not in a medallion tapestry, but in a fabric with wide vertical stripes.

The "cross striped tapestry" hall curtain probably hung between the main portion of the hallway and the small alcove leading to the tri-partite window over the front portico. Perhaps the reception chairs, old lounge, and desk were placed in this cozy alcove. The desk, a small slant-

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top lady's desk with pedestal base eventually migrated into the billiard room chamber. It appears in the photo of that room (Plate 32) in front of the window. It ramains in the

mansion today. 8

The two single-globed gas chandeliers in this hall

way are so simple and average in their appearance, that one may perhaps assume that they were not part of the purchase from Cox Brothers, New York. More likely, they and the other routine gas fixtures on this floor were provided by the local firm of G. & C.P. Hutchins. In his 'Cash Account' Lippitt entered: "May 15, 1866 G. & C.P. Hutchins bill for Gas Fixtures &c. $478,56."

On the basis of the photograph of this hallway, the only other objects located here were a table bearing a large ship model, at the head of the stairs, a painting of a sailing vessel, and several other paintings of unknown subject matter.

Mary Lippitt's Sewing Room

If Henry Lippitt reserved the library as his domain, Mary Lippitt had the southwest room on the second floor as the center for her activities. This room was referred to by Anthony, Potter and Denison as the "upper Parlor" or "recep tion room— 2nd floor" in their bill (Appendix C). Henry Lippitt called it "Mrs. L's Sewing Room" in his notations

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on that bill and in his Contract Book.

The most striking feature of Mary Lippitt's sewing room remaining today is its ceiling, painted around its perimeter with designs of naturalistic birds, pussy willows, and grasses in delicate shades of blue, gray, green, and brown (Plate 28). This delightful ceiling creates an atmos phere of lightness and intimacy. In its three-dimensionali ty it contrasts significantly with the rigid formality of the flat, stylized stencil painting of the rooms below.

Anthony, Potter and Denison provided the following

for this room: 1 Inlaid R/ose7 W/ood7 Writing Desk $^00.00 1 " " " Center Table 110.00 2 Suit Crim Rep Drapery (old Tass & Cornices) 180.00

Perhaps in this room too was the sewing machine which Mary q Lippitt owned,- and the swivel chair which Anthony, Potter and Denison provided on December 186.5, to go with it (see Appendix C ).

The photograph of this room (Plate 29) indicates that the seating furniture was probably brought over from the twin house. The sofa and stuffed-back parlor chair just to the left of it in the picture still remain in the house, along with three other identical stuffed-back chairs. They are all made of rosewood, and have the cabriole legs and naturalistic floral and c-scroll carving of the Rococo Re vival style popular at the time the twin house was built.

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These pieces may be among those referred to in the Anthony, Potter and Denison bill on August 23, 1865: "L & M Renovating

& Uph Sofa, Tete-a-Tete, 2 Easy Chairs 4 Parlor Chairs, Crim. Rep 1 Sewing Chair in Muslin $18^.00." The light wal nut or butternut chair at the desk in the photograph, with its Gothic-arched back and cabriole legs, was -probably also brought from the twin house. It still exists today.'1'0 The references in the bill to crimson rep draperies and furni- 11 ture upholstery belie the family story, repeated by Loring, that this room was completely upholstered and draped in

black silk satin. Nor is there any evidence that it was reupholstered in black during the 1879-80 refurbishing. Perhaps the room was so upholstered in mourning after Mary Lippitt's death in 1889.

Certainly the most interesting piece in the room, and perhaps the strangest piece provided by Anthony, Potter and Denison, is the large and rather awkward inlaid rose wood writing desk (Plate 30), which appears to the left in 12 the photo of the room. The desk consists not only of un stained rosewood, but a variety of other woods as well, including chestnut, pine, walnut, and veneers of what appears to be green-dyed satinwood. Its interior is finished in highly varnished maple and bird's-eye maple. Its closed cabinet top, shaped like a triptych altarpiece, has an arched pediment top and a cartouche carved with the initial "L." Marquetry in the design of a swinging flower basket on

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an ebonized field ornaments the door of the central compart ment. The lower portion of the desk has a slant front, four drawers, and heavy ebonized cabriole legs ending in anthe-

mion-shaped feet.

Whether Mary Lippitt actually found much time for

sewing in this room cannot be determined from surviving documents. As a woman who purchased clothing from New York and Paris,1^ who was cited in the newspaper for her elegant Ik dress, and could afford diamonds and an ermine opera cloak,^ she probably provided little of her own wardrobe. Neither are there indications of extensive needlecraft in the photos of the house. What does survive from her scrap book, receipts, and correspondence is a picture of an active woman with broad interests. Her major achievement was to teach Jeanie, rendered deaf and dumb through scarlet fever at age four, to speak. Through her determined mother's tireless efforts, involving hours of practice each day, Jeanie became the first deaf person in America to become perfectly fluent in lip reading and able to speak with almost 16 no distortion of voice. By appearing with her daughter before the legislators of both Massachusetts and Rhode Island, Mrs. Lippitt played an instrumental role in the founding of schools for the deaf in both states. She also served on the Board of Advisors of the Rhode Island School for the Deaf. In the course of her efforts on Jeanie's behalf, she formed'an association with Alexander Graham

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Bell, who later tutored the girl for improved voice quality.

Rhode Island was one of the first states to give 17 married women full control of their own property,' and re cords show that Mary Lippitt not only owned and managed a rental tenement,^® but also owned mining stocks.^ she read 20 mining periodicals to keep up with her investments. Her scrapbook indicates wide interests, including articles on Mark Twain and Charles Dickens, communism in labor strikes, America's glaciers, the new villas of Newport, women's suffrage, the peculiarities of Arabs, the antipathy of the sexes, inebriates, the travels and marriages of wealthy Americans, how to be beautiful and cure sleeplessness, the rights of married women, and Christian faith. Her minister, the noted Edward B. Hall (1800-66), praised her "inquiring and serious mind." 21 As active members of the First Congregational (Unitarian) Church, Mary and Henry Lippitt contributed significant sums to the charitable Ministry at Large, and to the American Unitarian Association, as well as to numerous local charitable organizations. 22

Mary Lippitt served as treasurer of the Children's 22 Friend Society of Providence."- During the Civil War, while her mansion was being built, she assisted relief committees 2k for wounded troops, and during the Centennial celebration, as the current Governor's wife, she helped organize the Rhode Island display for the Philadelphia Exhibition.2^

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In later years she took French lessons as often as five times 2 6 a week from the Berlitz School, and insisted that Jeanie o p be able to lip read and speak in French too. ' And, of course, in addition to all this, she managed her household staff and raised the six surviving children of the eleven

she bore.

Almost surely then the sewing room was not a place for the idle conversations and make-work needlecraft of the stereotypical Victorian matron, but rather a center in which

energetic and constructive activities originated.

Bedrooms

Although a separate analysis of each bedroom in the house would prove redundant, several important observa

tions may be made by comparing these chambers through nhoto- graphs, the Anthony, Potter and Denison bill, the Contract Book, and remaining furniture items. The first conclusion that may be drawn is the not-surprising fact that the bed rooms functioned not only as sleeping and dressing quarters, but as comfortable sitting rooms as well. The second is that there was a definite hierarchy of the rooms in terms of the expensiveness of their furnishings— a hierarchy which coincided with the occupant's position in the house hold.

As evidence of the first conclusion, each bedroom

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contained not only its suite of bedstead and case pieces associated with dressing, but a significant amount of seat ing furniture as well. For the drawing room chamber (Plate 31), or what Lippitt referred to alternately as the "spare chamber" (in the Contract Book) or the "Pink Chamber," (in the Anthony, Potter and Denison bill), four reception chairs and an easy chair were purchased from the Providence cabinetmaking firm (see Appendix C). For the billiard' room chamber, a Turkish easy chair (probably seen in the left background of the photo of this room, Plate 32), as well as a divan and four reception chairs were included. Jeanie's room contained three reception chairs and an easy chair, in addition to p Q cushioned window seats and her "long Vienna rocking chair," which occupies the center of the photograph of her room (Plate 33)• The sitting room function had been separated from the Lippitts' bedroom in the form of Mrs. Lippitt's sewing room. Hence, for their suite they purchased only one "lady's easy chair" and one reception chair, both of which were apparently placed in the adjoining dressing room rather than in the bedroom itself, according to the Anthony, Potter and Denison bill. According to this bill too, only one chair was specifically purchased for Charley's room (referred to as "Son's Room"). It was an inexpensive ($14.00) "B.A. Chair." Unfortunately, no reference has been found to explain the initials in this description or to identify this chair form. But a photograph of the room

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(Plate 3*0 indicates the presence of a number of comfortable and informal chairs: an easy chair, a padded semi-reclining chair, what appears to be a rocker with padded arms and 29 skirted seat cushion, and a folding chair. Another photograph of the room (not illustrated) indicates the presence of an armless straight-backed library chair with leather upholstered seat and a cushioned and leather up holstered oval back with pedimented crest rail similar, but not identical, to that shown in the photograph of the library.

With the exception of the Lippitts' bedroom and the

"third floor room," each chamber is also known to have had a writing desk. The one appearing in front of the window in

the photo of the drawing room chamber (Plate 31) is not mentioned in the Anthony, Potter and Denison bill and may have been brought from the twin house or added later. The one visible in the billiard room chamber is, as previously mentioned, the one originally purchased for the second-floor hallway. Jeanie's room contained a tulip lady's desk which Anthony, Potter and Denison provided for $210. Although it no longer remains in the house, it appears to have been a slant-fronted desk on frame surmounted by an enclosed book case. A library table and desk, selling for the modest

sums of $65 and $10 respectively, were purchased for Charley's room, according to the Anthony, Potter and Denison bill.

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A definite hierarchy of costliness may be traced in

the decor of the bedrooms, in everything from finishing woods and hardware to furniture and fabrics. As the room reserved for guests, the drawing room chamber demanded the

highest expenditure. In an era when it was suggested that at least two rooms be reserved at parties for lady guests to dress and freshen their appearance, the billiard room chamber cost only slightly less to furnish than the drawing room chamber. As the oldest daughter, and one afflicted with a dreadful handicap, Jeanie seems to have been indulged in many ways. Apparently interested in keeping up with fashion,-^ she had the third costliest bedroom. The Lippitts1 own room was next in order, followed by Charley's

room, the nursery and nursery chamber, and finally the servants1 rooms.

In a "Memo— Finish for Rooms" included in his' Con tract Book, Lippitt wrote that he wished to finish the draw ing room chamber in "all black walnut," the billiard room chamber in "maple and black walnut mouldings," the other rooms on the second floor in "chestnut with black walnut mouldings," and the rooms on the third floor and in the addition building of the second floor in "chestnut." (See Appendix A.) When one correlates this information with the prices Lippitt was paying for each kind of wood, according to the Contract Book, the hierarchy emerges: black walnut

was selling for $70-$100 per thousand feet, maple for $50 per

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thousand feet, and chestnut for $30-$35 per thousand feet.

The hierarchy is repeated, with but one minor excep tion, in the purchase of marble mantles for the rooms from

Tinsley Brothers and the Steam Marble Company, both of Providence (see Appendix A). Both the drawing room and bil liard room chambers have red Lisbon marble mantles costing $200 each. The pink Vermont marble mantle for Jeanie's room cost $125, while the green Vermont marble mantle for the Lippitts' room cost $75. Only slightly out of the es tablished order are the two white Italian marble mantles for Charley's room and the third story room, each of which cost $80. The marble mantles for the nursery and nursery chamber were not to exceed $60. No mention is made of marble man

tles for the servants' quarters.

The grates for the fireplaces, ordered from William H. Jackson and Company, follow a similar pattern (see Appendix A),. The circular-top hard coal grates for the drawing room and billiard room chambers are accented with silver bars and sold for $37.50 each. Jeanie's room has a French-top English grate with soapstone lining which cost $35. The soapstone fireplace for the Lippitts' bedroom was purchased from Tingley Brothers for $25. The third story bedrooms have circular-top hard coal grates which sold for $20 each, while those for the nursery and nursery chamber cost $19 each. Finally, the square-topped servants' grates

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were valued at a mere $11 each.

The hardware purchased for the rooms from Miner and Avery, New York (see Appendix A ) was broken down less speci fically than mantles or grates, but the second story was to have door locks with "best hand plated trimming" (i.e. knobs)

at $5.69 each. The third story was to have locks with "white porcelain trimmings" at $1.80 each.

Decorative painting seems to have been confined to the drawing room and billiard room chambers and Jeanie*s room. In the drawing room chamber, elaborate morning glory vines fell in swags around the cornice of the walls. Whether the ceiling itself was painted cannot be discerned from the photo of this room. Furthermore, all the painting here has been overpainted. In the billiard room chamber naturalsitic butterflies flitting around flower-bedecked nests, arabesques, and leafy-patterned stencils, all in shades of blue and gray, constitute the ceiling decorations. They remain intact today. It is difficult to tell what the ceiling ornamenta tion in Jeanie's room may have represented, although from the photograph of this room it appears to have been modest in scope. There is no painted ornamentation on the third floor, with the exception of the marbelized walls of the hallway.

The most obvious difference between the rooms to anyone visiting them in the nineteenth century would have

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"been the furniture. Here too the hierarchy was followed, with the drawing room chamber and billiard room chamber rank ing highest. As can be determined from the Anthony, Potter and Denison bill, the case pieces of these two rooms seem to have been nearly equal in value. The difference between

the $128$ spent on them in the "pink chamber" and the $1150 spent on the billiard room or "blue chamber" probably resul

ted in part from the inclusion of two washstands in the for mer and only one in the latter. Each suite had, in addi tion to the washstands, a bedstead, dressing case, bureau and glass, and commode. No wardrobes were purchased for the house, since each room had its own closet. The two suites were fashioned in woods surprisingly similar to those recom mended in Sloan's Homestead Architecture of 1861,-^ for the suite in the drawing room chamber is made of walnut, walnut burl, and ebonized moldings. The suite in the billiard room chamber consists of golden b?rd's-eye maple with dark rose wood moldings. Both suites have colored marble tops. The pieces which still remain at the house (commodes, dressing cases, bureaus, and one bed) indicate a close similarity between the two suites. The case pieces of the billiard chamber suite (represented here by the bureau in Plate 35) are only slightly larger than those of the drawing room chamber (represented by the dressing case in Plate 36). The other differences are mainly matters of ornamental de tail. The mirrored tops of the pink chamber suite are

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frames and cartouches veneered in bird's-eye maple. Both suites have the powerful vertical thrust that would remain popular through the 1870's. Impressive in their size, the pieces are also impressive in finish, with smooth, highly shellacked interiors. The only surviving bed from the

house, the bird's-eye and rosewood piece from the billiard room chamber (Plate 37), has a high, altar-like headboard with elaborate rosewood moldings and scrolls. A cartouche s. and stylized shell ornament its pediment. Its appearance of grandeur would, of course, have been heightened by the tes ter and bed drapes that accompanied it. Unfortunately, none of the photographs of the three bedrooms whose beds had testers— the drawing room and billiard room chambers and Jeanie's bedroom— show these testers, so it is impossible to know exactly how they were hung. The Anthony, Potter and Denison bill lists a rosewood and bird's-eye maple tester with brackets for the billiard room chamber. The cost of the bed drapes was the same as each set of window drapes of the same fabric in each of the three rooms, indicating a similar amount of material was involved in window and bed draperies. From this fragmentary evidence one may hypothe size that the tester was hung by brackets from the wall

above the head of the beds, with bed draperies projecting

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only as far as the tester, rather than along the full length

of the bed.

It is above all the drapery and upholstery fabrics

which made the drawing room chamber more costly than the billiard room chamber. Rose-colored satin upholstered the

chairs in the pink chamber, and its satin draperies cost $256 per set. Blue and gray chintz served as the upholstery fabric in the billiard room chamber, and its cretone chintz draperies cost only $90 per set, according to the Anthony,

Potter and Denison bill.

If one distributes one of the "3 Best Spring Mat tresses," one of the "3 Best Hair Mattresses" and one of the "3 large Bolsters" purchased from this firm on December *J-,

1865, to each of the three major bedrooms— the drawing room chamber, billiard room chamber, and Jeanie's chamber— then

the total cost of the furnishings in each room was $2767, $1913, and $1*1-77 respectively. (This excludes $88 spent for lace curtains for the drawing room chamber, the only bedroom which seems to have been equipped with them.) By contrast, only $937 was spent for Mr. and Mrs. Lippitt's bedroom and Mrs. Lippitt's dressing room combined.

Jeanie's furniture suite, made of walnut, tulip, and ebonized trim, by Anthony, Potter and Denison, no longer survives. Its total cost (case pieces only) was

$675, compared with $1150 for the billiard room suite.

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Unlike the latter, it did not include a dressing case. Her crimson and gray chintz draperies, at three pairs plus tester for $350, appear to have been similar in price to those of the billiard room chamber.

Although the Lippitts purchased the marble-topped bureau and dressing glass of Mary Lippitt's dressing room from Anthony, Potter and Denison, they stepped down a notch for their bedroom suite. This chestnut suite with black walnut moldings, purchased from Knowles, Scholze and Company, Providence, cost $^50, plus $111 for spring and hair mat tresses and feather bolster (Appendix E). Although the bill does not specify what pieces were included in this

suite, the photograph of the Lippitts1 bedroom (Plate 38) shows a washstand with marble top and basin, and a marble- topped bureau with mirror, in addition to the bedstead. The bureau survives in the house today, although the orna mental crest on its mirror has been removed. An examina

tion of the piece confirms what the photograph of the room and the price of the suite suggest— that it is a second- class, mass-produced piece with rather pedestrian ornamenta tion and unfinished interiors. It is not clear what drapery

fabric was used in this room, although several pairs of inexpensive chintz curtains are mentioned elsewhere in the Anthony, Potter and Denison bill. They seem to have been distributed between the Lippitts' bedchamber, Charley's room, and the nursery rooms. The upholstery and drapery in

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Mrs. Lippitt's dressing room seem from the bill to have been the same crimson and gray chintz used in Jeanie's adjoining

room.

For Charley's room, the black walnut bureau with glass, bedstead, and hair and spring mattresses purchased from Anthony, Potter and Denison cost a total of only $2^0.

Another $89 was spent on his chair, library table, and desk.

The photograph of the circular room on the third floor (not illustrated) shows one wooden bedstead, one metal-framed bed, and a mahogany bureau and glass in the late empire style. This bureau remains in the house today, and is probably one of the two repaired by Anthony, Potter and Denison on September 8 and September 18, I865. The wooden bed may be one of the three chestnut bedsteads pur chased from this firm, each costing $16. Two chestnut bureaus with glasses were also purchased from the firm for

$20 on August 25 and September 20, I865. A "Jennie Lind" bed, with spindled foot and headboard, also remains from the house. Made of mahogany, it was originally purchased for the twin house from Anthony, Denison and Company on November 7, 1856, at a cost of $20.-^ Just how this bed and the chestnut bedsteads and bureaus were distributed between the nursery ehamber and servants' chambers cannot be deter mined.

From all th above evidence, the pattern seems clear.

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The’Lippitts reserved the most costly and decorative furn ishings, the most ornamental architectural details, for their .guests. For their daughter they provided a room into which she could be proud to invite her friends. Mo doubt assuming that Mary Lippitt's friends would be shown into her sewing room but not into her bedchamber, they chose a merely functional suite for their own use. Even less expen sive furnishings were chosen for the boys' rooms on the third floor. Once again, the comfort of guests and the impression made upon them seem to.have been the paramount factors in the furnishing of the upstairs stories of the Lippitt mansion.

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The conclusion that this room was a secondary eruest room is suggested by the fact that it is never associated, with the name of any family member in the Contract Book or in furnishing bills. That daughter Nary Ann ("May") eventually occupied this room is suggested by the notation "Aunt May's Room" under the photograph of this room in the family photo album. 2 According to Abby's daughter, Mrs. Lytton Doolittle, most recent owner of the house.

■^According to the notation "Uncle Charley's Room" under the photo of this room in the family photograph album. k In addition.to the agreement noted in the Contract Book, the following item appears in the 'New House Account:' "Sept. 27, 186$ To amnt pd Wm Gibson Stained Glass Windows .In 3 3 0 * 8 0." (Henry Lippitt, "Private Accounts.")

^A letter accompanying the receipt reproduced in Appendix L, has as its letterhead "Mason E.V. Haughwout & Co. New-York/ W.R. Farrington Agent, 35 Hue Hauteville/ Paris." . Lippitt Papers, A'5$670(l).

In the collection of Mr. Frederick Lippitt, Provi dence .

7 'This chair, which is still in the house, is made of a light wood painted black, with gilded ornamentation, a caned seat, and. balloon-shaped back. It is accompanied by a matching chair and a table with mother-of-nearl inlay. That these pieces were brought from the house across the street is suggested not only by their earlier style, but also by the following entries in the Anthony, Potter and Denison bill for the new mansion (see Appendix C): "Dec 1^, I865 Oil pol & Trimming Fancy Table #2.34;" and "June 18, 1866 L Hr. M Cutting & Making Slip Covers for 2 Sofas, 1 Crinoline Chair, 1 Arm Chair, 2 Recep. Chairs, h

1^5

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2 Fancy Chairs $75»04."

^This desk can he seen as it appears today in the photograph of the drawing room chamber in Loring, op. cit., p. 154.

^Lippitt's 'Cash Account' lists the following: "Oct 28, 1858 To naid Wheeler & Wilson Sewing Machine &c .^127.7 5!"

10In the collection of Miss Mary Ann Lippitt, Provi dence .

^Loring, on. cit.. p. 154.

^2Like the Gothic Revival chair which accompanies it in the photo of Mary Lippitt's sewing room, the desk remains in the collection of Miss Mary Ann Lippitt, Providence.

"^See Chapter II, n. 113.

^ The Evening Reporter (Providence), December 4, 1881 noted: The 'upper ten', and many more of the elite of the city attended a grand ball given...in honor of the debut in society of Miss Alice Coates... Among the richest dresses of. the evening were those of the ladies of ex-Gov. Lippitt's family.

■^Lippitt's 'Cash Account' notes the following purchase: "Nov. 14, 1862 To paid for Sett Diamonds for Mrs. L. ^1275.00." On April 19, 1871, Lippitt paid .Kill5 for "1 Srmine Opera Cloak," purchased from D.C. Wood, 23 Westminster Street, Providence. (Lippitt Family, "Re ceipts," Lippitt Papers.)

■^For the story of Jeanie's handicap and Mary Lippitt's role in teaching her to lip read and speak see Henry F. Lippitt, 2nd, on. cit.

17 Coleman, on. cit.. p. 218, 18 "Correspondence from Samuel A. Nightingale, Rent Statements, Water Bills and Bills for Repairs, Relating to House at 21 James Street," Lippitt Papers, Mary A. Lipnitt, A17908.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ■^Receipt of December 9, 1879, Lippitt Family, "Receipts," Lippitt Papers.

20She subscribed to the Engineering and Mining Journal and the Financial and Mining Record, according to receipts dated January 4, 1884 and December 29, 1884 respectively. Lippitt Family, "Receipts," Lippitt Papers.

2^Letter from E.B. Hall to Mary Ann Balch, June 11, 1844, Lippitt Papers, A13128.

22Henry Lippitt's 'Cash Account' lists numerous contributions to charitable organizations, both local and national in scope. (Henry Lippitt, "Private Accounts.")

2^Lippitt Papers, Mary A. LippittA13083. 24 Fred Deland, "Tribute to Mrs. Henry Lippitt" (unpublished manuscript, 1912, Brown University Library, #2-E/-L663d).

2^Lippitt Papers, Mary A. Lippitt, AI3083.

p £ Receipts to Mrs. Henry Lippitt from the Berlitz Schools of Languages, Providence, dated January 12, I883 to January, 1887-, Lippitt Family, "Receipts," Lippitt Papers.

2 7'Edith A. Nichols, loc. cit.

pQ This is the term used for the chair by Jeanie Lippitt Weeden in her will. 29 7The origin of this folding chair is unknown. It was perhaps to this chair that Potter and Company referred in their bill for the 1879-80 refurbishing. According to this bill (Appendix M), the chair was reupholstered in tapestry and plush on November 10, 1879. A folding chair is also mentioned in the entry for November 26, I879. 80 J See forexample, Godey's Lady's Book. LXIII, (July, 1861), pp. 34-36.

31 In his diary, Charles Warren Lippitt noted on March 4th, 1872, "Jeanie never could be induced to let Godey's Lady's Book alone..." In the 1879-80 refurbishing,

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hers was the only bedroom specifically noted as having any work done on it, according to the Potter & Co. bill (Ap pendix M). Ball fringe was applied to her curtains and. bed draperies at that time.

•^Two similar chamber suits were recommended— one in walnut with ebony moldings, the other in golden bird's-eye maple with dark rosewood moldings. It was noted that the maple suit is particularly appropriate when used in contrast with blue and gold paper hangings. The rose wood and maple suite at the Lippitt mansion was placed in the "blue chamber" (i.e. the billiard room chamber). (Sloan, Sloan's Homestead Architecture, p. 341.) SB -^The bed remains in the collection of Mr. Frederick Lippitt, Providence. S4 J "Account of Mrs. Henry Lippitt with Anthony, Denison and Company," Rhode Island Historical Society, Lippitt Collection, Henry Lippitt, 1851-56.

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On the occasion of a reception given at the Lippitt

mansion, a local newspaper reported: The Governor's mansion, which has the reputa tion of having the handsomest interior of any residence in Rhode Island, if not in New England, was thrown open to all, and it was worth while being there to hear the enthu siastic compliments of the visitors as they passed through the elegant rooms.1 If, in building his home, Lippitt was indeed mindful of "the p great American public gazing on," hoping that his mansion's grandeur would add to his prestige as a man of consequence, then he succeeded in his goal. Local newspapers of the day, whether describing a reception there, promoting Lippitt's election to the governorship, or mourning his death, wrote of the house as a testament to the superiority of the man.

As has been shown, considerable sums of money were spent in furnishing the mansion, and the most expensive items were placed in the rooms most likely to be seen by .guests. The house cannot fail to impress the visitor today almost as much as it impressed Anne B.P. Woods one hundred and fif teen years ago. Bold in its interior colors; rich in its materials of contrasting, highly figured finishing woods,

149

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colored marble mantles and gold-leaf ornament; and exquisite in the details of its geometric wood paneling, its finely grained and marbelized walls, and its intricately molded plaster cornices; the house itself has probably never been equalled in Providence. Although furniture suites have been scattered throughout the house and other pieces have been lost entirely, the high quality of workmanship and materials in those that survive is obvious. In spite of the large scale and bold ornamentation of may pieces, their total integration into the fabric of the house itself— re peating the finishing woods and even the dado patterns of the rooms in which they stand— provides a sense of control and correctness to their energetic designs. Indeed, the collaboration here between carpenter and cabinetmaker, between plasterer and ornamental painter provides a unity of design which is one of the most striking features of the house. Perhaps the largest outstanding question, and one which may never be answered, is the extent to which Henry and Mary Lippitt themselves could claim responsibility for the overall design of the house and for orchestrating the cooperation of craftsmen in various media to create a har mony among elements.

The mansion and its furnishings have significance for local historians. They document the taste of a family whose roots reached back to the earliest days of Rhode Island's colonization, yet whose great wealth resulted from

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the prosperity of regional milling operations and the boom years of the Civil War. To some extent they document the way this family lived and the priorities it set with regard to its physical surroundings. They document as can no other structure in the city the achievements of local craftsmen in several media. Even though Henry Childs may not have created the design for the house, the solidity of the man sion documents his ability to provide sound working plans. Sturgis Carpenter's ability in locating first-quality mater ials, and Pitz Herbert Peabody's competence in overseeing the work of numerous laborers are substantiated by the durability of the house and the high quality of workmanship

throughout. Numerous furniture items document the output of the cabinetmaking and decorating firm of Anthony, Potter and Denison. The competent decorative plasterwork of Andrew Dempster remains almost completely intact. The Lippitt mansion is the only known domestic example of the work of ornamental painters Cattanach and Cliff. The walls and ceilings of the house document not only the durability of Cattanach's paints, but also the technical ability of his painters and the firm's awareness of European color and design trends of the period.

At the same time, the house documents the limitations in local availability of certain goods, particularly sophis ticated ornamental items. Lippitt was apparently unable to

obtain locally an adequate furnace system at a comoetitive

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price. For most of his carpeting he turned to A.T. Stewart in New York and William G. Bright in Boston. Bronze orna ments and gas fixtures were purchased from Cox Brothers of New York. Stained glass and etched glass windows had to be ordered from New York, as did decorative hardware and fire place equipment. A New York designer, John Victor Protin, may have been responsible for furniture designs utilized by the Providence firm of Anthony, Potter and Denison, and the New York cabinetmaking establishment of Pottier and Stymus was called upon to provide the most important furniture

suite of the house— that destined for the drawing room.

The mansion is of significance to the art historian not only for identifying the output of specific artisans, but also because it documents the convergence of several art historical styles. In its exterior architectural details and the floor patterns of the billiard room, it testifies to the continuing influence of the Federal style three-quar ters of a century after its heyday. Its furniture and the decorative motifs of its interior architectural finish docu ment the eclecticism of the Renaissance Revival mode, draw ing on elements from Renaissance England, Italy, and France. Its painted library, derived from the Alhambra, its "Turkish" and "Ottoman" furniture, and the later addition of decorative items in the Japanese style, document the influx of exotic oriental influences. The stylized motifs of griffins, mono podia, acanthus leaves, gorgon heads, spiky vases and por

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trait medallions ornamenting furniture and bronze accessor ies document the early arrival of the Neo-Grec style to Providence. The drawing room suite exemplifies the mid nineteenth century reinterpretation of the Louis XVI neo classical style. The flat, stylized foliage of many of the painted borders on the walls and ceilings carries the seeds of the English Reform Movement. At the same time, naturalistic carving of animal heads, the painting of butterflies and morning glories and trompe l'oeil coffered ceilings, the deceptive graining and marbelizing in the house indicate the quest for verisimilitude and falsification of materials against which this Reform Movement was aimed. In the matter of fine arts, the Lippitt mansion reconfirms what is known about collecting, trends of the era: an acceptance of politely erotic sculpture made in Italy, a passion for small bronzes reproducing Ancient and Renaissance statuary, a devotion to the paintings of the Old Masters in the form of fine oil reproductions, and a heightening appre ciation of an American school of landscape art. The house is important for indicating the tastes and habits of a fami ly whose wealth was accomplished .just prior to the widespread new wealth created during the Gilded Age. Unlike the later mansions of nearby Newport, where European-trained archi tects would import European craftsmen to recreate the grand villas of another continent, the Lippitt mansion embodies

European design influences adapted to American forms and

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For the social historian, the art historian, and the student of local history, the house provides information available in such completeness in few other structures. As one of the most beautiful, best preserved, and most fully documented houses of mid-Victorian America, the Henry Lippitt mansion deserves every effort toward protection of its furnishings and maintenance of its structure.

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"Reception of Governor Lippitt, A Pine Military Display," unidentified newspaper article of 1875 in Robert Lincoln Lippitt, "Scrapbook." 2 See quotation of W.F.C. Hastings, p. 29 supra.

■^A newspaper endorsement of Lippitt for reelection to the governorship noted: "The Governor lives in this city in probably the most magnificent house in New England, the interior finishing having cost over $50,000." (Unidentified article in .Henry Lippitt, "Literary Scraps," p. 77.) A satire against Lippitt in the previous election depicted Lippitt as boasting: "No one is really qualified to act as Chief Magistrate unless he owns a large house, elegantly but cheaply furnished, with a large income drawn from the toil of hundreds of operatives." ("Report of the Proceedings at the Caucus of the Members of the Republican Party of Rhode Island," unidentified newspaper article in Mary A. Lippitt, "Scrapbook.") The New York Herald noted Lippitt's "palatial home" in his obituary. (New York Herald. June 6, 1891, in Jeanie Lippitt Weeden, "Scrapbook.'1"^ "And a local paper noted in his obituary, "At home he was of the same noble disposition, generous to a fault. A glance around the beau tiful home which he had left to those who looked to him for support and_protection was a silent witness to this." (Telegram /Providence7f June 8, 1891, in Robert Lincoln Lipnitt, "Scraobook.")

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!■

Figure 1 Schematic Floor Plan, Main Floor (Proportions not necessarily to scale)

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€ 6l,j; CWx^Yiet" ■) t cA> r - X-J I u>.c, '(\e>c>»v\ I--

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Figure 2 Schematic Floor Plan, Second Story (Proportions not necessarily to scale)

Note: For floor plan of third story, see page 123.

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Plate 2

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trs&c

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Plate 5

Plate 6

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Plate 8

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Plate 9

Plate 10

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Plate lb

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Plate 15

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Plate 20

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life'; ■■■■ «

Plate 25

Plate 26

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Plate 28

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Plate 30

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Plate 32

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Plate 33

Plate 34

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Plate 38

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Books and Exhibition Catalogs

Arrowsmith, H.W. The House Decorator and Painter’s Guide, London: Thomas Kelly, 18^0. Art Journal. The Art Journal Illustrated Catalogue of the International Exhibition. 1&62T London: James S. Virtue, 1863.' ______. The Illustrated Catalog of the Universal Exhit1- tlon. 'Paris': Art Journal. 1367. ______. The Industry of All Nations: The Art-Journal Illustrated Catalogue. London: George Virtue, 1851. Athenaeum of Philadelphia. Exterior Decoration. Victorian Paint for Victorian Houses. Philadelphia: The Athenaeum of Philadelphia. 1976, Ballantine, James. Essay on Ornamental Art as Applicable to To Trade and Manufactures. London: W.S. Orr & Co.,

Bayles, Richard M. (ed). History of Providence County. Rhode Isiand. New York: W.W. Preston & Co., 1891. Beecher, Catherine E. A Treatise on Domestic Economy. Boston: Marsh, Capen, Lyon & Webb, 1841. Beecher, Catherine E. and Stowe, Harriet Beecher. The Amer ican Woman's Home. New York: J.B. Ford & Co., 18^9. Beecher, Mrs. H.W. All Around the House. New York: D. Appleton Co.. 1879T Bicknell, Thomas Williams. The History of the State of Rhode Island and Providence Plantations. New York: The American Historical Society, Inc., 1920. Biographical Cyclopedia of Representative Men of Rhode Island. Providence: National Biographical Publish-

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ing Co., 1881. Booth, Lorenza. The Exhibition Book of Original Designs for Furniture.Etc. London: Houlston & Wright, 1864. Braund, John. Illustrations of Furniture. Candelabra. Musi cal Instruments from the Great Exhibitions of London and Paris.- London: J. Braund!, 1858. Brennan, Joseph. Social Conditions In Industrial Rhode Island: 1820-1860. Washington, D.C.: The Catholic University of America, 19^0. Brown, Richard. Domestic Architecture. London: Bernard Quaritch, 1852. The Cabinet-Maker^ Assistant: A Series of Original Designs for M o d e m Furniture.... Glasgow": Blackie & Son, 1553^ Cady, John Hutchins. The Civic and Architectural Develop ment of Providence. 1636-19501 Providence: The Book Shop, 1957. Calhoun, Arthur W. A Social History of the American Family. Vol. II: From Independence through the Civil War. Cleveland: The Arthur H. Clark Co., 1918. Carroll, Charles. Rhode Island: Three Centuries of Demo cracy . New York: Lewis Historical Publishing Co., Inc., 1932. Celnart, Mme. The Gentleman and Lady*s Book of Politeness and Propriety of Deportment. 5th American ed. Philadelphia: Lippincott, Grambo & Co., 1851. Chambers, William. Things as They Are in America. 2nd ed. London and Edinburgh: Wm. & Robert Chambers, 1857. Chevreul, Michel-Eug&ne. De la Loi du Contraste Simultan^ des Couleurs et de 1 ^ssortiment des Ob .lets Colored. Paris: Pitois-Levrault & Cie, 1839. Coleman, Peter J. The Transformation of Rhode Island 17Q0- 1860. Providence: Brown University Press, 1963. Collender, H.W. (ed.). Modern Billiards: A Complete Text- Book of the Game. New York: Trows Printing & Bookbinding, 1881.

Colling, James K. Art Foliage for Sculpture and Decoration. 1st American ed. Boston: James R. Osgood & Co., 1873.

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nnmpt-irqe. Manufactures and Resources of the City of Provi dence and Environs. Providence: National Publishing Company ,1 ^ 2 , Cooperative Building Plan Association. How to Build. Furnish and Decorate. New York: Cooperative Building Plan Association, 1883. Crowfield, Christopher. /Stowe, Harriet Beecher7. House and Home Papers. Boston: Houghton, Mifflin & Co., 1S6k. Daly, C^sar. X*Architecture Prlv^e au XIXe Si£cle Sous Napoleon III. Paris: Morel et Cie, 1864. ______. Motifs Hlstorloues d*Architecture et de Sculpture d 'Oraement: Decorations Ext^rieures.... Paris: Librairie Generale de 1*Architecture et des Arts Decoratifs, 1911. La Decoration au XIXe Sidcle D^cor Int^rieur des Habitations. Paris: D. Guilmard, n.d. De Mountainville, L.C, (ed.). Golden Book of Celebrated Manufacturers and Merchants in the United States. "Reports of the Grand Centennial," Series XX; New York: Crichton & Co., 1875.

Destailleur, M.H. Recueil d'Estampes Relatives & L'Oraemen- tation des Appartements aux yvie„ xvile. et XVIIIe Siecles.Paris;: Rapllly, 18&3.

Dolmetsch, H. Ornamental Treasure: A Collection of Designs of All Styles and Periods. New York: Hessling & Spielmeyer, 188?.

Downing, A.J. The Architecture of Country Houses. New York: D. Appleton & Co., 1850. Durant, Stuart. Victorian Ornamental Desism. New York: St. Martin's Press, 1972. Earle, Helen L. Biographical Sketches of American Artists. Charleston: Gamier & Co., 1972. Pitch, James Marston. American Building; The Historical Forces That Shaped It. 2nd edv Boston: Houghton Mifflin, 1966. Franklin Lyceum. Charter. Constitution. Bylaws and Catalog of the Franklin Lyceum. Providence: Franklin Lyceum. T539I

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Le Garde-Meuble. Vol. CXCVIII #1172: Collection de Sldgea. Paris: Le Garde Meuble, n.d. Le Garde Meuble Album de ^Exposition de l 1 Industrie de 18*<4. Paris: Le Garde Meuble, 18^4, Gibbs, William (ill.) The Universal Decorator: A Complete Guide to Ornamental Design. London: Houlston & Wright, n.d. Gloag, John. Victorian Comfort: A Social History of Design from 1830-1900. New York: St. Martin's Press, 1973. Godden, Geoffrey A. Handbook of British Pottery and Porce- . lain Marks. London: Herbert Jenkins Ltd., 19oo. Goffman, Erving. The Presentation of Self in Everyday Life. Garden City: Doubleday, 1959. Goodholme, Todd S. A Domestic Cyclopedia of Practical Infor mation. New York: Henry Holt & Co., 1877. Greene, Welcome A. The Providence Plantations for Two Hun dred and Fifty Years. Providence: J.A. & H.A. Reid, T 5 8 6 .

Grieve, Robert. An Illustrated History of Pawtucket Central Falls and Vicinity. Pawtucket: 1&91. Grieve, Robert and Fernald, John P. The Cotton Centennial 1790-1890. Providence: J.A. & R.A. Reid, 1891. Groce, George C. and Wallace, David H. The New-York Histori cal Society's Dictionary of Artists in America. New Haven: Yale University Press, 1957. The Habits of Good Society: A Handbook for Ladies and Gen- tlemen. New York: Carleton, I865. Hale, S.J. Manners: or. Happy Homes and Good Society All the Year Round. Boston: J.E. Tilton & Co., 18657 Hall, Joseph D. (ed.). Biographical History of the Manu facturers and Business Men of Rhode Isla-nfl at F.ha Opening of the Twentieth Century. Providence: J.D. Hall & Co., 1901.

Hamlin, Talbot F. The American Spirit in Architecture. New Haven: Yale University Press, 1926.

Hay, D.R. The Principles of Beauty in Colouring Systematized.

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Edinburgh & London: W. Blackwood & Sons, 1845. Hay, D.R, The Interior Decorator: Being the Laws of Harmon ious Coloring- Adapted to Interior Decorations. 4th . ed. London: W.S. Orr & Co., I838. ______, Original Geometrical Diaper Designs. London: D. Bogue, 1844. Hendricks, William. William Hendricks' History of Billiards. Hoxana, Illinois: By the Author, P.O. Box 1, 1974. Hitchcock, Henry-Russell. Rhode Island Architecture. Provi- dence: Rhode Island Museum Press, 1939. Holly, Henry Hudson. Holly's Country Seats. New York: D. Appleton & Co., 18(53 . • Illustrated Designs of Cabinet Furniture. London: Hampton & Sons, 186?. Irving, Washington. Tales of the Alhambra. Philadelphia: Carey & Lea, 1832, Jones, Owen. Details and Ornaments from the Alhambra. London: Owen Jones, 1845.

• Grammar of Ornament. London: Day & Son, 1856. ______. The Plans. Elevations and Details of the Alhambra. London: Owen Jones, 1842-45. Laverton & Co. New Illustrated Catalogue of Furniture and General Price List. Bristol, England: Laverton & Co., 1875. Leslie, Eliza. Miss Leslie's Behavior Book. A Guide and Manual for Ladies. Philadelphia: T.B. Peterson & Brothers, 1859. Lichten, Prances. Decorative Art of Victoria's Era. New York: Charles Scribners Sons, 1950. Li^nard, Michel. Specimens de la Decoration et ^Ornamen tation de XIXe Sifecle. Lidge: C. Claesen, 1865. Lippitt, Henry P. 2nd. Jeanle Lippltt and the Mastery of Silence. Los Angeles: By the Author, 626 Wilshire Boulevard, 1974. ______. The Lippitt Family: A Collection of Notes and Items of Interest by One of its Members. Los

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Angeles: By the Author., 626 Wilshire Blvd., 1959. Loudon, J.C. An Encyclopedia of Cottage. Farm and Villa Architecture and Furniture. London: Longman, Orme, Brown, Green & Longman, 1&39. Lynes, Bussell. The Domesticated Americans. New York: Harper & How, 1963. Maas, John. The Victorian Home in America. New York: Hawthorne Books, 1972. Masury, John W. A Popular Treatise on the Art of House Painting: Plain and Decorative. N e w York: D. Appleton & Co., l868. Mayer, Kurt B. Economic Development and Population Growth. in Rhode Island. Providence: Brown University, 1953. Munrc, Wilfred H. Picturesque Rhode Island. Providence: J.A. & R.A. Reid, I881. Murphy, James Cavanah. The Arabian Antiquities of Spain. Lordon: Cadell & Davies, 1813. Norbury, James. The World of Vlctorlana. London & New York: Hamlyn, 1972. Pfnor, Rodolphe. Ornamentation Usuelle...dans les Arts Industrlels et en Architecture. Paris: La Libralrie Artistique, 1867. Phelan, Michael. The Game of Billiards. 5th ed. New York: D. Appleton & Co., I863. Providence Board of Trade. The Providence Board of Trade— Thirtieth Year. 1898. Providence: Chaffee-McIndoe Co., 1898. Providence Business Directory for 1860-61. New York: Win. P. Bartlett, I860. Pugin, Augustus Welby. Floriated Ornament. London: Henry G. Bohn, 18^9. Qu^tin, Victor. Le Magasin de Meubles: Album de Meubles Riches. Paris: Quetiri, n.d.

Racinet, M.A. L 1 Omement Polychrome. Paris: Librairie de Firmin-Didot, 1869.

Representative Men and Old Families of Rhode Island, chi-

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. cago: J.H. Beers & Co., 1908. Rise and Progress of the Game of Billiards. New York: Phelan & Collender," I860. Rouyer, Eugene. L'Art Architectural en Prance Depuis Francois Ier Jusqu1^ Louis XV7~. Paris: Noblet et Baudry, 1863. ______. La Renaissance de Francois ler h, Louis XIII: Decorations Int^rieures^ Paris: J . Baudry, n.d. Seale, William. The Tasteful Interlude: American Interiors Through the Camera's Eyes. 1860-1917. New York: Praeger, 1975. Shaw, Henry. Details of Elizabethan Architecture. London: Wm. Pickering, 183*K " Silliman, B. and Goodrich, C.R. The World of Science. Art. and Industry Illustrated from Examples in the New- York Exhibition. 1853-5^. New York: G.P. Putnam & Co., 1854. Sloan, Samuel. City and Suburban Architecture. Philadelphia J.B. Lippincott & Co., 1859. ______. Constructive Architecture. Philadelphia: J.B. Lippincott & Co., 1866. ______. The Model Architect. Philadelphia: E.S. Jones & Co., 1852. ______. Sloanfs Homestead Architecture. Philadelphia: J.B. Lippincott & Co., 1861. Stebbins, Theodore E. The Life and Works of Martin .Tnhnsinri Heade. New Haven: Yale University Press, 1975; Symonds, R.W, and Whineray, B.B. Victorian Furniture. London: Country Life Ltd., 1962.

Tracy, Berry et al. Nineteenth-Century America: Furniture and Other Decorative Arts. New York: Metropolitan Museum of Art, 1970. Trollope, Anthony. North America. Philadelphia: J.B. Lippincott & Co., 1862. Tuckerman, Henry -T. Artist-Life: Sketches of Eminent Ameri can Painters.N e w York:D. Appleton & Co., 1849.

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Van Slyck, J.D. Representatives of New England: Manufac turers . Boston: VanSlyck & Co., 1879• Vaux, Calvert. Villas and Cottages. New York: Harper & Brothers, 1857. Veblen, Thorstein. The Theory of the Leisure Class. New York and London: Macmillan & Co., 1899. Waring, John Burley. Examples of Stained Glass. Fresco Ornament. Marble and Enamel Inlay, arid Wood Inlay. London: 1858. Webster, T. and Parkes, Mrs. The American Family Encyclope dia of Useful Knowledge. New York: Derby and Jack- son, 1858. Wheeler, Gervase. Rural Homes or Sketches of Houses Suited to American Country Life. New York: Charles Scribner, 18 5l! Whiffen, Marcus. American Architecture Since 1780: A Guide to the Styles. Cambridge: M.ll'T. Press, 1969. Whittock, Nathaniel. The Decorative Painters1 and Glaziers' Guide. London! Isaac Taylor Hinton, 1827. Young, William. A Dictionary of American Artists. Sculptors and Engravers. Cambridge, Mass.: Wm. Young & Co., 196*4.

Articles and Periodicals

Ames, Kenneth L. "The Battle of the Sideboards," Winterthur Portfolio. IX (1974), 1-29. ______. "Meaning in Artifacts: Hall Furnishings in Victorian America," The Journal of Interdisciplinary History.IX. No. 1 (Summer, 1978), 19-46. "Asa King Potter," Publications of the Rhode Island Histori cal Society. VI (18Q8)r 65.

Bremer, Charles, "Fresco Painting," The Architectural Review and American Builder's Journal. I (1868). 143-47. Bridges, William E. "Family Patterns and Social Values in America. 1825-75." American Quarterly. XVIT fsnninov 1965), 3-11.

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Cantor. Jay E. "A Monument of Trade: A.T. Stewart and the Rise of the Millionaire's Mansion in New York," Winterthur Portfolio.-X (1975)> 185-200. "Carpets and Americans," Providence Daily Journal. May 25, I860, 1. . "Charles Walton Potter," Providence Daily Journal. March 7, 1912, 1 . . "Choosing Glass and China," Godev's Lady's Book. LXII (July, 1861), 93. "Donald D. Cattanach Dead," Providence Journal. January 12, 1909, 14. Dornsife, Samuel J. "Design Sources for Nineteenth-Century Window Hangings," Winterthur Portfolio. X (1975), 69-99. "Drawing-Room Furniture," Peterson's Magazine. XLV, No. 6 (June, 18610, 458. The Evening Bulletin (Providence), 1863. "Evening Parties," Godev's Lady's Book. LXIII (July, 1861), 34-46. The Evening Reporter (Providence), 1881. "Fltz Herbert Peabody," Providence Journal. December 23, 1903, 5. Greene, Henry L. "The Lippitt Manufacturing Company," The Narragansett Historical Register. VII (April, 1889), 156-57. Haddock, Editha. "Labor Problems in the Rhode Island Cotton Mills, 1790-1940," Rhode Island History. XIV, No. 3 (July, 1955), 91. "Hart, James MacDougal," Dictionary of American Biography. New York: Scribner's, 1932, 3f>6-57. Hastings, W.F.C. "Our Houses," The Galaxy. I (May 15, 1866), 196-202. "Hon. Henry Lippitt," Proceedings of the Rhode Tnlanri Histori cal Society. (1891-92), 107-10. Ingerman, Elizabeth A. "Personal Experiences of an Old New York Cabinetmaker," Antiques. LXXXIV, No. 5

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(November, 1963)1 576-80. Journal of Design (London), 1849. Landy, Jacob. "The Domestic Architecture of the 'Robber Barons' in New York City," Marsyas. V (1947-49), 63-87. Loring, John. "Historic Houses: American Victorian, The Henry Lippitt Mansion in Providence," Architectural Digest, XXXV (March, 1978), 148-54. Manufacturers1 and Farmers1 Journal (Providence), 1860-67. "Manufacturing and Mechanical Industry of Rhode Island: Furniture— Potter, Denison & Company," Providence Journal. June 24, 1871, 2. "Marshall Woods," Publications of the Rhode Island Historical Society. VIII, No. 1 (April, 1900), 59. Pawtucket Directory. 1889-1900. "Potter & Co.," The Providence Board of Trade Journal. XI, No. 12 (December, 1899), 506. ! " .. "Pottier, Auguste," National Cyclopedia of American Bio graphy (1929),~Vl, 29. The Providence Directory. 1850-1913. The Providence /Pally7 Journal. 1855-1891. Providence Evening Press. 1866. Ralston, Ruth. "Nineteenth-Century New York Interiors: Eclecticism Behind the Brick and Browhstone," Antiques. XLIII, No. 6 (June, 1943), 266-70. Rode's New York City Directory, 1850-55. "The Social Manufacturing: Company." Providence Journal. March 7, 1870, p. 2. ; Trow's New York City Directory. 1855-1900.

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Public Documents and Records

Historic American Buildings Survey, "Governor Henry Lippitt House," HABS No. HI-239, 1962. Providence. Recorder of Deeds. Deed, Sally Thompson to Henry Lippitt, 1851. Plat Book #3, p. 32, Deed Book 122, p. 252. ______. Deed, Henry Lippitt to Arthur A. Simmons, 1876. Deed Book 302, p. 266. ______. Deed, Arthur A. Simmons to Mary A. Lippitt, 1879. Deed Book 305, p. ^2. Providence. Registrar of Wills. Balch, Joseph Estate. Probate No. A10414. ______. Carpenter, Sturgis P. Estate. Probate No. Ai*H29. ______. Childs, Henry Estate, Probate No. A13527. ______. Lippitt, Jeanie Estate, Probate No. 41400. ______. Lippitt, Warren Estate. Probate No. A6850. U.S. Circuit Court, Rhode Island District. The Case in Equity between Charles P. Pike. Complainant & Asa K. Potter. Respondent. June, 1859. U.S. Patent Office. Annual Report of the Commissioner of Patents. Washington: 1862

Unpublished Materials

Alexander, Robert L. "The Architecture of Russell Warren." Unpublished dissertation, New York University, 1952. Ames, Kenneth L. "Renaissance Revival Furniture in America," Unpublished Doctoral dissertation, University of Pennsylvania, 1970, Anonymous. "Mrs. Lippitt's Education of Her Daughter." Un published manuscript, Rhode Island Historical Society, Lippitt Collection.

Bernstein, Gerald S. "In Pursuit of the Exotic Islamic Forms in Nineteenth-Century American Architecture." Un-

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published doctoral dissertation, University of Pennsylvania, 1968.

Brown University. John Hay Library. Lippitt Papers. Deland, Fred. "Tribute to Mrs. Henry Lippitt." Unpublished article, 1912. Brown University Library, 2-E/-L663d. Glass, Anita F. "Early Victorian Domestic Architecture on College Hill." Unpublished Master's thesis, Brown University, i960. Lippitt, Abby Frances. "Diary." Collection of Mrs. Lytton Doolittle, Providence. Lippitt Family. Photograph Album. Collection of Mrs. Lytton Doolittle, Providence. Lippitt, Henry. "Agreements & Building of 199 Hope St." Collection of Mrs. Lytton Doolittle, Providence. Overby, Osmund. "The Architecture of College Hill, 1770-1900*. Residential Development in the Area of the Original Town of Providence, Rhode Island." Unpublished Doctoral dissertation, Yale University, 1963. Power, Robert C* "Rhode Island Politics in the Gilded Age: The G.O.P. Machine of Anthony, Aldrich and Brayton." Unpublished Honors thesis, Brown University, 1972. Providence Preservation Society. Historic House Files. Rhode Island Historical Society. Census Records, 1860-80. ______. Lippitt Collection.

______. Records of the Benevolent Congregational Society and First Congregational Church.

Wattendorf, Ellen. "The Labor Problems in the Rhode Island Cotton Textile Mills of the Lippitt Family, 1890- 1900." Unpublished Master's thesis, Brown Univer sity, 1965. Weeden, Jeanie Lippitt. "Scrapbook." Brown University. John Hay Library.

Williams, Roger Jr. Historian and Librarian, Stonington (Connecticut) Historical Society. Letter, April 22, 1976. ’

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APPENDIX A TRANSCRIPTION OF HENRY LIPPITT'S CONTRACT BOOK

Source: Collection of Mrs. Lytton Doolittle Providence, Rhode Island

Agreements & Building of 199 Hope St by Contractors Henry Lippitt

Contracted with Messrs. Carpenter & Childs of Providence To Do All the Carpentry Work on the New Brick House on Hope Street, which I am about to build on the following terms and conditions. They agree to furnish good and competent workmen such as may be satisfactory to me in all respects and to charge me one shilling per day profit over the price they have to pay said workmen. It is understood that Mr. Peabody is to have charge of all the work on the house, mason work as well as carpenter, and to keep all the time of the laborers and mechanics, to look after the use of the materials and to have a general oversight of the whole work for which he is to be paid $ (sic) per day. All the Lumber and other Material bought for the House are to be charged at cost. Mr. Carpenter's time occupied in purchasing or procuring said Material and Stock is to be paid for at the rate of $2.00 per day and all Expenses actually incurred by him in travelling and looking after the Material are to be paid by me. Mr. Childs it is agreed will make all the Drawings necessary for the erection and completion of the House but will make no charge for the drawings for the original plans and elevation of the Building when those are adopted and finished and the Work Commenced. He will charge at the rate of Two Dollars per day for all time actually employed by him in making the working Drawings or arranging and assisting in the progress of the work. Providence, December, 1862. H.L.

189

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Contract of Mason Work— Memo I have this day contracted with Messrs. Wm. Andrews & Son, to furnish all the Mason Labor required to erect the foundation and wall of my new house and also all laborers in attendance on the same, such as hod carriers, mortar mixers, etc. at a profit of one shilling per day over the price actually paid by them to said Masons & Laborers who are to be such men as are satisfactory to me and have also agreed with Messrs. W.A. & Son to furnish all the staging necessary to be used in the erection of the Building for the sum of Fifty Dollars. They are also to furnish without charge all the Derricks required for handling the Stone used in the Building, to provide all the workmen furnished by them with the necessary tools, wheelbarrows, hods, picks, etc., to pay for Sharpening Tools and keep them in good order and with the understanding that the staging is to remain round the House for the use of the Carpenter in building the cornice and for painting the same. All expenses for Nails for the Staging, and Drayage to and from the House to be paid for by me. All time employed by W.A. & Son in purchasing Stocks or Materials or Superintending the Building to be paid for at the rate of $2.00 per day, with the understanding that no charge shall be made by them for merely stopping from time to time to look after the workmen furnished by them, but only when they are requested to assist by the owner and the time occupied is long enough to render such charge usual and proper. It is agreed that Mr. Horton shall be furnished by them to have the particular charge of the Masons' work under Mr. Peabody and shall devote his whole time to the work. Providence— February 11, 1863 Estimate of Stone & Brick Required for the Building as given by Mr. Andrews: Foundation Stone from 40 to 50 cords, other Stone from 200 to 275 cords.

Inside Brick Large Size, from 350 to 400 M outside walls, if of Croton Brick 60 to 66 M if Danvers 70 to 75 M, if large Taunton 75 to 80 M. Contracted with Mr. Richard Fenner. Cranston Through Mr. Carpenter and Mr. Andrews to furnish all the Building Stone required for the Building of best quality at— $2.50 per cord for the Large Foundation Stone $1.67 per cord for the common size Stone

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All to be delivered on the lot as wanted. Providence, February 1863 H.L.

Contracted with Mr. Stephen Wright. Lime Rock. R._I._ For all the Lime wanted for the House to be of the best quality and delivered on the lot as wanted, say from 200 to 230 casks at 10 shillings per cask, he to pay 1/ s per Cask for all the empty casks returned in good order. Providence, February 10, 1863 H.L.

Contracted with Mr. George H. Hall. Providence For 400 thousand North River Brick at $7*50 per M, for best Body $5.50 per M. for Light do, and what cement we may want on the House at $1.37% pen Cask, delivered on wharf or at Store. Providence, February 11, I863 Contracted with Timothy Conway. Canal Street. Providence To Cart all the Brick for House from Wharf to the House at 500 per Thousand, including the Outside Brick 50 to 60 thousand, which are to be unloaded by hand if we use Croton or any Pressed Brick. Providence, April 4, I863 The above Contract transferred to Dennis McCarthy, Providence. McCarthy is also to cart all the Sand required for Mortar, etc. at 20^ per Load. May 1, 1863 H.L. Prices of Lumber from A. Dailey & Co. January. 1863 Spruce Plank 3 x 12 Spruce Timber for Roof 2 x 10, 2 x 9 &c— all at 14 Dolls per M Spruce 1 in. Boards both ends of a width 13 feet long at $22 per M all dressed for Floors. Western Pine Floor Boards 1^ inch, 7 in. wide cut to dimension at $30 per M all dressed. Pine Timber 3 x 4 & 2 x 4 for partitions $25 per M and the sawing.. Hemlock Boards of best quality 1 in thick for under floor or Roof $12 per M in the rough. Pine clear or nearly so good finishing Stuff from $30 to $48 per M according to quality— about 8000 feet of good finishing Board well seasoned for Cornice, etc. $35 per M Pine Plank, 3 in and 2 in clear for window frames, Portico, etc. $45 per M. Pine Laths of the best quality, Dry, $2 per M

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Lumber Bot (sic) of A. Dailey & Go. 43,869 feet Spruce for floor Plank and Roof 3,526 feet 3 in Pine for Window Sills, etc. and finishing 3,535 feet 2 in Pine for Tanks planed and matched 3,456 feet 2 in Pine for window Frames, etc. 2,030 feet in Pine for Finishing Stuff 8,197 feet 1 in Pine for outside Finish planed 23,288 feet hemlock 1 in for underfloor and Roof Boards 60,200 Pine Laths Bot of Cook Borden & Company— Fall River 7,291 Feet lj Hard Pine Planed & Matched 11,188 Feet Spruce for Floorplank and Roof

Of Edwin M. Snow, Providence 2,628 ft. Pine Joist for Wooden Bricks @ $20 per M

Of Cook Borden & Co. 35,711 ft. li in Spruce Flooring for Roof & Floor in attic @ $23 per M •Of A Duryee & Son, New York 1,639 feet oak © 7$^ for stairs and front Hall, etc. Bot of H.W. Slocum, Providence 1,190 feet Cherry Board' 735 feet curled Maple Board 5,338 feet 1 in, 1§ in, and 2 in Black Walnut © 70 Doll & 100 Doll per M 10,802 feet Pine Floor Boards 1 in planed & matched of Hiram Hill, Providence 3,142 feet Black Walnut 2 in @ 70 and 80 Doll per M 2,l6l feet Ash 1 in & 2 in @ $50 per M 911 ft. oak for Stairs, etc. @ $1.00 382 " Black Walnut do © 9^ & 10^ 155 " Ash do @ 10$ 406 " Cherry for Sash © 9$ Chestnut Lumber Through Carpenter & Childs

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Of Ch. W. Atwood 1,614 ft. Chestnut Plank @ $30 May I863 Of Wm. H. Clark & Co., Boston Wharf, Boston 1,853 feet Rock (white) Maple @ $50 per M June I863

Of Owen Bearse & Co., Curtis Wharf, Boston 2,964 feet Ash 1 in. @ 50 Doll, per M

Of Ogden & Co. New York 932 feet Oak Boards @ $50 190 feet Cherry for sash @ Of Joseph E. Paul, 441 Tremont St. Boston 2,840 feet Butternut @ $60

Of T.R. Seaman, Providence 3,781 ft. Pine l£, 2 & 3 in. @ $50 & $55 Memo Finish for Rooms Drawing Room— Light Woods— Rock Maple, Poplar, or other white wood with Black Walnut or Butternut Mouldings Reception Room— Maples, Rock & curled with panels of Byrds Eye, etc. Library— Black Walnut with Black Cherry Mouldings Dining Room— Oak with Cherry or Butternut Mouldings and Panels Billiard Room--Ash Stiles chestnut Panels & cherry mouldings

Main Hall & Stairways— 1st, 2nd Floor— Light & Dark Western Oak with Stiles of Butternut or Black Walnut Mouldings Doors on 1st Floor— Black Walnut Stiles, Maple Panels, Butter nut Mouldings Doors on 2nd & 3rd floor— Ash with Chestnut at Panels or all Chestnut and Cherry Mouldings Spare Chamber— All Black Walnut

Chamber over the Billiard Room— Maple and Black Walnut Mould ings Sewing Room— Cherry with Ash or Chestnut Panels

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All other Rooms on 2nd Floor— Chestnut with Black Walnut Mouldings All the Closets and Rooms on 3rd Floor & closets on 2nd Floor and Addition Building— Chestnut Kitchen and Closet— Back Entry— Hard Pine Bathing Room— Water Closet— Ash & Black Walnut Contracted with H.B. Smith & Co. Westfield. Mass.-.

February 2^, 186^ For all the Steam apparatus for warming my House Complete (except the carpenter & mason work and tin piping) for the sum of $1360 as follows: 162 Radiators ® $5.00 $810.00 18 Sections of Boilers @ $25 ^50.00 2 Regulating Fixtures 100.00 with Stop Cocks, Safety Valves etc. complete, they also agree that if the above does not give me sufficient heat for the whole house to put in any additional required at half price. H.L. Contracted with Andrew Dempster— March 1864 To Lath, Plaster and Hard Finish the House or to Sand finish it at 20/ per Square Yard. All to be done in the very best manner. It is understood that he is to furnish all the materials of every kind of the best quality, perform all the Labor, furnish all Staging, etc., put on two good coats Brown Mortar and one of Hard Finish or Sand Finish polished as I may direct all to be made straight and even. /Interleafed in the Contract Book here transcribed, is the full contract signed by Lippitt and Dempster. It reads as follows77 Providence March ^th 186^ The undersigned hereby agrees to Lath, Plaster and Hand finish or Sand finish the new House on Angell & Hope Streets-now building by Mr. Henry Lippitt and furnish all the Material, Labor and Stageing, for the sum of Twenty cents per Square Yard. The work to be done as follows, viz The Laths to be furnished by Mr Lippitt and for which I am to pay him the current market price, The Lime is to be of the first quality Smithfield, either Harris or Dexter Lime Rock Co mixed in proper proportions with sharp grit sand and long Cattle Hair. The first Coat of Mortar to be scratched the second coat to be made Straight, Plumb and square and hand floated to an even Surface, the third coat to be Hard

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finished with Lime & Plaster mixed with Marble Dust or Rock- away Sand polished to a smooth surface, as may be preferred by Mr. Lippitt, all the work to be done under the direction of Mr. H Pabodie (sic) or any other person whom Mr. Lippitt may select and to be of the very best quality both as to materials and workmanship, I also further agree to run all the Cornices and ornamental work as required and directed by Mr. Lippitt at fair and reasonable prices for the kind of work performed, and in case of dispute or disagreement between us as to the proper price to be charged for this work, hereby agree that the same shall be fixed by three disinterested men who are competent to decide the matter. The Mortar for the House is to be made up a sufficient time before it is used to ensure first class work; and it is understood and agreed that the work shall commence as soon as possible, and not have it injured by frost, and the whole shall be done with as little delay and as promptly as it can be, and have all the work of the very best quality. All the Materials, Stageing, &c are to be delivered on the premises at my expense, and when the work is completed all to be removed with as little delay as possible. Andrew Dempster Agreed to on my part Henry Lippitt March 4th 1864- Plate Glass for House from A. Noel. Aug. Saurel & 0. Antoine New York — All for $764.

1st & 2nd Stories Main House, Except Bent Glass & 1 Room 18 Lights 26 3/4 x 19 in 5.83 French Windows 1st Story Main) House) 6 do 21 X 19 " 4.19 do do do " 16 do 44$ X 20$ " 11.03 4 Windows do " 4 do 44.1. X 18$ " 9.72 1 Dining Room do " 4 do 44$ X 26$ " 15.48ea. Billiard Room do " 24 do 39 5/8 X 19 3/8 9.27 " 6 Windows 2nd Story " hNH-1' 2 do 39Ct' CM 5/8 X 18$ in 8.14 u Circle Too (North) " " 2 do X 18$ " 9.09 " do ' do do 6 do X 18 3/4 5.26 " Window over North Portico " 2 do 20 X 18 3/4 3,87 “ " " " " " '■6 do 24$ X 16$ 4.0.5) 2 do 19 X 16$ 3.87) Double Window over Front 4 do 26 3/8 X 14 3 .27) Door— 2nd Story— Main 2 do 15 7/8 X 14 2.03) House

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 196

First Quality French Crystal Sheet From D.S. Sohencks. 45 & 47 Chambers Street. New York

Double Thick Glass-$325— $75 Add for Bending. 22 Lights 18 3/8 x 23 3/4 Bottom Glass 11 Windows, 3rd Story 22 do 18 3/8 x 26| Top do " " do 2 do 18! x 23 3A Bottom do Window North Circle 3rd Story 2 do 18! x 26! Top do do do do do 12 do 16 3/8 x 36 3/8 3 Windows Addition 1st Story 4 do 20! x 36 3/8 2 Half " " " " 10 do 16! x 33! Bottom Glass 5 Windows 2nd Story Addition 10 do 16! x 35! Top do do " " 2 do 20 3/8 x 33! Bottom do Double Bathing Room W indow 2 do 20 3/8 x 3^ 3 A Top do do do do 8 do 19 3/8 x 39 5/8 Back Chamber South 2nd Story 2 do 18! x 39 5/8>Small Windows over South Piazza 2 do 18| x 46 )G!ircular Top 2nd Story 4 do 18! x 23 3A) 3rd Story South Circle 4 do 18! x 26 3/4) Bent 3rd Story South Circle 8 do 20 3/8 x A ! ) about 3A inch— 1st Story South ) Circle 8 do 19! x 39 5/8) curves 2nd Story 11 " 124 Lights in all Contracted with Miner & Avery---146 Mercer Street. New York 1st Story Main House— 10 Mortice Locks No. 1 Wrought Iron Cases, Best hand plated Trimmings @ 6.9^ each 1 Double Front Door Lock, New Style Knobs, Night Lock, 3 keys complete $42.88 1 Vestibule Double Door with Night Lock and best plated Trimmings, etc. Complete $17.00 2 Locks for Folding Doors with 2 Extra Knobs each $11.82 each Door Complete 1 Sliding Door Lock with best plated Trimmings & Everything Complete except Ways and Sheves $36.87 4 Pair Bolts for Double Door 3 feet long at top, 9 in at Bottom, all best plated (§ $4.11 per pair 4! Pair 191 Butts best hand plated for outside Doors 6 by 5! inches, Steel bushed joints @ $7.50 per pair 24 Pairs (48) Butts for inside Doors. Same quality as above 5 by 5! inches $8 per pair 2nd Story— 19 Mortice Locks, Cast Iron Cases Best Hand Plated Trimmings complete @ $5.69 each

3 slidi§ie? ! r ^ ^ i v s 9? s ^ n f i o g orapiet8 e x o e p t w a y 3 a n d

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 197

18 Mortice Locks No. 1, Cast Iron Cases White Porcelain Trim mings complete at $1.80 each or $1.30 without knobs

Addition Building— 14- Mortice Locks No 1, Cast Iron Cases White Trimming @ $1.80 1 Outside Door, outer Knob, etc. Plated, white inside & Night key $13.60 5 French Window Trimmings complete best hand plated © $5.4-4- each 1 French Window Trimmings complete brass @ $4-. 19 9 Sash Fastnings best quality plated about $1.97 each) 7 Mullion $1.80 & 2 common $1.27 ) 38 Mullion Sash Fastnings Best quality Brass 67/ each Gold Bronzed 66 Butts for Window Shutters— 1st story, x 2 in $7.15 per doz. 88 Back Flaps 1st Story, 2 x 2| in $6.50 per doz. 8 do do Like Pattern $2.68 ea. 88 Butts 2nd Story— 2| in x 2 in $7.15 112 Back Flaps do 1 3/4- in x 2fc in $5.4-6 4-2 Butts 3rd Story 2 x 2 in 56 Back Flaps do 1 3/4- x 2| $5.00 16 Sash Lifts, Plated— 62/ 38 do do Gold Bronzed 26/ ea. Doors. Etc. Memo

3 Left^ Hdod 1 Story— Main House 1 Left do Outside Door 1 Double Front Door 3 do Folding Doors 1 do Sliding do

12 Left^ Hdod | 2nd Story Main House 3 Sliding Doors do do

10 lef^ Hdod \ 3rd Story Main House 3 Right Hand ) v 4- left do ) 1st Story ( 1 outside Right) I { Addition Building 2 Right Hand ) { 5 Left Hand ) 2nd Story ( Inside Doors all 1 3/4- inches Outside do n 2i ins. thick

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 198

Folding Doors all Beveled Joints Sash all 1 3A in. Thick in. lip 2nd Story Butts 5 x 5 3rd Story do do Contracted with Wm. H. Jackson ft Go. 891 Broadway, New York For 1 French Grate No. 13 with English Fender Gilt Trimmings complete for $85— for Library 3 feet wide ) 2 ft. 9 in. high )Outside of Iron Work & 8 in. corner ) 2?in.n *WideP !opening for Soap Stone Fire Place For Dining Room— French Shape Grate No. 35 ® $^0 complete 1 ft! 7°in?'high6 i 0ufcslde of Iron Work For Drawing Room Grate Frame No. 18— French Shape with as large a Register as can be procured $55 to $60. For Reception Room Grate Frame No. 20 with Gilt Trimmings, Register 12 x 18 in. or larger all for $50. Circular top

1 « 9 S high! °utside °f ir°n prame For Billiard Room Grate No. — Bronzed with Lining, etc. Complete Silver Trimmings @ $4-0 Segment Top 2 ft. .9 3 A in. wide ) 2 ft. 9 3A in. Centre high ) Outside of Iron Frame 2 ft. 5 1/8 in. corner do ; 2ofn in?ewiaej °PenlnS for Fireplace For North West & North East Chamber 2 No. 31 Grates, Circular Tops with Silver Bars— @ $37.50 each 2 feet 8 in. wide ) ' 2 feet 9 in. high ) Hard Coal Grates Circular Chamber (south) 1 No. 91 Grate, French Top English Grate, Soap Stone lining @$35 complete, 2 ft. 8 in. wide— 2 ft. 7|r in. high Nursery & Nursery Chamber 2 No. 7^ Hard Coal Grates circular Tops @ $19 each, 2 ft. 6 3A in. wide, 2 ft. 8 5/8 in. high Third Story Rooms 2 No. 70 Hard Coal Grates circular Tops @ $20 each, 2 ft. 8 in. wide— 2 ft. 9 in. high Servants Rooms— -3rd Story 2 No. 2^ Grates Hard Coal— Square Top @ $11 each, 2 ft. 4 in. wide, 2 ft. 7f in. high Bought of Leon Larmande. 1281 & 128G Broadway— New York 1 Rose Pyrenees Marble Mantle with Black Marble Mouldings for Dining Room at $550. 6 ft. 3/8 inch breast work.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 199 1 Statuary Marble Louis 16th Style for Drawing Room @ $500— 5 ft. 10 3/4 Breast Work. Both with hearths, etc. complete and boxed ready for ship ment to be delivered August. Bought of Tinglevs Prov. Mantle for North West Chamber of Lisbon Marble, Red spots as per plan @ $200 For North East Chamber, Red Lisbon Marble $200 For Circular Chamber, Pink Vermont Marble $125 South East Chamber, Green Vermont Marble $75.00 & Soap Stone Fire Place $25. Bought of Steam Marble Co. 2 Italian Marble Mantles for 3rd Story Rooms @ $80 each. With Tingley Bros, for 2 Marble Mantles for Nursery & Nursery Chamber not to exceed $60 each. Contracted with E.F. Miller & Son. Providence For Iron Safe to be placed in Dining Room Closet 4 Ft. Wide 5i ft. high 23 in. deep To be divided in two parts made of thick Stout Iron, all for $500. June, 1864 Contracted with Phelan & Collender. New York Corner Crosby & Soring Streets One second size Billiard Table California Laurel Panels, Black Walnut Mouldings, cap & Lipping of cushions Rosewood, finished in Oil, Slate Bed, Table to be boxed ready for shipment and man to put it up, his actual expenses only to be paid. Price $750, including 4 Balls 12 Cues & Cue Rack 2 Maces 4 Bridges with Hooks A Set of Markers August, 1864 Contracted with the Providence Steam Marble Company April 8, 1863 To furnish all the Free Stone Work required on House according to the Drawings, except the Circular Platform and Steps to Main Portico & Large window over the front door for

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 200

the Sum of $7500. All to be delivered as wanted.

October 12, 1863 Contracted with same Co. for the Steps, Buttresses and Tiling for platform to front Portico all complete for $650. February 15, 1864 For all the Free Stone Base to Iron Fence (15 inches high) as far as East Side of Carriage Drive under the Portico and including the front steps as drawn with 6 Stone Posts & Caps, 2 feet square at Base & 20 inch Shaft all for $1700. Also contracted with same for Cap & Base of Free Stone to brick wall, including Steps and 2 Large Stone Posts & Caps for Carriage Drive $474, or if the curve top to small Gate is omitted, $26 less, making in all $448. December 2, 1864 For all the Marble Tiling in the Front and side vestibules with White, Black and Red Squares all laid com plete from the Brick work for $1 per Square foot, also for 6 Marble wash bowl slabs in 2nd Story and 2 slabs in 1st story made to fit the wash stands. All counter Sunk and Moulded Edges for $2 per Square foot.

December 2, 1864— Contracted with James Warren & Co for 4 Wash Bowl Slabs in 3rd Story and 2 Slabs for Nursery and Nursery Chamber, all 3 feet long, 21 in. wide and 10 inch back, plain face and moulded edges for $1.90 per square foot. Also for 1t2 Marble Thresh olds for Lower Story according to Pattern given for $82 & $50. 2 Marble Sinks $35 3 ft. 6 in. by 21 in. wide 6 in. deep 2 ft. 6 in. by 20 in. wide do Marble Register Frames

Providence— January 25, I865 Contracted with the Builders Iron Foundry for the Iron Fence, same pattern precisely as the fence in front of Mrs. Chris Lippitt House at $5 per running foot and $50 added for the Extra Work on Pattern. The whole to be put up in complete and in the best manner extending from the Easterly post on Angell Street to Mrs. C. Lippitt line on Hope St. to be completed as soon as the weather is suitable in the Spring.

Contracted with Cooper & Belcher. New York To cut all the Glass as per design and patterns

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 201

Selected by me and of the sizes required for the vestibule front Door, Dining Room Doors, Door to Water Closet from Billiard Room and door and partition in Side Hall under the Stairs landing all for the sum of $300, including Glass. The Glass for the Dining Room and Vestibule Door to be of French Plate the other of double thick crystal. May 29, 1865 Contracted with William Gibson Comer Broadway & 13th Streets. New York To furnish the colored Glass complete according to the designs selected for the two French windows on the land ings, 2nd & 3rd stories, Main Stairs Case, including every thing but the outside frames for the sum of $200 for the lower windows and $125 for the upper window.

/Interleafed in the Contract Book are several business cards, among which is the card of Oliver Stearns with Wm. E. Bright, Carpet Dealer, 328 and 330 Washington Streets, Boston. On the back of this card, in Lippitt's handwriting, appears the following:_7 Wilton Velvet for Dining Room @ $4.50. per yard about 65 yards. Bigelow Brussells for Hall @ $2.75 per yard, all made up ready to put down. July 27, 1865

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 202 77 .6 5 4. 62.06 4-9.00 572.27 250.00 255.19 2?6.4-7 1 6 9 .8 3 187 1013.36 1915.65 $3 @_13.50 4-79.50 Oz/?/ Copper /?7 2§ Pine & ft Hard Pine 1346|f AFPENDIX B ft Chestnut Surveying Casks nails $ Boxes Tin 50 7291 35 6882 $1.77 New House— Corner Hope & Angell Sts TRANSCRIPTION"NEW HOUSE OP. ACCOUNT" Tip Carts moving Earth & c ) 28 374-. Insurance on Lumber Carpenter & C & Slocums Cook Borden & Co Cook Borden & Co Spruce Lumber Crocker Brothers & Co J Congdon & Son, E ? Mason & Co White Lead & Oil H W Slocum Black walnut Time Books & c Carpenter & Childs a/c to Mch 31 " 497.52 V/m H FennerV/m & Co for digging Cellar & foundation, Blasting Rocks &) Barker Whitaker & Co Window Pulleys J R Wilborn Bill A Dailey & Co Lumber Bill Owen Bearze & Co Bill ft2964- Carpenterash & Childs Labor & c to May 30 " 548.11 151.16 H Hills Bill Ash & B Walnut & c 351.78 Ogden & Co N York 932 oakft W; Bords 47.60 Wm H Clark & Co 1853 ft Maple 94-.50 Wm Andrews & Son do 11 to May 30 " 572.86 Lippitt Papers, v. 85. do do do do do do do do do do do do do do do do do do do paic II !! II II II II II n 11 11 11 11 It tl To 11 11 11 11 II n 3 Q 3 It 8 2 6 23 2b 3 0 1 3 18 1 6 29 22 Source: Henry Lippitt, "Private Accounts," John Hay Library, Brown University, II 11 11 ti ti n it11 ti II 11 n 11 11 n II 11 11 11 1863 Dr Feby Mch Apl May June

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6.00 52.56 66.00 73.18 85.79 48.42 47 .9 8 65.75 14.72 91.04 17.25 806.05 174.88 302.30 614.58 695.14 956.59 154.05 142.66 787.66 108.10 170.40 453.32 469.92 219.49 1000.00 1342.38 1500.00 1223.83 4000.00 1268.61 1014.98 1594.29 3000.00

11 c & c to 27th & & & a BW & ft Pine Joist a/c to Octo 3 a/c to Octo 31 " 2638 Sons Son Hopkins for Stone Childs a/c to June 30 & & Childs a/c to Octo 31 " & c to this & date c to this date & c to Jany 9 / 6 4 & & & ^enner Bill Stone for House *1 McCarthy DigS Well 22 ft deep

Carpenter C S Wood Bill Stone Steps & c . Laborers C W Atwood BillF l6l4 ft RichChestnut D McCarthy Carting Sand & C & c Wm Andrews & Son Labor Laborers Wm Andrews & Son a/c to Aug 1 " Geo W Hall on a/c Bricks Carpenter & Childs a/c to Sept ?th Stephen Wright 272 Casks Lime Providence Steam Marble Co on Contract Manchester & Hopkins forJ H StoneLeonard WmBlacksmithy Andrews & Bill George W Hall on a/c Brick Carpenter Wm Andrews & Son a/c to Aug 29 Hiram Hills Bill Oak Jos P Paul Bill Butternut Wm Andrews G W Hall balance Brick Cement Manchester Laborers Wm Andrews & Son a/c to 28Nov.b G W Hall forProv Brick Steam & DrainMarble Pipe Co on a/c Contract Narragansett Brick Co 7000 Brick Builders Iron Foundry Iron wk Jct/?7 Andrew BlairWm SawingElsbree OakJr forfor BalustersTeaming do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do II II II II It II II II II II II II II II II II II II II II II II II II II II II II II 11 11 3 5 5 1! II 7 4 4 2 5 3 0 2 7 2 9 1 1 2 9 17 3 1 18 21 27 24 10 12 12 30 12 16 19 II II II n II II II II II II II 11 II II 11 II II II II IJ 11 ti 11 11 it fl n II IIIIII II IIII June 23 To paid Edwin M Snow July Sept Aug Octo Novb Decb 1864 Jany

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. iiOZ .56 9.87 6 4 33.37 54.46 61.28 50.00 80.00 78.85 79.61 46.20 25.11 17.76 36.60 27.03 26.17 231.81 1 208.52 577.92 871.10 218.50 113.97 201.24 258.96 201.63 100.00 116.98 196.33 434.04 250.75 221.06 764.00 332.20 300.00 1559.37 1127.11 1759.24 | " 6 Tin& Roof & c & & Go Co Bill Oil & Paints & Read Bill Pipe Lead' & c & Stephen Wright Bal Bill Lime Carpenter & Childs a/c to Dec 31” E P Mason Duty Evans Bill Iron for Walls J H Leonard Iron work to Nov A Dailey & Co Lumber to Dec 31“ Insurance on House 1 Year J Congdon & Sons 40 Casks Nails Richd Fenner Bill of Stone Anthony Potter & Denison Oak & c T R Seamans Bill 3781 ft Pine Plk & c Calder & Read Bill Plumbing H.W. Slocum " 4316 ft " do Calder & Read 4048 Dr/?7 Lead Pipe & c Wm Andrews & Son a/c to Jany 30" Wm H Fenner Hudson Gas Pipe Co for Gas Pipe Hiram Hill Bill 906 feet cherry Wm Andrews & Son a/c to Feby 27 Calder H B Smith & Co Steam HeatS apprt 1356.72 A Duryee & Son 1639 feet Oak Frov Gas Co Bill Pipes & c J R Swan Carving Patterae Ogden & Co Cherry Plank & c Wm Andrews & Son to Apl 2" Freight Glass from New York D S Schanck French Crystal do John H Leonard Bill Andrew Dempster on a/c Contract do do do do do do do do do do do do do do do do do Carpenter & Childs a/c to Feby 29" do J Congdon & Son Hardware & c do do John A Townsend ondo a/c Painting do do do J Congdon & Son Bbl Glue @ 15sZ?7 do do do do A Noel & Aug Saurel Plate Glass do do do do ii ii ii 11 ii 11 ii "

" " " " do Laborers at House to date " " "

" do " ii ii it n it ii n n tt tt n H H H 3 " 5 " 7 " 8 9 " ii 4 " do 2 8 4 " 2 5 " 3 " 19 To paid Wm Andrews & Son to Jany 23 29 25 " do 17 " 22 14 " 11 18 19 25 " 16 18 28 " 11 10 11 II II II II II n II II II 11 II 11 II ft II II II » tl 11 II it n II II II (1 II II II ii ii ii ii Jany Feby Mrch Aprl May

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7 .5 0 1.5 8 53.65 89.60 50.00 67.13 68.75 72.00 7 1 .0 5 4 2 .2 1 184.69 281.15 318.39 170.75 192.50 294.12 300.00 500.00 300.00 213.54 199.76 300.00 158.43 242.25 100.00 267.08 900.00 400.00 200.00 300.00 113.45 249.58 300.00 1532.80 1783.47 1869.88 1500.00 c & 2446 ft Lumber

Go 03 ft L Rod 6 & & Carpenter & E ChildsP Mason a/c & toCo AplOil &30" Shellac Wm Andrews & Son to April 30th Cooper & Belcher Bendg Glass' balance Jno A Townsend Bill Paintg Andrew Dempster on a/c Labor, Carting & c from Apl 2nd to date A Dailey & Co Lumber Wm Andrews & Son a/c to May 28 G W Hall & Co Bricks & cement Andrew Dempster on PlasteringWm Andrew & HiramSon a/c Hill to 6000July Brick2" @ $12 Carpenter & Childs a/c to July 2" A Dempster Don C a/cJencks Bricks & Cement H Armington Hudson& S & $5*G CoEdw D Pipe A PAndrews MillerCo $2.60for forPosts Ironfor Safe Portico Staunton Clark for Curb Stone Richard Fenner Bill Stone D B Ingraham AndrewsV/m Sawing & Son Machine a/cto July 30" A Dempster on a/c Geo M Johnson Carpenter & Childs a/c to Sept 3" Miner & Avery Locksa/c on John A Townsend on a/c V/m H V/m Fenner & A DempsterRungs Co onTinning a/c c & Jonas Fitch 1015 ft ButternutProv Steam Marble Co on a/c Watson & Bisbee 2400 feet Lumber Andrew Dempster on a/c Belcher Brothers Hand Rail Screws Albert Dailey Wm Andrews & Son a/c to Octo 1" do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do n 11 n n 11 11 11 11 11 11 11 To paid 11 11 11 11 11 11 11 11 11 II it 3 It II 11 II 6 11 9 4 rt 1 6 11 8 ii 11 12 28 19 10 21 12 19 23 25 24 30 13 19 24 21 10 11 12 ti 11 11 11 11 11 It 11 II II 11 11 it 11 ti n 11 11 n ir rr it 11 11 11 11 II II II 11 1111 it ti June May July Sept Aug Octo

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 5 . 0 0 7.92 9 . 2 0 98.85 51.50 70.00 13.00 15.00 96.75 24.00 48.08 41.44 2 2 . 088.50 2 131.87 506.08 153.18 658.71 800.00 243.08 400.00 300.00 2 5 9 . 8 2 620.15 145.00 128.04 654.19 454.31 2787.43 1 0 0 0 . 0 0 $ 18.75 c & c & Lime & c Cartage & & D 23 Birds Eye Veneers & Co Bricks Co o Marble Slabs 132.90 Son a/c to date 153.38 & & & Co 212 ft Chestnut & Roome N Y bal due Locks Butts & Carpenter & Childs a/c to Octo 29th James Vance Bill Cartage Labor, CartageD S & Schanckc at House & Son to4 dateLights Glass Joseph P Paul Boston 1853 ft do V/m AndrewsV/m & Son a/c to Octo 29th Elwin Shaw Bill Bolts for Stairs A Dempster on a/c Plastering Watson & Bisbee 582 ft Lumber Wm Andrews & Son a/c to Decb 3 H V/ SlocumH V/ Bill Storage Lumber Geo S Dow for use of old Canvas Geo W Hall Tingley Bros & Co on a/c Mantles Hiram Hill 1466 ft Lumber 96.63 James Vance Bill Teams Andrew Dempster on a/c Plastering Hugh McGovern Balance a/c Hill & Pierce 10 Tons Coal E P MasonJ Balch -f;2.08 & Son 10 Gls Alchohol (sic) $46 Anthony Potter Miner Gas Bill to Decb 31 Calder & Read Bill to Decb 31" J H Leonard RichdBill BlacksmithingFenner Bill Stone to Dec 31 do do do do do do do do do do do do do do do do do do S Clark forStone'2 Fenders do Laborers, Grading Banks Teams & c to date do A Dailey do do Jas Warren do Wm Andrews do Manchester & Hopkins for Stone do do do do do do do do Carpenter & Childs on a/c Dec & NovBill . do . ii ii ii ti n ii n ii i i ii ii ii ii ii n ii To paid New England Butt Co Window Butts n ii ii ii ii i i ii ii ti ii i i n n n ii ii n 3 II n 3 II II It II II ii i i i i 11 19 26 21 1 0 19 16 2 2 2 1 24 2 8 31 2 0 1 8 2 1 It I! ft It II II /I ti tr n it n n n tt it ii n i i ti it ii 11 ii II ii It It H ii u II it ii i i ii ii i i Novb Decb 1865 Jany

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 4.05 95.76 16.40 70.00 44.00 78.84 12.25 75.00 62.07 51.26 60.00 22.43 97.33 100.00 225.00 57^.11 525.00 819.97 140.72 509.00 123.17 203.75 236.15 102.88 370.00 302.40 155.62 1000.00 1000.00 1000.00 1514.92 $ 11.00 Grant Glazing Sash Strange on a/c Carpenter & Childs Roome Shutter Trimmings & c & Sc H do do hal a/c to Decb 31" Carpenter & Childs on a/c Dec & Nov Bill Thos Noel & Saurel for 6 platesJno AGlass, Townsend Doors on& a/c c Painting Jno Townsend balance toTingley Dec 31 Bros bal due on Mantles & c R B Lawton Bill Stucco Work Wm J Harris Bill Gravel 27 Loads Hudson S & Gas Pipe Co bal a/c Gaspee Ins Co Insurance on House $20,000 6 mos Co/?l7 Ins Co Insurance on Lumber & C J Congdon & Son Hardware & c Jas Warren & Co Marble Sinks Thresholds 352.23 Carpenter & Childs on a/c Wm H Jackson & Co Bill Grates & c American Screw Co Screws 24.17 Gilbert Congdon & Co Bills Iron 5.98 Wm Andrews & Son a/c to March 11" Jos F Paul Boston 804 ft ash R Malbone Cartage of Stone Jna R Swan HillCarving & Pierce Capitals 5 TonsPortico Coal C C W Atwood do 1402 " " 82.58 T R Seamans Bill 1520 ft Lumber Carpenter & Childs balance to Febry 25 Knowles & Scholze Labor Carving 73.50 A B Rice do 1368 " " Amt due Laborers & c to Apl 1" C S Wood Bill Stone Jas Warren & Co Bill Register Frames American Screw Co Brass Screws New England Butt Co, Butts do do do do do do do do do do do do do do dodo Martin do Miner do do do Carpenter & Childs on a/c do do do do do do do do do do do do do paid D P Dyer & Son for Trees ii ii " " ii ii ii ii ii

it it n

ii ii n n n ii ii ii ii n n it 6 " it it 3 7 " ii ii ii ti ti n n n 8 8 " do 27 " 31 " 28 " do 10 " do 26 " 16 " 23 " 25 " 28 11 " 17 " 18 " 21 " 27 11 31 " 20 " 28 " ti ii 1! ft !1 II n n it ti ii ii II II II II II II II II II II f! II II II If II ii it ii ii it ii Jany 26 To Feby Mch Apl

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 0 0 IV) o

6.15 7.26 50.58 16.71 25.50 93.96 54.11 37.75 58.48 47.10 67.08 100.00 219.43 178.25 852.60 312.00 128.78 100.00 100.00 275.06 200.00 200.00 100.00 419.39 200.00 330.80 200.00 100.00 1050.00 1500.00 3723.96 1000.00 1000.00 3198.87 1168.33 2896.73 1858.00 th 29 ft Lumber Mantles 2 2 feet Lumber 1764 2287 do & do balance to Apl Carpenter & Childs on a/c L Larmande Bill Joseph P Paul Jno A Townsend on a/c Hiram Hill Cooper & Belcher Glass for Doors & c John L CalderLaborers on a/c & Plumbingc at House to date DP Dyer & SonCarpenter Bill Shrubry & Childs (sic)on a/c Carpenter & Childs bal to July 1 Cattanach & Cliff on a/c A Dailey & Co 845 feet Lumber John A Townsend on a/c Cattanach & Cliff on a/c Miner & Room (sic) BillJno Bolts A Townsend J Congdon bal to & JuneSon a/c30 to June 30 Wm H Jackson & Co " Grates Cattanach & Cliff on a/c GeoHall V/ & Co Brick,Carpenter Cement & Childs& c a/c to Sept 2" Builders Iron Foundry Iron Fence James Vance Bill Cartage Cattanach & Cliff on a/c Wm J Harris for Gravel H W Slocum Bill 466 ft TingleyLumber Bros Bill MarbleCox Work Brothers N Y Gas Fixtures Cattanach & Cliff on a/c Wm Gibson Stained GlassJno Windows A Townsend on a/c Dean Planeing Mill Arthur F Dexter 471 Loads Sand Martin & Grant Glass & Glazing Manchester Hookins & Co Bill do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do do " " 11 11 " " 11 11 11 11 11 h 6 n n 9 11 11 n 1 “ 5 " 11 11 n 11 3 " 7 " 11 11 11 11 11 11 2 " do 11 11 n 2 2 11 11 11 7 " 13 15 " 29 10 " 12 1126 do 11 " do 23 " 27 " 17 " 14 11 do 26 23 " tt II II II II II II 11 II II II II II II II II II II II II II II II II II II it11 11 n 11 11 it ti 11 n a May 4 To paid June July Sept Aug Octo

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. to o \0 9.76 4.80 13.25 10.81 33.41 45.12 21.95 20.10 272.08 678.1*1- 678.1*1- 121.4-9 121.4-9 885.52 518.04 100.02 156.73 139.42 435.72 230.69 101.65 244.85 157.42 428.39 390.21 1000.00 1379.45 1055.85 1625.96 1000.00 1468.86 1390.21 23 c & c Side Walk & feet Lumber 4921 Carpenter & Childs on a/c Carpenter & Childs a/c Coxto BrothersOcto 31 Bill Gas Fixtures bal due A Dempster J E Child altering Tools Carpenter & Childs bal a/c Carpenters & Laborers to date J L Calder Bal PlummingJohn (sic) Mason Bill BillJohn AWoods Townsend bal a/c Wm Andrews & Son Bill Earl P Mason & Co a/c to date John H LeonardNew EnglandBill Butt Co Bill Potter Dennison (sic) & Co Bill Hiram Hill Bill Wm Andrews & Son Labor Union Screw Co Bill Thomas H StrangeJ Congdon Bill &Prov Son a/cSteam to Marble Jany 1" Co on a/c Geo W Hall & Co Bricks Side Walk C T Little Bill Bells & SpeakS Tubes Wm J Harris Bill Gravel Nickel & Suffa Bill Turning Jno A Townsend Bill Painting C F Hull Bill Carpenters Work do do do do do do do do do do do do do do do do do do do do do do do do do do do bal due Wm H Fenner & Co do Carpenters & Laborers to June do paid bal due Cattanach & Cliff ! II II II II II II 11 H It II If II II II II II II If II To II II II II 11 II II II H II 11 11 n H 2 ti 4 3 28 11 30 15 20 26 31 13 20 22 n • 25 10 13 31 25 16 22 30 13 II II II II II II n 11 11 11 II II II It II II H II 11 II n Octo Novb Decb 1866 Jany Mrch Sept 1867 Apl July June Feby 23 "

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 210 80.69 ) c Conservatory 186.16 & Total Cost House $ 115347.06 c ) $ 1800.00 & c & Free Stone work do Jno H Leonard Iron Work on Blinds 160.30 do J A Townsend Painting Glass do proportion F H Peabody Bill Carpentry 300.00 11 11 11

6 8 29 " do H H Fenner Wine Trellice for House 75.00 " " 17 " do Builders Iron Foundry Iron Steps & c 11 Mch 26 To paid balance due Prov Steam Marble Co in full for June 15 July " do D D Sweet & Co Bill Blinds 224.00 Novb 30 Apl

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 211 Providence, Feby 24th, 1865 PROM ANTHONY, POTTER & DENISON APPENDIX C BILL Manufacturers and Dealers in Bought of Anthony, Potter & Denison, Rich Cabinet Furniture and Upholstery Goods, TRANSCRIPTION OP scraping 6 Wal Chairs 11.85 Sc 2 yds Linen for Window Seat 1.00 $ 2.00 1 pt Boston Stain 1 Gill Blk Stain 2.10 Pitting Mantle Glass at house 17.78 Picking 6 lb Hair .30 Uph Labor on 2 old Chairs Setting & putting up Glass at house 7.15 1.24 New Tick for same 3.50 Source: Rhode Island Historical Society, Lippitt Collection, Henry Lippitt 27 Repg Wal Chair .38 Howard Building, 137 Westminster St., and 50 and 51 Exchange Place, up stairs. D.C. Anthony) R.A. Denison) 1866 Peby 27 L & M making Slip Cover for Sofa 14.00 A.K. Potter ) Mch 28 " Uph & Var Childs High Chair 5.06 Aprl June 8 21 1 Mirror Taking Plate Covers43/40 foroff Sideboard7 Chairs & Lounge 58.00 5.15 July 8 Repg July 18 Labor setting up Bookcase & Sideboard 22.58 Aug 18 Making over Crib Hair Mattrass (sic) 1.00

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 212 63.34 i Pt Blk Stain .37 1.12

.75 " " Var. R.W. Center Table 3.61 " " Oil pol. Easy Chair .50 " " Var. Ma Bureau & Glass 3.85 2 Easy Chairs 4 Parlor Chairs, Crim. Rep ) 1 Sewing Chair in muslin 1 Chest Bureau & Glass ) 184.00 20.00 L & M Renovating & Uph Sofa, Tete-a-TetePitting pieces ) L & M on Var Sofa Sofa, Tete-a-Tete, Easy Chair 2 Med. ) Chest Bedsteads 16.00 .77 32.00 4 Parlor Chairs & Sewing Chair 2 do Teapoys ) 10.30 5.00 10.00 Pitting old PuttingGlass inmoulding Dining Roomon Easy Chair 2.06 1.12 4 Bent Dining Chairs 2.50 10.00 Altering & Repg Ma Bureau 8.75 LUph & M & covering Easy Chair your Chintz 9.09 Taking down old Curtains .75 L & M altering & scraping Extension 1 doTable Bureau & Glass 11 125.00 1 Spring Bed " 45.00 1 Hair Mattrass lb45ig (sic) " 1.00 4$.50 % pt Boston Stain L & M Var Bureau & Glass 3.50 25 5 yds 4 in W. Fringe to order 8.75 24 1 Wild Boar's Head 40.00 26 Coloring Border for Silk Curtains 4.00 18 Labor altering & Repg Ma Bureau 6.00 16 1 Spring Bed 6-lx4-7 13.00 20 251 Chest. 1 BureauBW Bedstead & Glass for Son's Room 125.00 20.00 26 Oil pol Wal Easy Chair .77 30 L & M Staining & Waxing Ex. Table 13.90 18 1 pt Varnish .00 Aug 23 Oil polishing 6 Wal Chairs & Lounge # 8.53 Sept 8 1 Set Casters & putting on R.W. Sofa 2.57 Oct 9 Easing Draw & putting knob on Bureau .52

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. tv>

.84 .52 3.21 2.50 2.50 2.00 2.60 2.62 1.70 9.00 2.16 1.00 1.40 3.50 10.71 16.69 14.00 37.00 14.25 14.62 33.00 76.00 80.00 20.00 65.00 875.00 175.00 125.00 100.00 450.00 250.00 200.00 230.00 425.00 9 7 10 10 10 87 50 50 10 10 1.50 2.25 50.00 Bookcase & 3 Stuffd Bk. Chair Tapestry Crim. Satin Extra 34x35 5/8 Setting Same & Step Chair, Loops & & Covering same & Inlaid Center Table Parlor do ) Arm Chairs Etegare (sic) Glass Plate Map. Cornices & Curtain Pins Cord.2 pair Gimp Bands & Wal. Chairs, 1 Music Rack Gray Chintz 2 & do do Gilt Tete-a-Tetes U & Oak Hall Stand & M Var Ma Whatnot M Repg M Uph Easy Chair with ruffle (your Chintz) " Crim M making up 2 Suit old Satin Drapery & 2 Valences do Chair) & & yds Picture Cord Plate for same Wal Hall Sofa ) B.E. Map. Mantle & 6 i 25 yds Green Cord 12 L 20 " Crim. do 9% lb Feathers added L & 3 Bar Room Chairs1 B.A. Chair 17 11 Worsted do L 1 Glass for Dressing Room Silk Fringe Enamelled Leather [2 Suit[2 Silk Tassels 8 Repg Arm Chair 2 20 yds Picture Cord 24 30 2531 yds Picture Govering Cord Easy Chair 11 18 yds Silk Cord 13 Labor altering21 2 Bolsters Oil 23 pol Wal 17Chair yds Picture Cord Oct Nov Dec

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 10 -P- H*

6.00 68.00 69.00 65.00 55.00 90.00 50.00 21.00 75.00 90.00 88.00 84.00 15.00 18.00 675.00 210.00 350.00 108.00 200.00 100.00 180.00 180.00 195.00 1150.00

3.00 2.00 23.00 27.00 90.00 22.00 65.00 42.00 Brackets & Pins Cornices Tester & II R.W. Bureau & Glass Commode Gray Chintz Washstand & II (Cretone Chintz) & V/ashstands no marble " 11 do " " " Map. Gray Chintz Curtains & Cornice Bedstead Bureau & Glass & 11 Eye " " " Washstand no marble] " " 11 " Dressing " Case Commode Marble top " " Window do Suit Chintz Drapery for Bedstead ) Suits Crim & Gray Chintz Drapery ) Reception Chairs Suit Crim & Chintz Tester for Bedstead ) Easy Chair Crim. Ladies Desk Tulip Wood Reception Dressing Bureau & Glass Vermont Marble R.W. & Map. Ladies Easy Chair Crim & Gray Chintz Wal. Ebony & Tulip Bedstead Set Bed Drapery Divan Covd R.W.Blue & & Map.Gray Chintz Recep. Chairs Turkish Easy Chair C & G Chintz B i r d 1s 2 pair Pins for Reception Room 2 Suit Crim 1Rep Pair Drapery Oak Steps (old Tass. & Cornices) 2 " " " Reception Room* 3 " 11 11 Drawing Room* 1 Burhl 1 (sic) & Ebony1 Bedstead " " Dressing Case 1 2 " 11 " Bureau & Glass 4 Sets Lace Curtains Pink Chamber* .Making up 9 set Lace Curtains ing Dress Mrs. L Room*

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. t o Vn 90.00 75.00 75.00 74.00 58.00 70.00 21.75 70.00 70.00 13.00 112.00 112.00 325.00 160.00 380.00 120.00 325.00 360.00 700.00 275.00 270.00 900.00 175.00 250.00 420.00 175.00 175.00 165.00 136.00 1285.00 1025.00 1.003.001.50 141.50 9.00 28.00 25.00 60.00 38.00 55.00 37.00 68.00 * 140.00 135.00 450.00

ii Billiard Room Tapestry l4l£

Shield & Dining Chairs, Niails Steel Ash Mantle) Wal Sideboard $900 Glass $52 Marble Top$154 & & do Easy Chair 11 11 " Frame for same plate) (his " " " & Cornice Pins " " " " Dwarf Bookcases 11 Library Table " " Hair Mattrasses (sic) ” ” ” Suits Satin Drapery, Suits Satin Drapery, Loops, Tassels & c Easy Chair Rose Cold Satin Plate Plate for Suits Tan& Drapery Border do 50/72 Burhl &Ebony Window & Cornices Pins Burhl (sic) Burhl & EbonyCommode) (sic) Recep do 11 " BW Burhl (sic) & Ebony Mantle BW Burhl & Ebony (sic) Ottoman Sofa Tan Rep Crinoline Chairs Turkish do " w Oval Back LibrarySwivel ChairChairs for (no Sewingarms) Machine Brougham Chair Deer's Head Large Bolsters Best Spring Beds But. But. Oak 1 1 M Sets Drapery. 3 Rep. Green& Poles Rings " Mantle Frame Plate & Glass 1 1 1 " 2 " 1 " " Side Table " Arm Chairs " Couch 1 Frame for do ) 1 I 4 1 1 3 3 3 1 B.W. Sofa 1 1 " 11 Arm ChairChair no O- Bed Tester & Brackets O- „ '1 10 10 « "l Inlaid Table 14§ lbs Best Feathers f \ J <

u u u td * * •H ti ho £ * SJ O SJ •H 6 •H cd Q •H O t* t* CEOaJ (dffi » O E & § •H O.Q •H

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ro H CJ\

5.25 7.00 5.25 3.00 1.50 7.50 8.00 6.00 2.28 7.50 60.00 70.00 12.00 14.00 55.00 60.00 50.00 20.00 65.00 10.00 10.00 40.00 14.00 10.50 72.00 66.50 60.67 40.00 26.00 10.00 15.00 42.00 42.00 150.00 258.00 7.00 5.25 5.00 6.00 7.00 35.00 13.00 21.00 21.00 Room Cornices pair Gimp c & Poles t i Strip0 Buff Curtains & 2 new Cornices Pink & White do n n a If pr Covers for Lounge & Chair 2 2 2 H Slip n n q " " Chair ) 11 " " " " " for Chest. Bedsteads H H H 2 " Fuchia " II II II Old Lounge) " Hall Curtain Cross P.L Mattrass (sic)6 5-7x4— Brougham do " B.A. Chair Libraryfor Son's Table RoomDesk " Glass Plate 4— 7x2-7 11 " " B.W. Recep Chairs Tapestry Ro. Ottoman Stool for LibraryOval Cottage Chair " " " " " N.W. & S.W. Chamber & oiling putting up Curtains Recep Room ) 2 1 1 1 1 1 1 1 1 Old Chair Stuff** & Covered (his Covering Chintz) same in Pink & White Chintz 2 pr Crim. G12 & ydsB.W &6 in S. CrimTassels Fringe Library Labor Stuffing & Covering25 ydssame Cordyour2 ChintzChamber Chairs L & M making 2 Suits Chintz Curtains "Pauls" Making up 2 Poles & Tips Mrs L's Room 4 2/3 "12 Labor of Mr Harris putting up Curtains in Mr & Mrs L's 2 Ren Window Cushions 4 Pins & L & M CuttingL & & FittingM putting & up Cornices ) Putting Drawing up L oldRoom & MLace putting Curtains up CurtainsS.W. Chamber Drawing Room inclusive of 3 John Protin's Bill Drafting 6 4 w 13 12 cm Q) H Q) o ftrhd C-P P*aJ t=> tc tc t=> Dec

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.

5 .5 0 6.00 5 .5 0 8.50 25.00 15.00 10.00 12.00

11.00 £

5.00 5.00 6.00 5.50 5.50 16.50 4.25 8.50 12.50 ^.25 ) Library Pink Chamber Blue Dining Room do S o n 's do Recep Room do do do dodododo Drawing do Room do do 3rd Story do Complete » « 20.00 h do do do do do do do 11 11 Covering Wal Easy Chair 19.44 " " Uph Piano Stool Silk Rep 9.24 1 1 1 pair BW Steps 15.00 2 « ■ " 2 Chintz WindowCushions 22.00 4*1-.00 Repg R.W.& GiltOil Table pol Trimming & Fancy Table 8 Fenders & putting on Furniture 2.34 1.30 2.52 1 72/30 Glass Plate 65.00 2• do 3 2 11 do do do , 1 L & M Var Piano Stool & RackMusic 2.17 2 3 6 2 4 S.W. RoomUp. 4 Parlor.Shades Lower Dressing Chamber Room) no fixtures 12.00 S.W. & N.W. Chamber, Front Hall & Nursery) 25.50 Picking 51 lbs Hair .06 3.06 Making over Hair Mattrass 1.75 Setting up Etagere & Hanging Glass ) L & M setting Plate in Billiard Room Hall Stand & setting up same 12.50 Washing TicksL & M Uph Foot Rest on Library Table .75 Fixing Mantle piece in Drawing'Room ) 7.00 Additional Charge for Nails on Arm Chair, Sofa, & 2 Stuff*1 Bk. Chairs 6.50 26 Unboxing,Carting & Setting up Parlor Furniture 40.00 14 PuttingCastars 2 (sic) on Wal Lounge .78 18 GildingCurtain 6 Pins 5.00 30 Making P.L. Mattrass (sic) 2 parts 5.00 Dec 27 7 Shades & MrsMr L's Room ) 5.00 35.00

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 218 yds Picture Cord .12 .51 1 Glass Plate *1-2/36 *f2.00 2 2 Pillow Ticks 1.50 3.00 Hanging Oak MakingGlass & Patterns Fitting forDressS WindowMaking Bureau Cushions up same 6 lb Feathers 7.50 2.00 2.00 1.50 9.00 1 Bolster • 2.00 Picking 27 lbs Hair .05 1.35 Setting 2 Glass plates 2.*1-0 2 lbs Hair Added 1.25 2.50 1 Sett Socket Rubber Wheel Casters l.*J-3 L & M puttingLining 2 Trays 3 Drawersin Side inTable LiningSideboard & Same Blkwith Velvet Blk Velvet) 16.86 ) Materials Altering Tick 1.25 Washing Tick Uph 6 Oak Arm Chairs Gr Leather 1 B.W. & Ash Burhl (sic) Desk Hall Front 2nd Story* 150.00 *1-0.89 .62 for 28 Weights & 26 Acorns ) 38.50 Ex of Gimp3 Pi* Bands ) Putting up 2 Valences .26 for 3 pr Roseate ” ) 1.12 3.36 1 Steel Stud18 yds Silk Cord ) .37 6.66 9.60 3 1 Lace Curtain 55.00 15 Labor putting Steel Nails in Wal. Chairs 3.2*1- 19 1 Chest Beadstead 16.00 25 1 P.L. Mattress 8.00 27 Making over Hair Mattress 1.50 26 2 Gimp Bands 1.25 2.50 21 Casters & putting same on 6 Oak Arm Chairs 11.58 31 1 pc Rep 1*50 23 8 Small Rubber (DelFenders Peabody) .15 1.20 13 2 Feather Dusters16 Ex of 20 LeadedTasselsLight & 26 ) 5.00 10.00 21 26 Fenders & puttingChairsSofa on& ) 1866 Jany Jany Feby Mch

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 30 1 Swivel Chair 13.00 1 Table Cover 55.00 14 yds Silk Cord .50 7.00 Aprl 3 3 ps Glass 1.50 30 l6f yds Cord .07 1.14 1 Sett #7 Bubber Whelel Casters 2.00 June 12 24 ft li in Back Stuff 1.20 16 1 Mirror Plate for Hall Stand 61^.26 50.00 1 B.W. & Ash Sofa Gr. Leather 175.00 Exchange of 2 Stuff Bk Parlor Chairs ) for 2 Easy Chairs ) 150.00 18 L & M Cutting & Making Slip Covers for 2 Sofas, 1 Crinoline Chair, 1 Arm Chair, 75.04 2 Becep. Chairs, & 2 Fancy Chairs 29 23 yds Gr. Cord .10 2.30 July 11 1 Steel Chair 9.00 31 5 Pullies for Mosquito Nets .75 3.75 Oct 23 L & M Making Slip Covers for) k Chairs & 1 E. Chair ) 18.13 30 6 Shades 16.00 1867 Aprl 26 2 P. Brackets .10 .20 May 30 1 Bro. Linen Slip Cover for Lounge 16.50 July 10 2 yds White Linen July 1 1.10 2.20 2 i» " H " 3 1.10 2.20 Nov 30 L & M Bepg. Wal. Becep. Chair muslin 1.50 1868 Oct 12 Mdse as per Bill Rendered # 33.58 1867 Dec 18 L & M Uph. & Oil Pol. Becep. Ch. muslin .68 $ 20680.89 # 1 Toy Table $2,00 1 Flag Chair 4-,00 14 2/3 yds Blue Picture Cord 4,89 12 yds Shade Cord ,36 2 Col Back Chairs 12.00 Becaining (sic) 1 Chair 1.00 220 788.09 19892.80 1.15 7.00 4.00 10.00 30.00 277.62 5860.00 2925.58 3882.78 3894.67 1000.00 2000.00 balance By Boss Denison & Co .50 ,07 .50 2.00 74.42 Potter, 140.00 117.22 105.33 33.58 6000.00 3000.00 4000.00 4000.00 Contra Cr 6/65 II Int & Stamps Int & Stamps Int & Stamps Pins returned mos Dec 19/65 mos do do Smoking Chair 5.30 Less Less Int & Stamps Less Less telaace a/c Casters & c & 21 yds Cord 1.62 L & M Upholstering Piano Stool $2.41 ) dollars in full for a/c to date 14 " " Glass frame R.W. Ma Top Table sold 16§ yds Cord 2 pr Curtain your Accpt 4 mos Oct 16/65 Cash your Accpt 4 11 pcs Silesia 555i your Accpt 4 II II U II H ft IIII II II II It By your Accpt 4 mos Jany 2 61/100 Received Nov 17th 1868, Two Hundred Thirteen & cash paid $213.61 9 4 3 28 12 16 19 26 16 25 agreement *indicates marginal notations in Henry Lippitt's handwriting 1865 Sept Jany Oct 1866 Dec Jany July Nov Aprl amt allowed as ner) 48 574.

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 221 80.00 78.00 190.00 220.00 111.00 116.00 245.00 490.00 623 Broadway New York, May 17th, 1865 STYMUS & Late B.E. Rochefort, " k B To Pottier & Stymus, Dr. 11 11 Mirror Etegere (sic) Best) French Plate = ) Suite Arm Chair Short Stuffd ", " Ladys 11 11 Tete a Tete Marquetry Top Centre Table APPENDIX D H R II II II II II TRANSCRIPTION OP BILL PROM POTTIER Tulip Ebony & Gilt Sofa Louis XVI in Silk @ $10.00 $ Henry Lippitt Esq and c S Or? 3 gj gj 3 d) iH d) U £ OO3 O -P •HQ* <*-1 Source: Rhode Island Historical Society, Lippitt Collection, Henry Lippitt Made to Order Looking Glasses, Wm. P. Stymus. Auguste Pottier, Furniture Warerooms Frames and Cornices, of Every Description Upholstery, Cabinet ordered April 12th, 1864

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 222 O.OO 368 $ 1326.00 $ R.B.S. " " Center Pannel (sic) Season) 325.00 Recd Nov 28th 1864- ) $**08.00 a Bronze Cabinet with ) . m »' »' " 11 " Etegere (sic) 16.00 " " 11 " Suite & c 7 Medium Cases @ 8.00 56.00 1 " ii 1 Suite Sett of Linen Loose Covers 68.00 3 '* " " Window Cornices 135.00 Boxing & Packing Mantle Mirror 24-.00 Cr By 12 yds of Silk for Suite @ $10.00 120.00 1206.00 « « « " " " 27 yds Plain Satin for Curtains @ 34-.00 918.00 to Import as per Order— 12 yds Figa Satin for suite @ 34-.00) June 2, 1865 Recd Payment Pottier & Stymus mirror 86x54-* 1 Tulip Ebony & Gilt Mantle frame & Mirror 320.00 * indicates marginal notations in Henry Lippitt's handwriting

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX E

TRANSCRIPTION OP BILL PROM KNOWLES, SCHOLZE & CO.

Source: Rhode Island Historical Society, Lippitt Collection, Henry Lippitt

Providence, R.I., August 25th I865 Henry Lippitt Esq To Knowles, Scholze & Co., Dr Manufacturers of Furniture of Best Quality, Design and Workmanship,— Including Library Cases, Bank and Counting Room Counters and Desks, Cornices, Drapery, and Upholstery.

H.B. Knowles, ) 19 Williams Street, comer of Well Street. F.O. Scholze } TERMS Jas. B. Edwards)

1 Sett Chamber Furniture Chesnut (sic) with B. Walnut mouldings **50.00 1 Spring Mattress 1 Hair ditto 100.51 1 Feather Bolster. 11.00 561.51 May 6 By Cash on account 300.00 $ 261.51 Items 6 lbs Feathers @ $1.30 7.80 3 Yds Ticking 1.00 3.00 Work .20 11.00 Bolster to to Knowles Scholze & Co. 9.^5 1.00 3.00 3.30 1.36 20.00 50.40 12.00 100.51 Mattress Recvd Payment ! 852 Springs Copered (sic) 15/ 6 56 lbs Hair 90/ 63— No. Sewing 7t Yds Burlaps20 17" Ticking " Binding Frame for Springs 44/ 1.00 3 days Upholstering Sept 16/65 K S & Co

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX F

TRANSCRIPTION OP BILL FROM FRENCH, WELLS & CO.

Source: Rhode Island Historical Society, Lippitt Collection, Henry Lippitt

No allowance for Returned Packages unless in good order and at your expense. Also, Pay your Express.

Boston, June 7, 1859 Mr. Henry Lippitt Bought of French, Wells & Co., Importers of China, Glass & Crockery Ware, Paper Hangings, Bohemian & French Flower Vases Colognes, &c., Rich Porcelain, Dinner, Dessert & Tea Services

Nos. 151 & 153 Milk Street. Abram French, John T. Wells. R. E. Newman.

3 doz goblets $ 2 4 .0 0 72.00 1 " champagnes 21.00 1 11 wines 1 8 .0 0 1 pr decanters 12.50 1 Bowl on foot 10.00 2 ditto --- 7 .5 0 15.00 2 dish 9 inch 6.00 12.00 2 Spoon glasses 3 .5 0 7.00 Package .5 0 $ 168.00 Rec Pay Nov 17/59 French Wells & Co ON ro ro 3.50 700.00 1122.00 $ New York, 1864 270.00 148.50 418.50 3.00 3,00 1.75 June 6/64 APPENDIX G Received Payment A.T. Stewart & Co A J Kendall Cash'r Carpet Department Bought of Alex. T. Stewart & Co. should be directed to the firm, and sent by mail. TRANSCRIPTION OP BILL FROM ALEX. T. STEWART & CO. Broadway, Chambers and Reade Streets, for Cash Only, 90 Yd Crim. Velvet 1 Axminster 2 Carpetlb Camphor 49§ " 11 Ax. Border

Source: Rhode Island Historical Society, Lippitt Collection, Henry Lippitt 16 " " Mr. H. Lippett (sic) Providence R.I. All correspondence relating to the business of the House, to secure prompt attention, Apl 14 May 25 Please remit & oblige

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 10 to # 503.00 500 r / -- /l.C. Wood Not Responsible for Breakage New York, October 23, 1865 Mr. H. Lippitt, Providence, R.I. Bought of Cut Glass APPENDIX H French China and Table Cutlery Silver Plated Ware Package E.V. Haughwout & Co. and Manufacturers of Plates 8i in Oyster 6^ " in 11 6| in 2 2 Sauce Tureens 1 Salad 2 Dishes Cov^- 1 Fish Dish 4 Compotes 36 36 36 18 Bk Coffees E.V. Haughwout & Co Importers and Decorators of Nos. 488, 490 and 492 Broadway Recd Payment TRANSCRIPTION OF THREE BILLS FROM E. V. HAUGHWOUT & CO. ir in ir 8 New-York. Haughwout1s New York, Paris Plates in 7if Brooklyn Cut Glass 2 Soup Tureens 2 Sauce Boats 2 Casseroles 2 Pickles 2 Bakers 4 Cake Plates 10 Dishes 36 24 Soups 18 Teas Broadway & Broome Sts. 1 Rich Dinner Set Green En Sh. with Monogram viz 16/65 Source: Rhode Island Historical Society, Lippitt Collection, Henry Lippitt Chandeliers & Gas Fixtures Terms Cash, without discount. Wholesale and Retail Dealers in Nov French Clocks Silver Plated Ware

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. New York, January 2b, 1866 Mr. H. Lippitt Esq., Providence, R.I.

Bought of E.V. Haughwout & Co. 3 Doz Preserve Plates to match Set 25.50 2 High Baskets short in former shipment Box .50 $26.00

Feb 15/66 Recd Payment E.V. Haughwout & Co. Z???7

New York, Dec 13, 1866 Col H Lippitt, Providence, R.I. 228 Bought of E.V. Haughwout & Co. 2 doz fine Tumblers 9.50 2 w Monograms 9.00 Box .25 $18.75 Dec 22/66 Paid E.V. Haughout & Co H. Wood /?/ APPENDIX I TRANSCRIPTION OP BILL PROM C. EARLE WHITAKER

Source: Rhode Island Historical Society, Lippitt Collection, Henry Lippitt

Agent for Stevens' Empire Gas Machine.

Mr. Henry Lippitt Bought of C. Earle Whitaker, Importer and Dealer in Crockery, Glass and China; Also, Sole Agent for the New York Kerosene Oil Company's Oils, and the Paragon Kero sene Burner. No. 43 North Main Street, Arnold's Block, Providence, R.I.

1866 November 13 1 prCnspadores (sic) 45.00 15 1 doz Canary Engraved Clarets 12.00 1 Cut bitter bottle 1.00 30 1 " • lemonades 6.50 $ 64. 50

Rec Payment. Deer 28/66 C Earle Whitaker K> V>> 8.00 ^ 3

5.00 Providence, Jan 1, 1867 52.00 75.00 35.00 32.00 11.00 138.00 Mr. Harris Gorham Co & Brown APPENDIX J Providence, R.I. No. 5^ Westminster Street, TRANSCRIPTION OP BILL PROM GORHAM, CO. & BROWN " " Tea ■ Slop Bowl Cott Table Spoons Dining Porks Dessert u n n ii Doz Pla Doz Gilt Egg Spoon Round Waiters 1 1 1 2 1 1 2 8 Source: Rhode Island Historical Society, Lippitt Collection, Henry Lippitt 2 9 1 5 n II « i i it Henry Lippitt Bought Gorham, of. Co. & Brown, Gorham & Co.)H.T. Brown. ) Oct (Cash.) Nov Jan 15/1867 Paid

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIX K TRANSCRIPTION OF BILL FROM VOSE & HUXFORD

Source: Rhode Island Historical Society, Lippitt Collection, Henry Lippitt

Mrs Mary A Lippitt Bot (sic) of Vose & Huxford 1868 At Auction March 17th 5 Paintings Sleep, Little One Sleep by "Meyer" $20.00 "View Near 'Cayuga Lake1" by James M Hart 512.50 "Atum (sic) Morning at Compton" by Geo L Brown 205.00 "View in the Alleghany Valley" by C W Knapp 177.50 "Fruit Piece Peaches, Oranges & Grapes by J E Grouard 75.00 990.00 Providence March 18th 1868 Received Payment Vose & Huxford Regilding Frame on Knapp Picture $30.00 to to vo

00 00 .

1485.00 1950 34357

Bronzes frcs &c &c &c

Fancy Articles Fancy CompositionGoods 50.00 50.00 60.00 35.00 100.00 100.00 240,00 200.00 140.00 460.00 1000.00 1000.00

Frcs

Agency Agent. APPENDIXL

W.R. W.R. Farrington not not accounted for 55, Rue 55, d'Hauteville Trunk Paper& Packing Paris, SeptemberParis, 12th 1868 American& General Commission Mr H Lippitt Providence BI Bought of THANSCBIPTION AMERICANOPBILL FBOM & AGENCY GENEBAL COMMISSION

Source: JohnSource: Hay Library, BrownUniversity, Lippitt A55670(2) Papers, " " Groupe Three Graces 1003 " " Candelabra head for femme Grecque 1007 " Vases Bacchanale 1001 Rich Beal Bronze Femme Grecque No 1007 Bronze Groupe 1006 "Diana" 1 1 Bich Beal Bronze Femme No Grecque 1007 1 1 Candelabra head for Same 1007 1 Bich Bronze Groupe The Thinker 1002 1 « « " S t Julien 1004 1 1 Pair MountedGilt Jardinieres 1005 1 1 1 1 2 Dealer in Glass Ware Glass of & of China Goods Goods for exportation Packed Good Order in by first rate packers Subsequent breakage & Decorator No 1 Trunk Paper& Packing No 2

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 233

o O O o o OO o • • • « IN CM O CM -3- o ■sh .^■VO OO CM COo h <4-»

PhD (d +3 u

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. m .20 .33 .92 8.50 8.00 1.50 5.50 3.00 3.00 8.00 95.00 .03 .25 .75 APPENDIX M Manufacturers and Dealers in TRANSCRIPTION OF BILL FROM POTTER & CO. Bought of Potter, Denison (sic) & Co., must be returned free of expense to us. Rich Cabinet Furniture and Upholstery Goods Smoking Chair & Folding Chair as follows: 11 yds Cord Mr ) Kent 1 1 Carved Ebony Table 1 Piece blue Satin 1 " ‘Cricket Mounting same & Silk fringe 4 Tassels to match If settled by Note the 1 Set Shaker Cushions ( Net( Cash I ( est( will be added. 22 3 2/3 yds Blk & Crim Color Silk Cord 13 Labor & Material refinishingand Upholstering Zk Source: Rhode Island Historical Society, Lippitt Collection, Henry Lippitt Howard Building, 137 Westminster St., and 50 and 51 Exchange Place, up-stairs. Mrs. Henry Lippitt 1822 Octo 10 1 Footrest in muslin Terms:( current rate of inter- Sept II 1 Mosquito net Pulley Did ) All Mats, Cloths, or other materials used in packing (except Boxes), if not paid for, Nov 10 1 3 Shaker Chair

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. N> V*> Vn

.27 .27 .60 .15 .75 5.00 2.85 8.00 3.23 8.75 1.95 3.50 4.50 4.50 4.50 12.00 27.4 5 5 27.4 16.00 13.00 10.00 95.00 .20 .80 .80 .45 .87 -?1 .60 .20 .66 7.92 1.42 2.00 8.00 4.08 9.33 1.09 2.20 4.80 “ 738 Standard Sent to New Bedford & " " Cord 1 1 yd Tapestry " " varnishing 11 11 of upholsterer Sewing labor & threadGimp 8 Brass Studs 1.00 Steel .25 nails webbing2/3 yds fringe Cambric .42 .20 .06 Buttons tacks & twine .25 Labor repairing Picking over old material Burlaps .22 Muslin .10 Hair .55 1 1/6 '■* Plush 1 '■* 1/6 6 6 lbs feathers 2 2 2/3 yds Ticking 2 2 2/3 yds Silk Plush Sewing labor 3.50 3 3 white tassels 5 yds Shade Cord 3 3 pcs Picture wire 1 Set Plush Cushions for same 1 1 Fauteuil Chair Gilding same 1 1 Set Olive Plush Cushions for same 1 Brass Cricket 3 3 prs white leaded & light tassels 1 Brass Toilet Glass Packing& Expressage on same Upholstering same Crimson Silk Plush 9 9 1 Pair Sconces made to order 15 yds White holland 17 9 yds Shade Cord 20 Cash paid advertising22 2 Billiard Pieces wire table forfor Pictures Sale 26 Reuphclstering folding Chair your cover29 1 Oxford Chair with gilt rim 18 2 Olive Plush Cushions for Window Seats as follows: Nov Dec

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. o\ u> u> in 6.00 33.00 7 hair .44 & fringe 18 in 15.00 43.16

Standard 10.00 S & & & Cotton flannel 3.75 . ro 11 Twine 2.50 & yds heading border 4.50 % " Cotton Cloth 1,04 % lbs Hair 3.90 Silesia Burlaps Cotton Cloth I4%in Silk Plush 3.50 1.41 .05 10% yds Silk gimpborders for Cross 9.45 Labor of Upholsterer,twine & c tacks 1.86 Iron rods hooks eyes & pulleys 12.66 2.25 12 12 3A yds Silk Rope 1.60 20.40 Gimp .40 5% " i* « 30 yds Silk Plush 3.50 1 pr WSilk2 7/8 yds holders 105.00 12.00 25 Upholsterers labor . 1.25 19.33 18 Cotton Cord Silesia n 3.00 .25 Sewing labor 12.50 Cutting fitting & putting3 upDpy 11.24 Large rings thread & c l4i yds Silk Plush 3.5026 38 #4 Springs " Webbing 1.00 49.88 300.00 1.30 3-80 7% yds Burlap 8 1.25 Upholstery labor on same 22.50 6 4% 11 CambricButtons .54 2.20 Tacks Picking old Material 1.50 & Rings Complete—Music Room ) 38.50 1 1 Brass Toilet Glass 1 Gilt Cricket Frame 8.50 Upholstering same Silk Plush: Labor & Material altering& refinishing Billiard Room Sofa 8.80 31 1 Suite Silk Plush Drapery Poles )

Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. J j ro V -0 30.85 65.00 99.44 29.00 65.00 67.39 134.14 .24 .72 .50 .37 .37 .95 1.75 1.50 8.00 1.39 6.00 1.31 6.92 1.63 2.75 1.70 1.75 3.50 1.70 1.75 22.29 14.00 26.25 19.00 22.75 21.60 39.88 17.25

.25 .25 Buttons .58 3.50 3.50 6.00 11 c &

11 twine yds Cord & » Fringe 5.75 yds fringe 7/8 1/6 " yds Blue Silk Plush 5.50

1 1 Set Casters 16 " Gimp .50 Plain Gimp 3 10 lbs Hair Cambric .26 Cord 1.05 Sewing labor 3 3 A 2f yds Ticking 54 yds Gimp 4 yds Silk Plush 3*50 Buttons .40 Muslin .32 Burlaps 3 7g yds Olive Plush 69 Upholstery labor 4| yds Cord Buttons 7 i Wadding 3 3 Gimp Fringe " 5.75 Cambric Sewing Labor .12 Moss Moss 1.50 tacks & twine 2.00 4§ " Cord Upholstery labor Tacks Upholstery Labor 1 Silk Plush Window Cushion: 1 Turkish Sofa inmuslin Upholstering same Silk Plush: 1 1 Turkish Arm Chair muslin Upholstering same Blue Silk Plush: 1 1 Turkish Conversation Chair Muslin Upholstering same Silk Plush: