Gilpin BULLETIN Volume 8: Nos. 3 & 4 Cultural Resources Management • A National Park Service Technical Bulletin June-August 1985

Introducing Decorative and Fine Arts

This special issue on decorative and and fine arts collections will be tive or fine arts, seems somehow in­ fine arts was conceived as a way to available. adequate. These objects are viewed draw attention to these very rich, but Because of the site-orientation of its not only for their decorative or not widely known, National Park collections, the National Park Service esthetic value, but also for their con­ Service collections. The general has some of the most unique decorative textual value. Whether the objects are public as well as decorative and fine and fine arts collections in the United original to the site, or whether they arts specialists are often surprised to States. Whereas many museum col­ are period pieces similar to those learn that the Service has such exten­ lections are acquired and displayed originally used there, or whether they sive holdings. solely as examples of style, period, are simply well done reproductions, One-half of the areas in the Na­ manufacturer, or artist, most Na­ they are present because of their tional Park System were established tional Park Service collections are relevance to the site. primarily for their historical values. assembled because of their site- The National Park Service has The Service also administers 175 associative value. Although they may developed considerable skill in structures furnished with decorative provide information on style, and assembling, interpreting, and man­ arts. Its estimated historical collec­ other such factors, they are viewed, aging collections of site-oriented tions fall somewhere within the range more importantly, in context with decorative and fine arts objects. of 1 million items (excluding histor­ other objects to interpret persons, Those individuals who are experienced ical archeological items). Many, if events, a process, or a function (see in planning, documenting, acquiring, not most, of these are decorative arts, discussion in this issue by Sarah preserving, displaying, interpreting with fine arts being a fraction of the Olson). and managing these unique collec­ total. Once the NPS National Catalog To describe site-associated objects, tions share their points of view and of Museum Objects is complete, Ser- such as those in the homes of Harry their experiences in this issue. © vicewide data on the actual size, S. Truman, Augustus Saint-Gaudens, Ann Hitchcock scope, and nature of these decorative or Carl Sandburg, merely as decora­ Chief Curator

Our Visual Heritage: SHARING THE FINE ARTS AT SAINT-GAUDENS NATIONAL HISTORICAL SITE John Dryfhout

"Thank Heaven, we have at last spanning more than thirty years. some artistic work of permanent Saint Gaudens fused realism and worth done for the government!" So idealism in his creation of major said President Theodore Roosevelt in public monuments such as the Far- 1905 upon receiving his medal by ragut and Sherman monuments in sculptor Augustus Saint-Gaudens New York City; two heroic figures of (1848-1907). This event comprised Lincoln in Chicago; and the moving one of the highlights of a career in art monument to Robert Shaw and the continued on page 2

"Ceres" panel for the Vanderbilt House, New York, 1881.

Plaster models for the ten dollar gold piece and one cent piece of 1907. Visual Heritage . . . The Art Collections of The National Park continued from page 1 Service—An Overview 54th Regiment of Black Volunteers in Anthony M. Knapp Boston. In this period of great por­ traiture, Augustus Saint-Gaudens created a series of sixty portraits in The Thomas Hill paintings at tion into proper perspective: bas-relief; a haunting synthesis of Yosemite National Park, the St. The borderline between art and Michaelangelo and Buddhism found Gaudens sculptures at St. Gaudens artifact can sometimes be ex­ in the Adams Memorial; tributes to National Historic Park, and the tremely narrow and arguably, beauty in the over-life size "Amor Charles Willson Peale portraits at In­ in the eye of the beholder. Caritas," a winged female figure with dependence National Historic Park Both illuminate our under­ flowers in a sash at her waist and en- are well known examples of art col­ standing of the societies that wreathed in her hair; the golden lected by the National Park Service. produced them, and both are "Diana" which turned in the wind 350 Yet, while these and other examples part of the larger heritage of feet above street-level on New York's are known, the exact size, scope, our material culture. Madison Square Garden, lit by great significance, and value of National In addition to fine and decorative Park Service art holdings remain arts, the category of folk arts and unknown. crafts requires definition. A Biblio­ The definition of an art object graphy on Historical Organization seems rather simple at first. An object Practices, Documentation of Collec­ made for esthetic, rather than utilitar­ tions edited by Frederick L. Rath, Jr. ian purposes, it lends itself to a variety and Merrilyn Rogers O'Connell defines of view points. In his book, Manual this category as follows: "These ob­ for Smalt Museums, Lawrence Vail jects were produced by artists and Coleman wrote "the arts are conceived craftsmen without formal training by some to be architecture and who worked outside the academic graphic art, namely painting and tradition. They derived their tech­ drawing. To these major arts the term niques and subjects from experience fine is commonly applied, as though and their works reflect the world in works of fine art were superior to which they lived." Paintings, tomb­ ceramics, metal work, carvings, stones, scrimshaw, weather vanes, tapestries and lace." As Mr. Coleman figureheads, decoys, tavern signs, points out, the traditional categories quilts and coverlets, ceramics, and of distinction are fine arts and dec­ decorated furniture all fit into this orative arts, the former including category. paintings, drawings, sculpture, and The National Park Service art col­ architecture, and often considered to lection includes fine, decorative, and be art created for its own sake. Art in folk art objects, but places more em­ this category is created primarily for phasis on the associative values of esthetic purposes by persons academic­ each rather than their esthetic ally trained in the field, while decora­ qualities. The awesome splendor of tive art ornaments or embellishes an Yosemite National Park attracted the object created primarily for utilitarian attention of landscape painter Thomas purposes, i.e., ceramics, glass, furni­ Hill, whose work records 19th-century Adams Memorial, 1891, with this ture, metals, textiles, and books. views of the park's landscape, lakes, particular cast dating to 1968. Sometimes there can be difficulty waterfalls, and animal and plant life. distinguishing between fine and The paintings, furniture, and decora­ decorative art. The chapel doors from tive objects at Independence National carbon arc search lights; and designs the Russian Bishop's House at Sitka Historical Park relate to the events for the United States gold coinage of National Historic Park serve as one and people which shaped this coun­ 1907, acclaimed as the most hand­ example. Created to provide a screen try's beginnings. In many of our some ever minted in this country. between the priests and the congrega­ historic houses, fine arts are used as During his lifetime, Saint-Gaudens tion, they had a primarily utilitarian decorative arts, which provide the devoted himself to the creation of function. However, paintings with fabric for interpreting to our park sculpture. He set new standards for religious themes were applied to the visitors an understanding and ap­ the awarding of art commissions. His doors before they were transported to preciation for the specific site and collaboration with other professionals Sitka. Although the artist is un­ for our nation's heritage. in developing plans for the Chicago known, the quality of the paintings World's Columbian Exposition cap­ In 1976, the Smithsonian Institution emerges from the academic tradition. tured the imagination of the nation, Thus, the doors are an example of published its Directory to the BiCen- and has its legacy in the great plan both fine and decorative art. Jessie for the District of Columbia as well Pesch in his book, The Art of the tennial Inventory of American Paint- as some of the more than 2,200 statues, South, places the question of distinc­ continued on page 4 monuments, and memorials protected 2 by the National Park Service. After and arboreal specimens displaced his death, his home came to repre­ sculpture as great treasures in parks Ethnographic and sent, in the words of his wife and gardens. It was not until the 20th Decorative Arts Augusta, "the best possible monu­ century that museum gardens for the ment to the sculptor and a good thing display of works of art came into Conservation: A for art in this land." Today, Saint- fashion. Gaudens National Historic Site is one The Saint-Gaudens National His­ Comparison of of the few areas in the National Park toric Site at Cornish, New Hamp­ Approaches System where the collections are so shire, established by the sculptor's integral to its purpose and preserva­ family and friends in 1919, is perhaps Gregory Byrne tion that they are a primary reason one of the earliest preservation pro­ for visiting the park. This infusion of jects of this kind in the country. . .a Deteriorating objects in National the built environment, the careful fusion of historic house museum and Park Service museum collections need manipulation of architecture, art and open-air museum. Capitalizing on the to be conserved, but how to accom­ nature is what makes the combination beginning of tourism, Augusta Homer plish this is often a complex question. of historical museum and park so at­ Saint-Gaudens opened the home and The conservator can choose from tractive. Return visitors have the studios to the traveling public. Its numerous treatment avenues when added attractions of the art exhibi­ main purposes were to exhibit a col­ faced with objects in need of conser­ tions and concert programs, the lection of originals and replicas of vation. But treatment selection is a nature walks and sculpture demon­ Saint-Gaudens' works; to aid, en­ process guided by factors that include strations which perpetuate the park courage, and assist in the education the nature and needs of the material as a "living memorial." of young sculptors; and generally to composing an object, the knowledge encourage the art and appreciation of and skill level of the conservator, and Sarah Olson in her recent essay, sculpture. A private foundation estab­ hopefully, some understanding of the "Remembering Saint-Gaudens (CRM lished by the original state charter cultural values of an object that are BULLETIN, February 1985), high­ continues to this day. The income most important. The significance, or lighted Saint-Gaudens National His­ from the endowment is used for pur­ values, of an object must be clearly torical Site as the first such property poses of the site, as well as a scholar­ understood if they are to be preserved. in the National Park System to com­ ship granted to a sculptor, the pur­ When preservation becomes conserva­ memorate a visual artist. Artists' chase of items for the collection, and tion intervention, the laboratory homes and studios have been infre­ selected educational or interpretive treatment performed can and often quently preserved. To name a few programs that maintain the "living does diminish some part of an European examples, Antonio Canova's memorials" character of the site. object's value while enhancing (1757-1832) country home and studio another. in Passagno, Italy was established by In 1962, the Advisory Board on family and friends just after the great National Parks, Historic Sites, Build­ neo-classical sculptor's death. An en­ ings, and Monuments designated the dowment established in 1836 still pro­ property of significant value in the duces income to care for the property. nation's cultural history. It also The Albert Bertel Thorvaldsen recommended its inclusion in the Na­ (1770-1844) museum in Copenhagen, tional Park System, which was ac­ established in 1848, differs in that it is complished by the 1964 authorizing royally donated property designed to legislation, followed by its estab­ provide display space for the lishment in 1977 as a historic site. sculptor's work. The Carl Milles Saint-Gaudens National Historic Garden in Stockholm appears to com­ Site is managed by a set of objectives: bine the concept of the modern out­ to foster public appreciation of the door sculpture garden with the more life of Augustus Saint-Gaudens, to traditional historic house museum. establish the significance of the Established just after Milles' death in sculptor to the cultural heritage of the Anasazi vessel. 1955, the collection also contains ar- nation, and to present the relation­ cheological and classical artifacts ship of the site to its setting and the There are many value categories reflecting the artist's interests and in­ Cornish art community. The 1964 for objects in Park Service collec­ spiration. In addition, contemporary authorizing legislation also provides tions. Some of the more obvious sculptor, Henry Moore, displays ten an additional network: "In order that include: of his larger works on the lawns and the Saint-Gaudens National Historic Site may achieve more effectively its Monetary Value—the market value of sheep pastures of his 16th century collectable objects, which itself is estate. purposes as a living memorial, the Secretary of the Interior is authorized based on a number of factors such as Public pleasure gardens and parks to cooperate with the Saint-Gaudens rarity and provenience, and is deter­ with sculpture have been established Memorial,". . .in the presentation of mined by appraisal, auction prices, etc. since ancient times. During the 16th exhibitions and events that are tra­ Artistic or Aesthetic Value—the col­ century, sculpture in a garden setting ditional to the site. lected material as art object appre­ was part of an allegory or theme. ciated for its decorative appeal or as More romantic settings evolved in the an example of artistic accomplishment. 19th century. In the interceding years the great discoveries in horticulture continued on page 4 continued on page 5

3 Art Collections . . . continued from page 2 Visual Heritage . . . continued from page 3

Saint-Gaudens' sculpture collection sculpture, "Diana." The focus of the ings Executed Before 1914. The Na­ numbers in excess of 5,000 pieces. exhibition was the study of multiple tional Park Service, having particip­ About 100 works of bronze, marble, editions—from the original image to ated in this project, received a copy or plaster are on continuing exhibit. its metamorphoses in bronze, plaster, of the index, that provided informa­ As a studio collection, many of these marble and terra cotta, through en­ tion on artists, mediums, subjects, works are plaster, perhaps one of the largements and reductions, replicas and locations of paintings at that most difficult media to conserve. and reproductions. The Saint-Gaudens time, as well as recording 2,448 paint­ Plaster is extremely porous and sub­ National Historic Site gave access to ings. Interestingly, many of these in ject to staining from dust and dirt. a wealth of original material includ­ the National Park Service collection Depending on its storage conditions, ing plaster studies, molds actually depict scenes and events connected it readily absorbs moisture, and is used in casting, and documents such with the westward expansion of subject to infestation from mold and as account books and letters. America, and directly or indirectly erosion of detail. Poor storage condi­ The park fulfills its objective to foster related to the history of the national tions have resulted in serious losses public appreciation of the sculptor park movement. According to the over the years. As a result of some of not only through the exhibition and 1976 inventory, Scotts Bluff National these losses, the Saint-Gaudens display of art, but also the interpreta­ Monument has a collection of 88 Memorial, following the direction of tion of objects through books, cata­ watercolor paintings by William its charter, began casting several logs, articles, film, video or lectures. Henry Jackson (1843-1942), survey works in bronze or recasting in Such presentations require significant artist, illustrator, pioneer photo­ plaster, not in any concerted effort to research and development. Hours of grapher, and author. At the age of save every piece, but rather as a research can sometimes result in a 93, Jackson painted a series of water- standby in case of a major loss. One happy event. In 1978, it happened in color scenes of the West for the of the most extensive recastings was a Madison Avenue gallery where I lit­ Department of the Interior, many of the "Adams Memorial" located in a erally stumbled upon a lost panel which illustrated the book, Westward graveyard in Washington, D.C. The from Saint-Gaudens' Vanderbilt com­ America, by Howard R. Driggs recasting of this work, fully docu­ mission, mislabeled "Viennese, 19th (1942). Paintings by Jackson are also mented in photography, produced an Century." Through the assistance of located at Mesa Verde National Park, important interpretive tool. The the Trustees of the Saint-Gaudens Grand Tetons National Park, plaster cast resulting from this process Memorial who purchased the panel Yosemite National Park, and is known as a surmoulage cast and in from the dealer and donated it to the Yellowstone National Park. The pain­ 2% smaller than the original work in collection, we now have an early and ting at Yellowstone National Park bronze. It was used to produce a unusual example of the sculptor's depicts the Hayden U.S. Geological bronze, which has been installed in decorative work. Survey enroute. the garden, replacing a disintegrated plaster cast of Saint-Gaudens' "Seated If imitation is a form of flattery, In 1870, W. H. Jackson, in the Lincoln" put there before 1926. the Saint-Gaudens' staff have often company of survey artists Thomas been called upon by individuals and Moran and William Holmes, travelled Items from the collection are in­ organizations needing assistance with with the Washburn-Langford-Doane creasingly requested for museum ex­ the establishment of outdoor sculp­ Expedition to the Yellowstone area. hibitions. As a result of renewed in­ ture gardens or art park type pro­ The photos taken by Jackson, the terest and scholarship in this period, grams. A recent issue of the New drawings by Holmes and the paint­ the number of objects on loan at any York Times carried a feature written ings by Moran did much to convince time in the year is such that a part- by Noel Perrin, "Touring the Saint- Congress to enact legislation creating time registrar is needed to handle the Gaudens Sculpture Park" (July 24, Yellowstone National Park in 1872. extensive reports and paperwork that 1983) which summarizes the exquisite Recently, the Curatorial Services accompany such loans. balance of architecture, art, and Branch, WASO, completed a survey nature in this unusual place: to determine the numbers and types Despite the heavy workload involved, Nearby, as you approach the in­ of ethnographic objects in the Na­ however, exhibitions build scholarly door sculptor, is a circular tional Park Service museum collection interest and understanding of the arti­ gravel court with nothing in it (see "Tangible Evidence of Intangible fact, artist, or period. As such, they but six white benches. . and a Resources: Ethnographic Objects in are a significant part of the interpre­ single stone urn in the mid­ the National Park Service," Debra tive program of the park. In many in­ dle. . .you approach that court Berke, in CRM BULLETIN, July 1984). stances, they reach an audience far in past two hemlocks pruned to A similar type of survey needs to be excess of the park's annual visitation. just the shape of the urn in the conducted for art objects. Since the An unusual exhibition held in 1975 middle. If I wanted to impress a 1976 Smithsonian inventory, new ac­ at the Fogg Art Museum, Harvard Japanese visitor with American quisitions of paintings have been University, entitled "Metamorphoses taste, that court is one of the made, including the significant collec­ in Nineteenth Century Sculpture," first places I'd take him. ® tion associated with the NPS Mari­ featured selections of Saint-Gaudens time Museum in San Francisco. The works, the bas-reliefs of Robert L. The author is the Superintendent and Curator NPS curatorial goal of achieving Stevenson, and editions of his ideal of Saint-Gaudens Memorial Historic Site. responsible levels of accountability

4 for all collections may help to ac­ Categorizing objects according to It should be pointed out that treat­ celerate the survey process. The re­ value is not clear-cut since most NPS- ment interventions (both materials vised Part II of the NPS Museum collected objects possess value in each and processes) are traditionally con­ Handbook facilitates the recording of category, and since every ascribed sidered acceptable if they are compat­ provenience, medium or materials, re­ value is further affected by factors ible (not an agent of deterioration ferences, and clear descriptions and such as rarity and provenience or themselves) and reversible. The prin­ analyses of museum objects. Document­ support data. What is important, ciple of reversibility is itself a child of ation of our collection is an impor­ however, is the attempt to clarify both decorative and fine arts conser­ tant step to better understanding their both the established and potential vation, and, with time, has been ap­ potential uses and to making them value of an object by the conservator plied to a wider range of preservation available to researchers. and curator alike prior to initiating interest areas. The principle reflects The art collections are an impor­ laboratory treatment. When we com­ the concerns of fine and decorative tant part of the National Park Service pare the conservation approaches to arts in that it usually refers to revers­ museum collection resource. Their objects, it is important to recognize ing a treatment process, such as de- value to the public will dramatically that object preservation cannot and lamination of the wax lining some­ increase as we inventory them, ex­ does not exist unto itself. Just as ob­ times used for a painting, or resolu- pand our knowledge through in-depth jects exist in a context (perhaps as bility, the ability at any time to put research, and enhance understanding ethnographic or decorative arts back into solution conservation mate­ through better exhibits, interpreta­ pieces) so does their conservation. rials such as adhesives, consolidants, tion, publications and other media. What may be quite appropriate treat­ and coatings. More efforts like the publications, ment for a decorative arts object may Keep in mind that what makes a Treasures of Independence, edited by be quite inappropriate for a similar treatment approach acceptable (com­ John C. Milley, and The Work of object in an ethnographic context. patibility and reversibility) within the Augustus Saint-Gaudens, by John H. Let's look at stain removal as a treat­ realm of decorative and fine arts con­ Dryfhout need to be encouraged in ment procedure and assume two cera­ servation does not necessarily make it order to stimulate scholarship and mic vessels are both mildly stained by acceptable to all related conservation public interest in National Park Ser­ fields, the most notable exceptions vice museum collections. ® being the fields of ethnographic and archeological conservation. The stain removal treatment is a good example, The author is a staff curator with the for cleaning is an irreversible treat­ Curatorial Services Branch, WASO. ment intervention. Removal of depos­ its, accretions, and stains can enhance the decorative arts object's aesthetic Ethnographic . . . appeal of value, while cleaning can continued from page 3 severely diminish the research value of an object in either an ethnographic Associative Value—objects valued for or archeological context. Deposits on their historic and cultural association objects are so potentially important with notable persons or events, for to ethnography that many conservators example, Lincoln's stove pipe hat. try to distinguish between accretions occurring before or after an object was collected. Similarly, old repair Educational Value—(including inter­ work is considered historic if per­ pretive value) an object in this cate­ formed during an object's utilitarian gory is distinguished by the degree to life. Historic repairs can provide a which it provides information about Saint-Gaudens' vase. great deal of information and should persons, places, events, or technology. be preserved in an ethnographic con­ Edison's light bulb has a great deal of organic materials. One vessel is from text. This is often not the case for a educational value. a collection of Anasazi materials at decorative arts object. The request to Mesa Verde, the other a vase, a fur­ "redo" old repairs is one of the most Research Value—objects can be the nishing from the noted sculptor commonly encountered treatment re­ raw material for academic inquiry or Augustus Saint-Gaudens' home. Treat­ quests for the decorative arts stand as a reference collection. The ment intervention, in this case stain conservator. "Harrington Series" for dating pipe removal, is an irreversible treatment for both objects. It is, however, an Other established intervention pro­ stems is a standard reference based on cedures such as some consolidation materials at Colonial NHP. acceptably appropriate treatment for the vase and can be viewed as en­ techniques for porous materials, and lubrication of skin products are only Symbolic Value—established by virtue hancing this decorative art object's realistically "reversible" to a degree. of an object's religious or cultural sig­ aesthetic appeal or value. The same Clearly the established treatment ap­ nificance. Some objects acquire mean­ treatment approach may be quite in­ proaches used for dealing with the ing beyond their usual functional role appropriate for the Anasazi vessel decorative arts are not appropriate and come to carry a message, i.e., the since it could irretrievably remove for all cultural artifacts. Statue of Liberty which signifies evidence of use and diminish its re­ American ideals, or the slave driver's search value in an ethnographic whip expressing the cruelty of slavery. context. continued on page 6

5 Ethnographic . . . continued from page 5 both a field of study and a class of materials. The reasoning process used in tion. For example, Dr. Robert Heimann Yet, the National Institute for Con­ determining treatment sometimes lists cleaning and conservation (recon­ servation of Cultural Property points becomes a question of preservation of struction) among the factors which out that training opportunities for form vs. preservation of function. alter the original properties of cera­ ethnographic and archeological con­ "Form" includes all the elements mics and inhibit modern analytical servators are minimal by comparison which distinguish a decorative arts assessment of ancient firing to training programs in decorative object—design, surface finish and technology. and fine arts. They see the need to features, plus the object's overall There are, after all, comparatively prepare more ethnographic and ar­ shape or form. "Function" includes all few conservators trained to deal with cheological conservators as a critical the elements which provide informa­ Park Service collections. Also, the one. With this in mind, it becomes tion on process, evidence of use, and conservation profession is divided in particularly important for curators, technological development. This cate­ its approach to training objects con­ collection managers, and conservators gorical statement is oversimplified, servators in the areas of ethnographic to develop more awareness with for all who are familiar with museum and decorative arts. Some objects regard to the evaluation of objects. objects are aware that these are not conservators become materials spe­ We need to remember that preserva­ clear distinctions. For instance, many cialists (ceramics, glass, metals, etc.) tion exists in a context of value and decorative arts objects are quite func­ with a sharpened awareness of the significance, and that treatment in­ tional, and many ethnographic arti­ different needs of ethnographic, his­ tervention can enhance one and dim­ facts have a simply decorative func­ toric, and decorative art collections. inish another. Clear two-way com­ tion. What is useful in the form vs. Others become subject specialists munication between curator and con­ function idea, however, is that it (ethnography, decorative arts, etc.) servator in regard to these matters is acknowledges an object's context, and and treat a variety of materials within therefore of primary importance. © makes apparent at a glance that the their specialty. By whichever course, preservation of form does not neces­ most objects conservators develop The author is Objects Conservator, Division of sarily mean the preservation of func­ areas of proficiency which include Conservation, Harpers Ferry Center.

Documenting the Historic Structure Katherine B. Menz

Documentation is important in the belong at a site; (2)the appropriate ventories, newspaper records, land physical reconstruction of historic in­ location of those items within the and tax records, eyewitness accounts, teriors, both as a primary guide to site; (3) the appropriate approach to and oral history. accurate portrayal of furnishings and restoration and reproduction; and (4) Photographs are the most obvious a basis for developing historically ac­ the development of historical interpre­ documentation and also the easiest to curate interpretation. Careful docu­ tive material. Researching these areas use. However, they are often not avail­ mentation provides the answers to encompasses a wide range of source able, and of course, can not be used four major questions: (1) the iden­ materials including photographs, for sites dating prior to the 1840s. tification of specific furnishings that drawings, prints, paintings, wills, in­ Clara Barton National Historic Site

Red Cross office after restoration, showing Clara Barton's desk. (Photo courtesy of Bernie Shopper) Clara Barton at her desk in the center office, circa 1900. (Photo courtesy of Library of Congress)

6 provides a good example of useful Washington serve as funishings evi­ and interpreter with information rang­ photographic documentation. Current­ dence. However, reproducing fabrics ing from preservation concerns to ly, only the original Red Cross offices and floor coverings based on a sketch how and why specific pieces of furni­ have been completely restored. Diary is difficult at best. Allowances also ture were chosen. Photographs and entries, original bills, and surviving need to be made for artistic license. drawings give historic location infor­ original furnishings supplemented his­ One eyewitness account mentions a mation, an aspect often difficult to toric photographs in the re-creation center table in the rear parlor of the determine because, over time, family of the setting. Because of the thorough home; however, one does not appear members and staff often rearrange documentation available, an accurate in the drawing. It is likely that a table furnishings. At the Castle, the orig­ portrayal of the nineteenth-century may normally have been in the parlor inal leather curtains have deteriorated home/office was accomplished. Diary and removed for a special occasion. from a combination of weathering entries and original bills in combina­ Center tables were a standard furnish­ and handling. They were also a prob­ tion with the photographs identified ing of this period, and it would have lem during the historic occupancy of such typical nineteenth-century office been unusual for the Lincolns not to the Castle. Furthermore, a letter to furnishings as files, letter presses, and have had one. the building superintendent concern­ a graphophone. The written records After photographs and drawings, ing preservation of the original leather indicated Miss Barton owned a Col­ inventories serve as the best source of curtains describes the kind of leather umbia graphophone, but the size and furnishing documentation, particularly and how it was treated. Experimenta­ shape was identified only with the for sites predating 1850. Tax, insur­ tion with neet's-foot oil turned the help of the historic photograph. In ance, and auction records often pro­ sheepskin black, and therefore the de­ contrast, Clara Barton's sitting room vide an accurate inventory of house­ signer, Alexander MacNeillege, rec­ has not yet been refurnished. It cur­ hold goods. If the site is government- ommended a wax or parafin oil to rently is filled with period furnishings owned, information about the furnish­ brighten them up. bearing little relation to the original ings often is included with other gov­ use and appearance of the room. Oral history documentation also ernment records. For example, United provides an interesting view of the Sometimes historic photographs States lighthouse and life-saving sta­ relationship between architect and can be misleading. At the Eleanor tion purchases, correspondence, and client. The furnishings at Scotty's Roosevelt National Historic Site, for building specifications are filed under Castle are a combination of items example, what appeared to be an Imari Treasury Department records and are custom-designed for the house and plate displayed on a cupboard turned largely intact at the National Archives. antiques selected by the architect/ out to be, according to a sale inven­ At Sleeping Bear Dunes National designer. The Johnsons, Albert and tory, a Crown Derby plate. Further Lakeshore, the Sleeping Bear Point Bessie, selected many of the furnish­ research has shown that a family de- Life-Saving Station had only one in­ ings themselves, but ordering and lo­ scendent has an entire set of this terior photograph which showed a cating them were up to Alexander china, and it may have been part of a corner of the boathouse. However, MacNeilledge. Martin De Dubovay, set the Roosevelts used at one of their found among the government records one of the architects working for other residences. at the National Archives was the orig­ MacNeilledge's firm, was interviewed, and provided information ranging The identification of fabrics reveals inal list of the articles of outfit. This from who was responsible for certain the difficulties of working exclusively list was an exact accounting of the designs to reminscences about daily from historic photographs. A vinyl- government supplies sent to Sleeping life at the Castle during construction. covered chair with a history of hav­ Bear Dunes when the station was He recalled using books about Span­ ing been purchased at one of the opened. It covered all the equipment ish and Italian Renaissance antiques Roosevelt auctions was dismissed as from paints to lengths of rope and the to provide design ideas for the an unlikely first floor furnishing. The specialized life-saving equipment. custom-made furniture. available black-and-white historic Also available from the records was photographs did not reveal fabric tex­ the list of boats sent to Sleeping Bear If the historian pays careful attention tures. After repeated examinations of Point. However, a cross-check of the to the details of documentation and the historic photographs, the chair correspondence between Life-Saving the importance of relying not on one finally was recognized as one used in Service officials revealed that the life­ information source but on many, the living room. boat scheduled for Sleeping Bear then the furnishings and interpretative Other pictorial materials such as never arrived. Instead, several years materials for a site can be more mean­ drawings, sketches, prints or paint­ later another surfboat was sent. ingful for visitors. The furnishings in a historic structure provide the best— ings also provide documentation for Documentation of the historic struc­ and sometimes the only—tangible in­ furnishings. Contemporary drawings ture is at its best when a combination sights into the lives and interests of provide the major evidence for fur­ of source materials are used. At Scotty's the inhabitants. Personal taste, social nishing such sites as the Lincoln Castle, historic photographs, draw­ Home National Historic Site and the standing and outside interests are re­ ings, original bills, letters, orders, and flected. The decorative arts serve as House Where Lincoln Died, Ford's eyewitness accounts provide a remark­ Theater National Historic Site. markers to help the modern visitor ably accurate picture down to the understand more thoroughly the Nevertheless, documentation through smallest details. quality of life not only of the people drawings or sketches does have draw­ Built and furnished in the 1920s by who used the structure but also of a backs. At the Lincoln Home in Spring­ a Chicago millionaire, Scotty's Castle period of history. © field, three drawings of the first floor stands today with almost all of its double parlors and sitting room made original furnishings. Documentation The author is Staff Curator, Historic Fur­ just before the Lincolns moved to at Scotty's Castle provides the curator nishings Division, Harpers Ferry Center.

7 How a Major Furnishing Acquisition Is Made Sarah Olson

One afternoon as several Harpers tion, holding authorization to buy of old houses Nutting "restored," not Ferry staff leafed through the latest two of the three paintings—those that by today's standards, but with good Sotheby New York auction catalogue hung in the dining room at Val-Kill. intentions. Since Nutting was himself of American paintings, the words Only one who has been a bidder at a a figure of national importance, this "Estate of Eleanor Roosevelt" leaped high-stakes auction can fully appre­ site-related artifact, tying him to one out from the page, not once but three ciate the pressure felt as the big mo­ of the site's primary resources, aroused times. Lots 92, 93, and 94 in the ment approaches when one's lot num­ great interest when offered for sale by December 6, 1984 sale—oil paintings ber comes up. When Kathy's moment a private owner in Texas. by noted Western artist William R. came she had to decide quickly Gifts, of course, are particularly Leigh that belonged to Mrs. Roosevelt whether to go for broke on the first— welcome when they are relevant to at the time of her death in 1962. Two and best—of the paintings or let the the interpretive or research needs of a had hung in her dining room, the first go and take a chance on the se­ national park area. A very recent ex­ other in a guest bedroom. Sold at cond. Her decision was to go the ample of a strongly site-related dona­ auction in New York in 1964, they limit on Lot 92. After several tense tion involves several furnishing items had dropped out of sight and were minutes of rapid-fire bidding, the from Carl Sandburg's "Connemara," listed as "unlocated" in the furnishing gavel came down—and Leigh's given to Carl Sandburg National His­ plan prepared for Val-Kill by "Neighbors" had been knocked down toric Site by two of his daughters, Katherine Menz, Division of Historic to the National Park Service. The Margaret and Janet Sandburg. Included Furnishings, Harpers Ferry Center. successful outcome of the team effort in the gift are Margaret Sandburg's With the auction only ten days off, here described enhances Val-Kill's binoculars; her Peterson, Field Guide a frantic scramble ensued. The paint­ authenticity as the restored setting for to the Birds East of the Rockies; Janet ings were highly decorative and de­ interpretation of a great lady's life. It Sandburg's Audubon Field Guide; finitely site-related, therefore very also provides satisfying proof that Mrs. Sandburg's Kodak Brownie desirable acquisitions. The artist and government can on occasion move Reflex camera; Carl Sandburg's "clip- his subjects—southwestern Indian quickly toward good ends. on sunglasses, usually kept in the women—are highly collectible, there­ In a somewhat less dramatic fashion, Front Office as handy if the day was fore expensive; the pre-sale estimate another significant acquisition was very sunny;" several classical music for each was $15,000-20,000. When made recently for Sangus Iron Works albums belonging to Margaret Sand­ neither park nor region could come National Historic Site. The object in burg, for use on the piano in the up with the needed funds for the pur­ question is a large and rather elab­ front room; and several kitchen chase of even one of the three paint­ orate signboard which hung outside items, including the "Filtron coffee ex­ ings, a justification was submitted to the Ironmaster's House in the early tractor with everything pertaining to the Manager, Harpers Ferry Center, years of this century. It serves as a the making." This donation was in resulting in a realignment of program vivid link to a man—Wallace Nutting— direct response to the draft Historic funds for the Val-Kill project suffi­ who played an important role in the Furnishings Report currently under cient to proceed with the hoped-for revival of interest in antique furniture review by members of the Sandburg acquisition. and historic building preservation. family. On the day of the auction at Sothe­ "Broadhearth," as he called the 17th- by's plush New York establishment. century ironmaster's house at Sangus, The author is Chief, Division of Historic Staff Curator Menz was at the auc­ was only one of the "colonial chain" Furnishings, Harpers Ferry Center.

produce the relatively small amounts Great Cover-Ups: required in a typical restoration. However, part of the incentive for Reproduction Carpet and Wallpaper for companies willing to do smaller orders is that once the initial project is com­ National Park Service Historic Interiors pleted, the product may become part of the company's general line, with a John P. Brucksch label of authenticity that the carpet or During the restoration of historic Structures Report. Evidence to repro­ wallpaper was used in a certain historic structures, the need often arises for duce comes in many forms. Written museum setting. appropriate carpet and wallpaper to records with descriptions or purchase Arranging for the reproduction of properly interpret room settings. Be­ records usually do not yield enough carpet and wallpaper begins with the cause of the fragile nature of antique information to warrant reproduction. drawing up of specifications for the carpet and wallpaper, and because Photographs and other pictorial rec­ procurement process. they are removed and replaced as ords are much better sources, and an After a contract is awarded, the they wear out, fade and discolor, ex­ actual sample, of course, is best. On­ contractor is given all available orig­ amples of original pieces in situ are ly with an actual sample from the site inal evidence, whether photographs, not common. Similarly, antique car­ can all the variables, including de­ drawings, or a piece of the original, peting for sale in the antique markets sign, size, color, texture, and mate­ with which to work. A studio artist is relatively uncommon, especially rial, be determined with certainty. then draws up proposed designs in prior to about 1880, and antique The processes of reproducing his­ color for evaluation, and once ap­ wallpaper for sale is rare. The only toric wallpaper and carpet have many proved, a trial sample is made for option available, in most instances, is similarities, and in a few cases, one final approval. Only after a trial sam­ reproduction, based on the best avail­ company can provide both services. ple is approved can production of the able evidence of the original. The number of companies now pro­ entire order begin. The reproduction process is under­ ducing reproduction carpet and wall­ Two "danger spots" in the process taken when called for in an approved paper is rather small. Most firms of reproducing carpet and wallpaper Historic Furnishings Report and sup­ won't provide custom design work occur in the initial decision-making ported by evidence cited in a Historic and expensive setup of machinery to stage when careful evaluation of the

8 original evidence is made, and in the paper difficult. Only small scraps of design-work process. Before any evidence could be found, the best work can begin, careful evaluation of having been hidden behind trim the original evidence is necessary so boards and moldings. that the reproduction carpet or wall­ After careful analysis, the design paper is not conjectural in nature. artist reproduced fully the central When parts of the original design are wallpaper design, a bold Russian missing, such as key motifs, colors or motif in gold and dark red that will full design repeats, the project should surely dominate the room. Other pa­ often times be halted. A stock repro­ pers being reproduced also present duction carpet and wallpaper is pre­ special problems for the design artist. ferable to a conjectural reproduction For example, the border paper for the when major design elements are un­ dining room is covered with a layer known and are therefore made up. of whitwash which must be carefully The difference in cost, too, is a major removed to reveal the underlying de­ consideration. For an average size sign. Unfortunately, the 158-year-old room, stock reproduction wallpaper colors tend to chip off entirely, taking can cost between $500 and $700, the desired first level with the second. whereas a wallpaper requiring design work can be $5,000-$7,000 per room, The restoration of the Ironmaster's or more, depending on the number of House at Hopewell Village, Pennsyl­ colors and intricacy of design. For vania, involved the reproduction of carpeting, the difference is also sig­ Russian Bishop's House original woven carpeting for the first floor nificant. Stock reproductions can cost wallpaper on burlap in the circa 1843 hallway and dining room. Although about $1,000 per room, while repro­ dining room. no pieces of the original carpet sur­ duction with design work can be vived, documentary evidence included $4,000 or more per room. numerous purchases from local weavers of cheap (10' a yard) woven carpet in During the design-work phase, care­ the period 1820-1845. Most woven car­ ful attention should be paid to the pet of the period was made in a ver­ design proposals sent for approval. tical striped pattern, commonly called Experience has shown that sometimes Venetian. This pattern, typical of designers use "artistic license" in the nineteenth-century Pennsylvania, was recreation of design forms, and ignore reproduced and laid wall-to-wall. certain elements in the original docu­ A possible upcoming project in­ ment, such as scale and design form. volving reproduction carpet is the Many exchanges of design proposals two-room Collector's Private Office between the contractor's design studio at the Custom House of Salem Mari­ and the NPS representative are some­ time National Historic Site. A c. 1890 times necessary to ensure that an ac­ photograph of the rooms from the curate reproduction is made. collections of the Essex Institute in One of the most exciting documented Salem shows in detail a large geometric wallpaper projects is that for the Rus­ patterned Brussels carpet laid wall to sian Bishop's House in Sitka, Alaska. wall with small scatter rugs in the All the original wallpapers were found doorways. This pictorial evidence in place on the log walls over a base supports the written documents which of burlap fabric. In each of the six record the purchase on November 12, rooms to be restored on the second Design for reproduction. 1873, of 194 1/3 yards of Brussels floor, including the Bishop's residence carpet for the Custom House, and an and chapel area, the first layer of printing entails. A difference can be April 6, 1887, purchase of 4 Smyra wallpaper dating to the 1843 con­ noted between historic wallpapers (oriental) rugs, at a cost of $16.80, struction of the building was recov­ made from block printing techniques, probably added to hide carpet wear ered and is now being reproduced. and modern reproductions made from that normally occurs around door­ The original wallpaper, in various silk screens. Antique block printed ways. A sample of the original carpet states of decay, will be carefully papers have more paint build-up, survives at the Custom House. Al­ drawn and the design transposed onto creating a sense of depth not achieved though at today's prices, reproducing a silk screen for each color in the de­ with silk-screened papers. such floor coverings will not be as in­ sign. Six wallpapers and four border One wallpaper representing the big­ expensive as it was in 1873, it still papers are being reproduced for the gest challenge to the design artist is adds that touch of authenticity which project. Although most of the original that for the dining room. For some makes any visit to a historic home ge­ 1843 wallpapers were made by wooden reason, the first level of wallpaper in nuinely convincing. @ block printing methods, modern silk- this room was largely removed before screen processes will be used because a second wallpaper was applied, mak­ The author is Staff Curator with the Historic of the enormous expense wooden block ing reproduction of the first wall­ Furnishings Division, Harpers Ferry Center.

9 THE HISTORIC FURNISHINGS PROGRAM Interpretively, our furnishings ex­ Saving Station where the tools re­ fiscal years 1984 and 1985 includes hibits fall into three categories. First quired to perform a job interpret a work at some 20 sites. The majority are those that interpret people. Ex­ process or function. Because these ex­ are biographical sites, but the pro­ hibits at biographical sites fit their hibits are comprised almost exclusive­ gram is showing increasing numbers subject like a suit of clothes, pro­ ly of useful objects, it is relatively of process sites. Many are twentieth- viding a three-dimensional material easy to extend oneself into the process. century; most are well documented; blueprint of a life or lives. Domestic From the cultural resource manage­ and more than half include collections interiors like Carl Sandburg's and ment standpoint, our furnished mu­ largely original to the site. The cur­ Augustus Saint-Gaudens' are ex­ seums fall into two classes—those in rent furnishings program may be one emplary. These exhibits lead the which the objects are largely original indicator of increasing emphasis placed visitor straight to the personalities to the site and those encompassing in the Service on collections, as well that occupied the homes. largely "exotics," or non-site specific as on recent history and technological Second are the sites interpreting objects. Site specific collections like and manufacturing history. historical events. A more difficult in- those at Saint-Gaudens, Carl Sandburg, For the future, I am personally trepretive vehicle than the biographical Scotty's Castle and several of the working to develop mechanisms exhibit, perhaps because objects used president's homes come to mind. (computers, no doubt) by which we by men and women seem more tangi­ These types of furnishings are part of can formulate more precise statistical ble than those shaped by events, the the resource and should be treated as data on all our furnished structures. event site has generally been the such. Their value as a site-associated Exactly how many do we have from earliest recognized in the history of group of related objects may far one year to the next? How many the historic house movement. Immed­ outweigh the intrinsic value of any have site-specific collections, and iately following the surrender of the single object in the collection. The what is the scope of each of those col­ Army of Northern Virginia at Ap­ historical integrity of such a collec­ lections? How many have approved pomattox Court House, the senior of­ tion is certainly equal to and in some furnishings plans, and what is the ficers and aides-de-camp surrounding cases may exceed that of the historic level of documentation represented in Lee and Grant removed as souvenirs structure that houses it. those reports? To what degree have almost every object present in the When all of part of an original col­ those plans been implemented? And, room. Their actions identified the lection is missing, or unavailable, the finally, what do our furnishings ex­ significance of the setting to preserv­ substitution of non-site specific ob­ hibits interpret, and what relationship ing the event for history, and, by jects based on firm documentation do those stories bear to the overall preserving the objects, furthermore enables quality interpretation of a fur­ park interpretation? Formulating such enabled the accurate re-creation of nished structure. But the acquisition information on a model perhaps sim­ the McClean parlor. and installation of objects based on ilar to the List of Classified Structures Third are those exhibits interpreting little to no documentation is sure to should enable program managers not processes. While sometimes imbued compromise a park's interpretive pro­ only to set priorities for furnishings with a strong biographical element, gram and the historical integrity of a work more easily, but to achieve prior­ like the overriding presence of Clara structure. ities that clearly and consistently re­ flect Service policies for interpretation Barton in the Red Cross Offices, this The Division of Historic Furnish­ and cultural resources management. category is more typically represented ings at the Harpers Ferry Center is by sites like the U.S. Custom House responsible for planning and produc­ Sarah M. Olson at Salem Maritime National Historic tion of furnished structures through­ Chief, Division of Historic Site or the Sleeping Bear Point Life- out the Service. Our program during Furnishings

KLONDIKE GOLD RUSH NATIONAL HISTORICAL PARK

Among the most evocative interior photographs associated with a Park Ser­ vice site are those of the J. Bernard Moore House at Klondike Gold Rush National Historical Park in Skagway, Alaska. The Historic Furnishings Division recently dis­ tributed for review the Moore House Fur­ nishings Report, recommending limited re­ creation of the interiors shown in the photographs. Moore family history is synonomous with the history of Skagway during the gold rush. J. Bernard assisted his father,

Southwest corner of the Moore House parlor, Skagway, circa 1904. (Photo courtesy of the University of Alaska, Fairbanks)

10 Captain William Moore, in blazing the White Pass Trail to the Klondike, and building Moore's wharf to make Skagway accessible to gold rush traffic from Seattle. Father and son were largely responsible for routing the stampeders through Skagway, and thus creating the raison d'etre for the town. Three circa 1904 interior views survive in Ben Moore's Skagway photo album housed in the Moore Collection at the University of Alaska. These photos docu­ ment the northeast and northwest corners of the parlor, and the north side of Moore's bedroom. Three additional in­ terior views were removed from the album prior to its accession into the University archives. The missing views, identified in the album by captions, showed a third corner of the parlor, two views of the adjacent dining room, and the maid's room located upstairs. Photos show that the Moores were fully in step with contemporary trends in in­ terior decoration, featuring what can safe­ ly be termed for the period as highly evolved (many would say over evolved), eclectic decoration characterized by little to no unadorned wall space. In fact, few Cavalry barracks. Fort Robinson, Nebraska, 1891-1895. turn-of-the-century photographs of Amer­ ican interiors rival these in numbers of A PICTORIAL HISTORY OF ENLISTED MEN'S BARRACKS wall ornaments per square foot. The Moore's wall decorations were primarily In January 1985, the Division of Brown continues to compile pre-1900 Alaska flora and fauna, souvenir items, Historic Furnishings distributed "A Pic­ images of military interiors and the Divi­ and family photographs. Many of the torial History of Enlisted Men's Barracks sion of Historic Furnishings now main­ photographs seen hanging in the 1904 of the U.S. Army, 1861-1895." The tains a substantial file of interior views house survive in the Moore Collection at author, William L. Brown III, has a long­ showing officers' quarters, mess halls, and the University of Alaska. standing interest in the material culture of canteens, as well as offices, supply rooms, Because these rooms were absolutely the American military. In this collection and tent interiors. The Division welcomes unique in 1904, marked by the abundant, of some 75 images, Brown illustrates strik­ additions to this collection and plans to and nonschematic, arrangement of objects ing similarities among army posts, while prepare further pictorial volumes. Specific that held special meaning for the Moores, pointing out the differences, sometimes plans include distributing views of officers' speculating about the appearance of the subtle but always present, that distinguish quarters in a format similar to the Barracks undocumented corners is sure to produce one post from the next. Differences ap­ History. Unlike enlisted men's barracks, an inaccurate picture. Furthermore, re­ pear in unique interpretations of standard however, images of officers' quarters creating the entire parlor will severely army forms to suit particular regional show highly individualized interiors bear­ limit visitor access. climates, or in the presence of highly per­ ing little evidence of standardization. Based on these conditions, re-creating sonal paraphernalia in an otherwise stan­ The pictorial barracks history is a com­ 1904 appearance in only two corners of dardized interior. The study also points panion to an equally comprehensive two- the house has been recommended. The re­ out that, as far as the Quartermaster volume study encompassing the written maining floor area may be supplemented Corps was concerned, one nineteenth- records of barracks interiors that is with exhibits on the Moore family and century soldier was equal to the next, scheduled for distribution later in the their influence on Skagway's history. ® whether black, white, or Indian. year. ©

FURNISHING THE FARAWAY

Tucked inconspicuously between the Riggs and his wife, the former Lillian pieces constructed by Neil Erickson, the low hills that flank Bonita Canyon, en­ Erickson, who jointly operated the ranch original owner/builder, a native of trance to Chiricahua National Monument, from 1923 to 1950. The ranch was pur­ Sweden, along with an interesting mixture sits Faraway Ranch, owned and operated chased and incorporated into the Monu­ of late 19th- to mid-20th-century store- by two generations of the pioneer ment in 1979, partly to ensure sympathe­ bought furniture, heating and cooking Erickson family for almost 90 years tic use of this property at the entrance to stoves, and household accessories. (1888-1977). Though cattle-raising was an Chiricahua, partly to commemorate the The Historic Furnishings Report now in important part of the ranch operation, pioneer families who settled there in the preparation at the Harpers Ferry Center is Faraway's distinctive character stems from 1880s and brought the Monument into the designed to document how each room in its role as a "guest ranch" for over 50 National Park System. the main ranch house was used and fur­ years, the starting place for many early The main house is a stuccoed adobe nished over the years (1888-1977) and horseback trips into Chiricahua's "Won­ structure of about 15 rooms, dating most­ recommends a furnishing plan for each of derland of Rocks." Chiricahua National ly from 1915, but incorporating earlier the rooms scheduled for public viewing, Monument, in fact, owes its existence construction from the late 1880s and with the focus on the post-1950 period for mainly to the promotional activities of Ed 1890s. Its furnishings include several continued on page 12

II Faraway . . . continued from page U 219 North Delaware: which the evidence is strongest and the employee, as a guest—can be interpreted extent furnishings most complete. Besides to park visitors. Hopefully, visitors will Caring for a Furnished diaries, letters and other documents, come away with some appreciation of documentation includes a number of in­ Lillian Riggs' own feeling for the house, as Historic Home terior photographs and interviews with expressed in her dairy in January 1954: Steven Harrison family members, former employees and The only sure thing is that I love my guests who recall the ranch as it was from home and there is a feeling of safe- Harry and Bess Truman led a quiet the 1920s to the end of Mrs. Riggs' life in ness and security in the very walls and very private life at 219 North 1977. and in the length and breadth of the Delaware Street in Independence, When refurnished, the Faraway Ranch spacious rooms. . . Death will be far Missouri. Unpretentious people, they house will provide a setting within which preferable to giving up my Faraway rarely entertained visitors, and conse­ home. ® life on the ranch—as a resident, as an quently had little need to use their home as a show place. Most of the BEWITCHING INTERIORS AT THE SALEM CUSTOM HOUSE wallpaper, paint, carpets, and drap­ eries date from the 1950s following A Historic Furnishings Report is under­ Hawthorne described the Custom House the Trumans' move back to Indepen­ way for the Custom House at Salem Mari­ building, his office, and the staff in detail, dence from Washington, D.C. Furnish­ time National Historic Site. The majestic and the work forms an important basis ings have come from all the genera­ Federal brick structure was the center of for refumishings. As early as the 1890s, tions of Mrs. Truman's family who U.S. Treasury Department Custom opera­ curiosity seekers visited the Salem Custom have lived there: a pillar mirror with tions for the Salem-Beverly district from House in numbers to see the office where Mrs. Truman's great-grandfather's its construction in 1819 until its purchase Hawthorne worked. name written on the back; Mrs. by the National Park Service in 1937. The A great deal of original Custom House Truman's grandfather's books; silver port of Salem, with the Salem Custom furniture survives in the building, most epergne given to Mrs. Truman's par­ House as its focal point, played a promi­ dating from the extensive renovations of ents as a wedding gift in 1883; Mr. nent role in the mercantile and maritime 1873, 1886-1887, and 1904. Records of the Truman's suits, still in the bags from history of the United States in the late U.S. Treasury Department at the National eighteenth and early-nineteenth century. Archives yielded a wealth of information the cleaners, hanging in his closet; toys of the Trumans' daughter, Two important historical figures regarding furnishings and room use. Although total refurnishing for the Margaret, piled in a crib in the attic; associated with the Custom House are toys of the Trumans' grandsons in the Nathaniel Hawthorne and General James Custom House is unlikely, the furnishing corner of an upstairs guest room. Miller. Hawthorne, one of America's great plan will consolidate all evidence found to nineteenth-century authors, was port date and will firm up the evidence for two The Trumans' lifestyle, taste, and rooms already furnished, the c. 1846 surveyor during 1846-1849; and Miller, a values seemed to preclude any pur­ Hawthorne surveyor's office, and the c. hero in the War of 1812, was port collec­ poseful collection of "fine and dec­ tor from 1825 to 1849. 1904 main business office, both on the first floor. On the second floor, good orative arts" for their home. They The Surveyor's Office on the first evidence was found for the two collector's simply kept things they liked and floor has always been associated with private offices, c. 1890, and refurnishing items that had special meaning. Al­ Hawthorne. In The Scarlet Letter (1850), will likely be recommended there. @ though the home does not contain the

CURATOR'S DREAM: AN EMERGENCY ACQUISITION FUND

If asked, few museum directors and American piece of the Federal period. It propriated funds or raise donated funds in curators would say that they have suffi­ was expected to bring S80,0O0 to Sl20,000 the allotted time. Of the many ideas cient funds to purchase new acquisitions. at the auction, to be held in January 1984 discussed, the most appealing, so far, Especially in the areas of decorative and at Christie's. seems to be that of a revolving fund fine arts, auction prices frequently rise out The site staff and The Friends of established in association with a private of range of most museums and historical Lindenwald sought funding from offices in foundation, society, or trust. organizations. All have experienced the the National Park Service, as well as from Funds would be donated to the founda­ intense frustration of failing to acquire an individuals, corporations, and numerous tion, for the emergency purchase of ob­ important piece for their collections be­ foundations. The Historic Furnishings jects for National Park Service sites. Once cause of funding limitations. National Branch, Harpers Ferry Center, indicated a purchase had been made, the object Park Service curators and superintendents that it might be able to contribute would be loaned to the site, and the Na­ are no exceptions to this plight, although 520,000: other offices and outside tional Park Service could then program or they have also enjoyed some notable suc­ organizations made tentative promises of obtain donated funds to purchase the ob­ cesses (see article on furnishing acquisition an additional 55,000 to 58,000, but the ject from the foundation at the earliest in this issue). total fell far short of the estimated value. possible date. Thus, the fund would be One of the most poignant tales of a At the auction, bidding on the table replenished for future emergencies. In missed opportunity comes from Martin started at 540,000 and quickly rose to order to insure constant availability, a Van Buren National Historic Site. A 5170,000. It was purchased by a private minimum of 56CK),CXX) is the estimated re­ unique mahogany dining table, docu­ collector for use in his home in the Hud­ quirement for the revolving amount. mented as being used by Martin Van son Valley. This unfortunate loss for Mar­ At present, an emergency acquisition Buren at Lindenwald, his home in tin Van Buren National Historic Site fund is still a curator's dream. But the Kinderhook, New York, was loaned to prompted Associate Director Jerry Rogers search is underway for an organization in­ the site for display in September 1982. In and Chief Curator Ann Hitchcock to ex­ terested in cooperating with the National October 1983, however, the owner decided plore options for establishing an emergen­ Park Service to establish and operate such to sell the table, after being notified by cy acquisition fund. a fund. Comments and suggestions on this the park that it would have to be stored As conceived, the fund would be solely concept are welcomed and may be sent to elsewhere while the house was being for the purchase of highly significant the Chief Curator, National Park Service, restored. The table, believed to be a Dun­ objects original to a site. It would be P.O. Box 37127, Washington, D.C. can Phyfe, has an accordian-style under- reserved for large purchases that greatly 20013-7127. structure considered unusual for an exceed a park's ability to reprogram ap­ ®_

12 The park did not install physical barriers in the home. To help control visitors and alert staff when someone strays from the tour route, the staff uses pressure pads under the wall-to- wall carpeting. They have local battery-powered door chimes to gent­ ly warn visitors and alert the inter­ pretive staff to handle the situation personally. This effective, non­ destructive security method does not disrupt the bulk of visitors who follow the rules presented at the be­ ginning of each tour. In addition, the staff has not noticed any attempted theft from the home, nor any success­ ful theft. Truman dining room looking toward the study. Visitor carpeting provides an ob­ vious path for tours. Sarah Olsen, Chief, Branch of His­ toric Furnishings, Harpers Ferry Center, also worked with the Truman finest examples of furniture, the prin­ help direct curatorial attention to Home staff to devise a method to cipal that governs its care remains its problem areas before visible deteriora­ protect historic floor coverings with preservation, unimpaired for future tion develops. For example, the wood­ visitor-use carpeting. generations. work and furnishings that receive the Since the National Park Service of­ most touching are regularly waxed. Even with a maximum of eight visi­ ficially assumed responsibility for the John Hunter, Staff Curator, Mid­ tors per tour, the home still has to home on December 8, 1982, the staff west Region, has worked with the establish limits. Rather then rely on has developed innovative and non- home in developing a preliminary traditional physical barriers, the staff obtrusive security and preservation security system. Because of time and developed psychological ones. They techniques to protect it. Consequently, funding constraints, a complete secur­ installed dark gray visitor-use carpet­ we have managed it as a museum, ity and fire system was not installed ing which subtly but clearly set access while still allowing visitors to ex­ in 1984. However, one is scheduled limits for visitors. In foyer and dining perience it as a home. for this year. In the meantime, some room, they removed and preserved the simple but effective security measures historic carpeting, then replaced it As is true with most historic with new carpeting, some the distinc­ homes, interpretive use influences have served as a back-up. Small, vul­ nerable objects have been secured tive dark gray and the remainder a curatorial care. The Truman Home color and texture to match the histor­ was not designed or built for public with microcrystalline wax. A very small amount acts as an adhesive. It ic carpeting. In the foyer which re­ tours. Among the first NPS personnel mains almost entirely available to to visit the home was Andy Ketter- offers resistance if someone attempts to remove an object, but does not visitors, they included a six-inch son, Chief, Cultural Resources border of historic colored carpeting to Management, Midwest Region. He stick so well that objects break if pulled. Several metal pitchers and set the stage for the remainder of the realized the imperative of having tour. In the dining room, the dark limited guided tours rather than using teapots along the tour route also have had their bases filled with marbles. gray path narrows to skirt the table other interpretive methods such as a and chairs in the center. Then off the fixed station. In order to protect the The added weight offers some resis­ tance to movement, and the sound of dining room, a small extension of the structure, its contents, and the visitor-use carpeting permits entry in­ public's intimate experience, eight clanking marbles alerts visitors and staff to possible theft. The dining to the intimate study, the Trumans' visitors represent the maximum retreat. The gray visitor path con­ number permitted to tour the home at room table, set for a formal dinner, has open-weave placemats but no table­ tinues over linoleum in the kitchen any one time. On tours with more and painted wood on the back porch, than four visitors, an interpreter cloth. To secure the silverware, Mu­ seum Aid Lisa Bosso backed the thus protecting historic floor cover­ follows as a "trailer" to help keep the ings and providing barriers by the in­ group together and watch for touch­ placemats with organza. She then stitched the silver to the mat or stallation of this particular design of ing. This provides a low-key but visitor-use carpeting. labor intensive part of our solution to napkin with transparent nylon thread. the security and preservation pro­ At 219 North Delaware, the staff blems at the Truman Home. In addition, all the cupboards, has developed some solutions to the drawers, and cabinets contain arti­ often lamented conflict between pres­ The interpretive staff makes every facts. To provide security along the ervation and use. After guiding more effort, both before and during a tour, tour route without permanent or des­ than 61,000 visitors on tours, our ex­ to minimize touching. The touching tructive closures, we installed door periments and efforts have helped us that does occur involves inadvertent annunciators (Caddi Model CDC- meet our obligations to the preserva­ contact with the structure, such as 100G) as mini-alarms. Costing about tion of cultural resources. @ leaning on woodwork and walls, $20.00 each and powered by a 9-volt rather than intentional touching out battery, these small, lightweight of curiosity or an intent to steal. The alarms are held in place by gravity or The author is Chief, Division of Cultural staff keeps complete statistics which microcrystalline wax. Resources, at the Truman Home.

13 Historic Archeology and the Decorative countries. Therefore, the use of such facts reflect the cultural behavior of genre scenes to aid in the interpre­ those who used and discarded them. Arts tation of decorative arts and cultural Certain harsh realities must be behavior at an English settlement recognized at the outset. Although such as Jamestown is much more rele­ the Jamestown objects do not, of Brooke Blades vant than initial consideration might course, represent the total range of David Orr suggest. surviving artifacts, the sad fact is that Douglas Campana The objects illustrated in the black very little of the scene painted by and white photographs were excavated Steen can ever be recovered in an ex­ at Jamestown. Most were made prior cavation. The archeological remains Archeological study of decorative to 1663, and closely resemble objects of such a household probably would arts is certainly not unique to the seen in Steen's painting. Beyond the contain ceramic and glass objects, American historical period. The obvious conclusion that items manu­ metal hardware, possibly one of the desire to recover datable and possibly factured in Europe were being used pewter vessels, clothing buttons, furn­ esthetically pleasing objects has simultaneously in the low countries iture hardware, fireplace equipment, motivated excavations of Egyptian and in English North America, these brick tiles, window glass, turned lead tombs, Roman villas, and American illustrations help depict the nature of strips, wall plaster, and perhaps Southwestern pueblos. Many of the seventeenth-century material culture, bones of man and beast. (Hog bones earliest projects at American histor­ its archeological context, and the would almost certainly appear, since ical sites were charged with the dual manner in which the surviving arti­ pork was a desirable meat and any responsibilities of defining the ar­ chitectural appearance of a given structure, and of recovering objects used by the historic inhabitants. The potential of excavated materials to ex­ Rhenish "Bellarmine" cite the public is undeniable. Archeol- stoneware bottle ogists and curators also realize that (1-7147), 1630-40. 8 inches high, recovered since the artifacts are documents of from Well 21. Bottle is cultural activity, the mutually benefi­ enclosed by an iron cial alliance between archeology and casement window frame the decorative arts can do much more (1-7291). 25" X 13'A", than fill museum display cases and from an apparent storage cabinets. pre-1650 context within Structure 1. The lifespan of an object can be Unit A. generalized as follows: manufacture; transportation to place of use (which may be a few feet or two continents apart); actual use; and eventual dis­ position. A comprehensive analysis of the behavior patterns brought to North America by sixteenth- and seventeenth- century European societies requires that all of these aspects be understood or at least examined. Let us consider the cultural en­ vironment illustrated by Jan Steen's Case bottle (J-7145), 1663 genre painting of a riotous Dutch English or Dutch, household entitled, "Beware of Lux­ 8V2" high, found in ury." Symbolic conceits embodied in a mid-seventeenth century deposit in the mallard duck and monkey not­ Well 20. withstanding, the scene captures the spirited nature of human interaction much like that which occurred with some frequency throughout the seven­ teenth-century American colonies, if court records are to be believed. The household depicted is a reasonably wealthy one, but similar domestic en­ vironments could have been encoun­ tered among the gentry of Boston and Jamestown. Indeed, many of the ob­ Philadelphia-area red earthenware dish fragment with slip decoration of white pipe­ jects recovered from seventeenth- clay, copper green, and iron oxide beneath lead glaze (INHP (FC) V-627), originally century American sites were manufac­ 8 inches in diameter, discarded c. 1765 in a brick lined-pit beneath 318 Market tured in Holland and other European Street. (Smithsonian Institution).

14 pig which had acquired a habit of ex­ objects are frequently found in areas objects of high quality are recovered tracting the spiggot from a wine cask where they were put to use. As such, from sites. Such objects, although not was certain to be a domestic liability.) the artifacts reflect much of the daily as rare as might be supposed, do in­ Organic materials such as clothing routine and social patterning present dicate that something unusual has fabrics and wooden furniture, as well in the past, as well as change in pat­ been encountered. It is sometimes dif­ as the more elaborate ceramic and terns and routine. The distribution of ficult to determine whether a rare ob­ glass vessels were rarely discarded. such mundane objects as tobacco pipe- ject's presence on a site is due to his­ These would be indicated by the ms, nails, window pane, etc., as well torically limited distribution or a lo­ smallest of fragments—if at all. Thus, as comparative distribution (different cally high level of domestic violence. the material record of an historic ar- ceramic types, for example) can serve Archeologists deduce that condi­ cheological site is not only a remnant as define activity areas and help us to tions were somewhat extraordinary at of what once existed, but also of the interpret interactions among social John Washington's Potomac River least expensive household possessions. groups within a domestic setting. A homestead during the third quarter Nevertheless, these apparent limita­ greater understanding of social be­ of the seventeenth century. The dwell­ tions are also the greatest strengths of havior and structure often can be ing site, currently within George the archeological record. Most recov­ established through careful study of Washington Birthplace National ered artifacts (particularly ceramics) changes in object material and design, Monument on Virginia's Northern are common objects sensitive to sty­ and changes in where objects were Neck, suggests a house similar in size listic changes but used daily by the used. and construction to many in the col­ occupants. Further, these common Occasionally, ornately decorated ony. His household possessions, how­ ever, included sealed "wine" bottles marked with his full name, a Venetian Pliiladelphia-area red earthenware puzzle jug with manganese colored lead glaze on 3 or Flemish multi-colored glass goblet exterior(lNHP-12201), 8 A " high, jug, bearing owner's initials \NA, was discarded c. and English North Devon sgraffito 1750-60 in a brick-lined pit near Morris Alley. (Marti Deegan. NPS.) pottery. It would appear that John Washington sought to express his ris­ Silver spoon with ing position in the Virginia social slipped end handle structure with assorted household (j-7053) and owners' goods, rather than through the ar­ initials WEC, chitectural framework which housed 63A " long, possibly them. made in Exeter, England, second All too often the attribution of quarter of seven­ "earliest," "largest," or "first" to an teenth century. object is simply a function of the limited amount of archeological re­ search at related sites. Be that as it may, a Jamestown spoon handle bear­ ing the date 1675 and the maker's mark of Joseph Copeland from nearby Chuckastuck does represent the oldest known piece of American pewter. The growth of colonial manufac­ tures is clearly manifested in the ar­ cheological record, particularly with regards to ceramics. Earthenwares were being produced in the colonies in the second quarter of the seven­ teenth century, and redware potteries were extensive by 1750. Philadelphia became a major center of earthenware production. The decade of the 1720's witnessed the emergence of stoneware potteries in Philadelphia and Virginia. At a time when English stoneware potteries Kaolin tobacco pipes, probably English, second were competing with Germanic wares quarter of seventeenth century. Larger fragment from the Rhine Valley, Anthony Duche (j-7862), measures 7". of Philadelphia produced copies of the blue and gray Rhenish vessels. The William Rogers pottery in York- Wine glass stem with embossed lion's mask (j-7052), 5 inches long. Wine glass may town created brown stoneware rival­ have been produced in Venice or Flanders, or by European craftsmen in London, ing the best being made in England. during first quarter of seventeenth century. Fragment was discarded in ice pit (Structure 128) c. 1680. continued on page 18

15 "Neighbors," by William R. Leigh, belonged to Eleanor Roosevelt at the time of her death.

Detail from the painted chapel doors of the Russian Bishop's House at Sitka NHP, showing Saint Michael struggling with Satan.

Stenciled Pompeiian Revival room, Gatewood residence, San Francisco.

Stained glass window, Minneapolis, Minnesota. (Photo courtesy of SIS Project)

Ironmaster's House, Hopewell "Beware of Luxury," Jan Steen, 1663. Kunsthistorisches Museum, Gemaldegalerie, Vienna. Village NHS, showing circa 1940 reproduction striped carpeting.

Funding for color centerfold donated by Eastern National Park and Monument Association, Executive Director F. L. Rath, Jr.

16 17 Preserving Wallpaper in Historic Homes— Simple Techniques for Cleaning and Maintaining Non-historic Wallpapers Andrea Gilmore

Wallpaper, historically the most elaborate, nineteenth century French popular decorative wall treatment for scenic paper, such as the Zuber American homes, is found in the ma­ Paysage a Chasses at Lindenwald, the jority of the historic houses owned by home of Martin Van Buren in Kinder- the National Park Service. The wall­ hook, New York to twentieth century, papers range from complete rooms of screen printed papers, like that hang­ ing in the chintz room at the home of Franklin D. Roosevelt in Hyde Park, New York. The preservation of these Circa 1930 wallpaper hanging at wallpapers presents curators and ar­ Narbonne House, Salem Maritime chitectural conservators with a multi­ NHS, showing area cleaned with tude of questions regarding their care- opaline dry cleaning pad. how to readhere loose areas of wall­ paper to the substrate, how to mend tears in the wallpaper, how to clean Historic Archeology . . . continued from page 15 soiled areas and keep them clean, and how to prevent further general The site of the Rogers pottery in the polygenetric cultural dynamic pre­ deterioration. Yorktown is currently within the sent within Pennsylvania. Such floral Prior to undertaking any work on boundary of Colonial National His­ motifs, known to English potters, a wallpaper, both its historical sig­ torical Park; the excavated remnants were produced by those of English nificance and condition should be doc­ of two kilns probably represent the descent in and around Philadelphia. umented. Establishing a wallpaper's most well-preserved of their kind The vessel, however, fits easily within historical significance involves identify­ encountered anywhere. the ceramic traditions of the Rhine ing its provenance and date of manu­ Philadelphia was also the location Valley. Since American slipware pro­ facture, as well as its import to the of the most ambitious ceramic en­ duction was most evident in south­ restoration period of the structure. deavor in pre-Revoluntionary Amer­ eastern Pennsylvania and western Documenting a wallpaper's condition ica. For three years (1769-72), the North Carolina, both areas of heavy requires a thorough examination of firm of Bonnin and Morris manufac­ Germanic settlement, vessels such as the wallpaper and its substrate as well tured the first American porcelain, in the one illustrated probably reflect as the recording of all visible physical the soft paste tradition of English fac­ the impact of Central Europeans on deterioration. Areas of deterioration tories at Derby and Bow. Fragments the young nation. should also be documented with of Bonnin and Morris vessels, as well This brief discussion about the rela­ black and white photos. Guidelines as Duche stoneware, have been encoun­ tionship between archeological re­ for historical documentation and con­ tered during excavations within In­ search and the study of decorative dition descriptions have been compiled dependence National Historical Park. arts has sought to emphasize their by the North Atlantic Historic Preser­ Also from Independence, a spec­ mutually beneficial nature. Curators vation Center and are available upon tacular puzzle jug was recovered from often look to archeologists to answer request. Monitoring of the environ­ a mid-eighteenth century privy at questions related to the genesis, quan­ ment in which the paper hangs should Morris Alley. The vessel was coated tity, and type of objects used in early be carried out and recorded over a with a manganese-tinted lead glaze, American households, and such ques­ full year's time. Relative humidity and bore the initials "WA"- tions are welcomed. If the quest for and temperature, as well as ultra­ probably indicating the intended patterns of cultural behavior also violet light levels, should be measured. owner. Such a vessel challenged a recover unusual, esthetically exciting, Once the historical significance and would-be imbiber to take a drink or well-preserved objects, the cultural general condition of a wallpaper have from a jug pierced by a lattice-work researchers, curators, exhibit design­ been determined, a treatment plan of holes below the rim. Since the ers, and the visiting public all benefit. can be prescribed. If documentation "secret" channel through the handle reveals that a wallpaper is historically was apparently obstructed, the vessel Acknowledgments significant in its manufacture and The authors wish to extend their sincere ap­ hanging date to the restoration period presented a puzzle without solution, preciation to Susan Hannah, Curator, Colonial which probably led to its disposal. National Historical Park, and Robert Giannini of the house, the treatment plan The fragment of slip-decorated dish 111, Curator, Independence National Historical should be prescribed and carried out Park, for their tireless efforts in procuring by a certified paper conservator. If, was found within confines of the area photographs from their collections. later developed by Benjamin Franklin on the other hand, a paper is non- as a courtyard adjacent to his resi­ historic, (does not date to the restora­ David Orr is Regional Archeologist for the tion period or is a reproduction dence. This vessel, decorated with an Mid-Atlantic Region. Brooke Blades and elaborate tulip floral motif, reflects Douglas Campana are staff archeologists.

18 wallpaper from the historic period) the walls. Procedures for mending Once a wallpaper has been repaired cleaning and repairs may be carried paper tears are described in and cleaned, measures should be im­ out by a curator or museum tech­ Curatorial Care of Works of Art on plemented to prevent and retard fur­ nician. The preservation procedures Paper, Anne F. Clapp, p. 69. ther deterioration. These measures described below are recommended Once a wallpaper has been repaired should include: only for general use on non-historic and readhered to the substrate, sur­ or reproduction wallpapers. face cleaning can be undertaken. Since A. Maintenance of uniform tempera­ most wallpaper printing media is water Wallpaper repairs must begin with ture and humidity levels in the soluble, only dry cleaning techniques the substrate, since nearly all wall­ room where the wallpaper hangs. papers are pasted directly onto plaster are recommended. Dry cleaning will (Ideally 65 degree F. temperature, walls. If the plaster is deteriorated - remove surface dirt and dust that is 55% relative humidity.) keys are broken or surfaces cracked not ingrained in the paper fibers, but and crumbling - stress will be trans­ will not remove water or grease B. Control of ultraviolet light ex­ ferred to the wallpaper that will cause stains. There are several different dry posure. (An ideal U-V absorbing it to tear and repeatedly lose its bond cleaning techniques that can be used. material will prevent UV down to to the plaster. Plaster consolidation The choice of the appropriate clean­ 400 nm (nanometers) from passing will probably involve the removal of ing procedure will depend on the sur­ through. UV rigid acrylic sheeting portions of the wallpaper from the face characteristics of the wallpaper is one of the most suitable block­ walls and may require the assistance and should be determined by testing ing materials available. UF-1 and of a paper conservator. small inconspicuous areas. The pre­ ferred cleaning techniques should UF-3 plexiglass, Perspex VE and Once a substrate is repaired, loose Oroglas UF3 are all suitable. They areas of wallpaper can be readhered. remove as much dirt as possible without causing damage to the are mounted on the interior win­ The detached areas of wallpaper dow casings.) should be lifted and old dried paste printed paper surface. and dirt removed from the plaster General surface cleaning of loosely C. Protect wallpaper surfaces from wall and reverse side of the wall­ bonded surface dirt can be done with human contact. Visitors to historic paper. A wheat starch paste, either a a soft sable brush. Brushing should be houses are tempted to touch any commercially available wheat starch done in short strokes and applied exposed surfaces, and flocked and wallpaper paste or a conservator's with a minimal amount of pressure to embossed wallpapers are especially mix (see Curatorial Care of Works of avoid pushing the dirt into the paper attractive. Areas of the room can Art on Paper, Anne F. Clapp, pp. and to prevent abrading of the printed 92-94) should then be applied to the pattern. A vacuum cleaner, with a be roped off so that visitors can­ reverse side of the wallpaper and the low suction setting can also be used not get within reach of the wall­ plaster wall. The paste should be fair­ for removing loosely bonded dirt. It papers or areas within reach can ly thin as it must penetrate and relax should be done with a plastic screen be covered with a plexiglass shield. the paper so that it will conform to to protect the printed pattern. Vacu­ the often irregular surface of the old uming is especially useful for cleaning D. Protect from construction dirt. plaster walls. The paste should be ap­ embossed or flocked wallpapers whose When construction or repair work plied with a small paste brush, avail­ surface are uneven. is to be carried out elsewhere in able from a conservation supply the house, seal rooms in which More securely bonded general sur­ wallpapers hang to prevent them store. A standard wallpaper paste face dirt can be removed with knead- brush, which is 8" wide, is usually from being covered with airborne able erasers, such as the Opaline dry dust. too large for readhering work. The cleaning pad. The pad consists of paste should be allowed to penetrate crumbled eraser contained in a porous the wallpaper for several minutes cloth bag. The pad is rubbed across E. Prevent water damage to the wall­ before the paper is pressed against the the wallpaper's surface, which causes paper. Water causes dirt to migrate plaster. Pressure should be applied to the crumbled eraser to sift through through the walls and will cause the wallpaper until it has bonded the bag and absorb the paper's sur­ permanent staining. It may also with the plaster wall. Once the bond face dirt. After cleaning with a cause adhesion failure. Sources of is established, any excess paste should kneadable eraser pad, the surface of water damage can include leaking be removed from the surface of the the wallpaper should be brushed or roofs, gutter back-ups, open win­ wallpaper with a damp cloth. vacummed to assure that none of the dows, etc. All of these areas crumbly eraser remains on the paper's should be monitored to prevent Mending tears in a wallpaper that water intrusion. is hanging on the wall is difficult, surface. since the standard procedure for men­ Insolated areas of dirt can be re­ With these simple techniques for ding a paper tear is to paste a long- moved with tweezers or solid erasers. cleaning and maintaining non-historic fiber, unsized Japanese paper over the Tweezers are particularly useful for wallpapers, their preservation should tear on the reverse side of the paper. removing cobwebs or insect larvae. be assured for a number of years. © If adjoining pieces of paper have Solid erasers, which can be cut so fallen off the wall, they may be that they have a sharp edge, are use­ mended before being readhered to the ful for removing pencil lines or small walls; otherwise, most tears are left in smudges. They can also be used effec­ The author is an Architectural Conservator, the wallpaper and the adjoining sides tively in narrow areas, such as be­ North Atlantic Historic Preservation Center. pushed together when readhered to tween door and window casings.

19 taken, both inside and outside the Climate Control in Furnished Room Exhibits building, for an entire year. Hygro- thermographs should be used; these Diana Pardue instruments record the existing condi­ tions on weekly or monthly charts. Faced with deciding how to inter­ ings (such as the Eisenhower Home) Hygrothermographs must be cali­ pret a building once inhabited by a have had central air conditioning for brated regularly (every one to three famous person, the manager has many years. To turn off the air con­ months) using a sling or aspirating traditionally turned to the furnished ditioning in the Eisenhower Home psychrometer. A log should also be historic building museum as a solu­ could be just as damaging to the kept of activities or elements influenc­ tion. This type of exhibit places ob­ building as introducing it into the ing the hygrothermograph readings jects in a historical context by at­ 18th century Wick House at Morris- (rain, snow, large tour groups, mopp­ tempting to recreate the environment town. This method, therefore, is not ing floors). This establishes the en­ of a famous person, event, or period. acceptable for all buildings, par­ vironmental baseline from which The emphasis is on the total environ­ ticularly historic buildings which have building changes can be considered. It ment or setting, rather than the in­ never had mechanical climate control provides a record of seasonal varia­ dividual object. But can a balance be systems. There is also the potential tions and how the building responds struck between the conflicting relative risk of damaging a building if a to them, as well as how it acts as a humidity requirements for historic relative humidity of 50% is main­ buffer for the objects it protects. buildings and objects without des­ tained during the cold winter months troying either one or both? A variety (Raymond H. Lafontaine, "Humidi- Problems with conflicting relative of approaches can be considered to statically Controlled Heating"). humidity requirements have resulted help solve this dilemma. in the relaxation of relative humidity A building's internal environment is standards for objects in museums, The major cause of a museum ob­ a delicate balance of influences, the particularly in Canada. A gradual ject's deterioration is the adverse re­ two main ones being relative humidity decrease in relative humidity to 35% action between the object and its en­ and temperature which are interde­ vironment. Relative humidity (the pendent upon each other. Differences ratio of the amount of water vapor in relative humidity between the in­ actually present in a volume of air to side and outside of a building tend to the maximum amount possible at the equalize by the transfer of water vapor same temperature) is perhaps the from the wetter air to the drier. During most important environmental prob­ cold winter months, the warm moist lem to control—and the most difficult air inside the building will move out­ in most historic buildings. wards through the walls and as the Danger limits for relative humidity temperature drops, the dew point can have been set at 40%-65% for mois­ be reached which will result in con­ ture-absorbent materials (such as densation within the walls of the wood, textiles, paper, paintings, building (if no vapor barrier is pre­ leather, bone, animal skins, and plant sent). This condensation can irrever­ specimens). Such organic substances sibly damage the wall construction by can be permanently damaged by over- promoting wood rot and freezing drying at relative humidities below within the walls (Bernard Feilden, 40%; relative humidities above 70% Conservation of Historic Buildings, encourage mildew, mold, and the pre­ 1982). sence of insects. A relative humidity A constant, year-round relative of 50% has been suggested most often humidity level of 50% for museum as desirable. The frequently quoted objects is too high for most buildings acceptable range of ± 5% is based in climates with cold winters that re­ on the performance of air condition­ quire indoor heating; most architects Living room at Scotty's Castle, ing and heating systems rather than a recommend maintaining the relative showing the use of tiles, wrought toleration for deterioration range of humidity at 35% or below during the iron, Italian pottery, and custom museum objects. Lists of specific colder months to prevent condensa­ designed furniture, 1930-1935. types of materials and their optimum tion within the exterior walls. Vapor relative humidity levels have been barriers placed on the inner side of in the winter months is now an ac­ published, but these levels are pri­ the exterior wall can prevent this con­ cepted norm (Raymond H. Lafontaine, marily useful only in temperate cli­ densation; however, few historic build­ "Environmental Norms for Canada mates, not arid or humid zones (Gary ings within the National Park Service Museums, Art Galleries and Ar­ Thomson, The Museum Environment, have such barriers since their installa­ chives," April 1981). Since rapid 1978). tion in many instances would damage changes in relative humidity are the Since rapid fluctuations in relative historic wall surfaces. most damaging to objects, wide, slow humidity are the most damaging to Any intervention or change to an variations over the period of a year museum objects, a constant level existing building must be handled are preferable. Objects can be stab­ should be maintained at all times. Air with care and consideration. Before ilized in conditions other than the conditioning and heating systems rep­ alterations are made to the internal suggested range of 40%-65%. When resent the best way. Some of the environment, temperature and rela­ deciding what the relative humidity more recent acquired historic build­ tive humidity readings need to be level should be for a group of objects

20 The Assembly Room: All Those Reinterpretations and It's Still Not Right? Doris D. Fanelli

Between 1816 and today, the Assembly Room in Independence Hall has undergone eight major restora­ tions and refurnishings as well as in­ numerable rearrangements of artifacts. The assembly chamber where the Declaration of Independence was signed and the United States Con­ stitution was framed is probably the most significant and most restored historic room in this country. All those reinterpretations and it's still not right? It is possible to describe the Assembly Room as the material com­ ponent of a folk religion instilling patriotism as well as a knowledge of this country's historical origins in its citizens. In this way, such restorations Max Rosenthal (1833-1918) watercolor on paper showing the Liberty Bell. Watson's are essential parts of a social pheno­ chair, composed of relic woods associated with William Penn, Christopher menon extending beyond American Columbus, and other worthies, is in the right foreground. continued on page 22

Climate Control . . . in a furnished building, consideration The exhibit case provides an ex­ nished room areas and closed exhibit should be given to the relative humid­ cellent buffer from rapid fluctuations cases might be desirable in some ity levels the objects have become ac­ in relative humidity, when used in situations. customed to in the past as well as the conjunction with conditioned silica This discussion suggests various ap­ average relative humidity conditions gel. The case is built or retrofitted proaches by which the relative outside the building. The recording of with a compartment (directly beneath humidity within a building can be temperature and relative humidity the board supporting the displayed controlled at levels satisfying the levels inside and outside the building, objects) where trays of conditioned needs of exhibited objects without as mentioned previously, will provide silica gel can be placed. The silica gel damaging the building. The internal necessary information. is conditioned at the desired relative environment of each building is uni­ Many historic building interiors are humidity level for the objects in the que; no general recommendations or made up of a large amount of buffer­ exhibit case and will maintain the in­ approaches can be made to suit all ing material, such as wood panelling, terior environment of the case at this situations. When planning is initiated stone, plaster, brick, and textiles. level for a period of time. When the to decide how buildings and objects These materials absorb moisture when relative humidity level in the case will be used to interpret the park the relative humidity is high, and re­ goes above a predetermined level, the themes, preservation considerations lease it when the air is dry, thus slow­ silica gel will need to be reactivated. must be part of this process. Ar­ ing down the fluctuation rate in res­ Exhibit cases with compartments for chitects, curators, and conservators ponse to outdoor changes in relative silica gel have been designed by the should be involved in the interpretive humidity (Feilden, 1982). This buffer­ Harpers Ferry Center and are now in planning process, so that if preserva­ ing effect can be demonstrated by use at several parks. This approach tion of the building and the exhibited comparing chart readings from a limits control of relative humidity to objects conflict, various solutions can hygrothermograph placed in a fur­ the inside of the exhibit case, elimi­ be addressed from the start, rather nished room and a hygrothermograph nating the possibility of structural than making undesirable compromises placed outside on the same side of the damage to the building. However, it later. © building as the room. Historically ap­ is not practical for furnished room ex­ propriate carpeting and curtains are hibits or very large objects (Lafontaine, good buffering materials. The living April 1981). Objects sensitive to ex­ room at Scotty's Castle is a good ex­ tremes in relative humidity should ample of how the interior architect­ not be used in an open exhibit (such ural features and the furnishings can as a furnished room) but in closed ex­ help to buffer the fluctuations within hibit cases in a controlled environ­ The author is a staff curator with the ment. An exhibit area that mixes fur­ Curatorial Services Branch, WASO, stationed the room. in Harpers Ferry. 21 Assembly Room . . . continued from page 21 culture—the establishment and main­ events established the State House receive the body of Henry Clay. The tenance of patriotic shrines. The and the Assembly Room's prominent city brought the Liberty Bell, then a following material examines this position on the American cultural symbol of the abolitionist movement, development, looking at changes in landscape. down from the tower and placed it in the Assembly Room over time, as In 1799, the state capital left the room as an allusion to Clay's last well as comparing it to ancient Philadelphia. State and Philadelphia great political achievement, the Com­ Roman state religion and to Shinto County courts sat in the Assembly promise of 1850. Partially as a re­ in modern Japan. Room and the remainder of the build­ action to continued sectional issues In 1729, the colonial government ing served as a polling place. The that portended American disunity determined to erect a building for its State House entered a long period of throughout that decade, the Commit­ various branches. Carpenter Edmund "white elephantship." In 1802, tee on City Property began to collect Woolley began construction of lawyer Charles Wilison Peale acquired the relics associated with the Assembly Andrew Hamilton's design in 1732. use of the Assembly Room and the Room. This hoarding of national Completed in 1750, the Pennsylvania entire second floor for his museum of treasures reminded the public of the State House was the largest and most art and natural history specimens. unified purpose that founded the impressive work of public architec­ The Peale Museum's presence contri­ country. ture in the American colonies. Im­ buted to the public's growing percep­ An equal impetus to relic collection mediately, the building was a land­ tion of the Assembly Room as a cab­ was the early folklore movement. The mark and a tourist attraction. inet of curiosities. interest in documenting oral and ma­ The Pennsylvania Assembly met in In 1819, artist John Trumbull later terial traditions flourished in western the east room on the first floor. Dou­ visited the site depicted in his famous Europe in the nineteenth century as ble doors opened from the central painting, The Declaration of Indepen- an important component of the na­ tionalist movement. In America, long before the founding of the American Folklore Society in 1888, antiquarians were documenting traditions and for­ ming small societies. In 1830, John Fanning Watson published a local his­ tory redolent with legends and tradi­ tions in Philadelphia. Watson's inter­ ests included the Assembly Room. In 1838, he designed a "liberty and equality" chair supposedly after the original "rising sun" chair John Folwell made for the Pennsylvania Assembly in 1779.

Despite the Assembly Room's pro­ motion as the bastion of unification in the 1850's, the city still could not determine what to do with Independence Hall. Civic ceremonies and receptions were held in the Assembly Room, but not one considered the surrounding space sacred. Frank M. Etting, former state treasurer, noted that the city used John Trumbull, "Declaration of Independence," oil on canvas, 1786. For many the basement beneath the room as a years, Trumbull's version of this event was presumed historically correct. dog pound. He urged the creation of a national museum as part of Phila­ hall into the nearly forty-feet square dence, and dejectedly noted that "the delphia's preparation for the nation's by twenty-feet high space. Assembly­ spirit of innovation laid unhallowed centennial. Formally inaugurated in men sat at small tables facing their hands upon it." Trumbull's rhetoric 1872, the museum included the de­ president who presided from a dais demonstrates two contemporary dication of Independence Hall as "a centered on the east wall. Beginning trends. First, the popular mind had perpetual monument to the Founders May 10, 1775, the Assembly allowed begun to identify the Assembly Room of America." Assisted by a ladies' the Second Continental Congress to as an inviolate, sacred place. Second, committee, Etting rearranged the assume the space. Here, on July 4, Trumbull's antipathy towards "that Assembly Room. He removed the 1776, the delegates signed the restless spirit of change which so Liberty Bell, replaced the president's Declaration of Independence. Eleven much prevails in this country" platform on the east wall, and ele­ years later, the Federal Convention describes a growing awareness of vated the silver inkstand reputedly met in the Assembly Room from May America's singular traditional used to sign the Declaration and the 25 to September 17, 1787, where they heritage. Constitution to the status of the most sacred object in the room. The Peale framed and signed the United States On July 2, 1852, the Assembly portraits hung on every available inch Constitution. These two important Room was draped in mourning to

22 of wall space. The portrait subjects, Etting asserted, were "actors in a drama." A brass rail separated the visitors from the artifacts. This em­ phasis on theatricality contributed to the visitor's sense that history was mysterious and wonderous, even a bit unknowable. The City of Philadelphia removed its government operations from the State House in 1895. This change oc­ casioned the first restoration of the entire building. Architect T. Mellon Rogers modified the Assembly Room's appointments to what historic arch­ itect Charles Peterson described as a "caricature of eighteenth century woodwork." The Assembly Room re­ mained a display of portraits, furnish­ ings, and relics, but Rogers substi­ tuted velvet ropes for Etting's brass barriers and the National Museum Committee rearranged the displays. Robert Edge Pine and Edward Savage, "Congress Voting Independence." Today, At this point the scope of artifacts Savage's version is believed the most architecturally accurate. permitted in the Assembly Room nar­ rowed. The committee culled displays and only retained objects with a direct relation to the most historic ballad does. The furnishings represent dained. The various cults stressed a events that occurred there. The city an amalgam of prototypes for items pax deorum or convenant with the also appointed its first curator to documented to have been in the room gods that implied a reciprocal rela­ oversee the growing collections. before and after the destructive tionship of worship in return for civic Although the curator experimented British occupation. Visitors stand favors. Eventually, the Romans with various arrangements of objects, behind a reproduction of the wooden adopted from the Greeks the practice no other full-scale refurnishings were bar that separated the delegates from of giving divine homage to notable attempted before the National Park the public in the eighteenth century. humans. In 46 B.C., divus Julius, an Service accepted jurisdiction for the Only interpreters stand behind the official cult honoring the charismatic buildings and their collections in bar from where they speak to visi­ Julius Caesar, was permitted. In 1951. Even when period display al­ tors. For a time during the Bicenten- America today, we have a folk reli­ coves were used in the East Wing of niel of the Declaration in the gion of patriotism which celebrates the National Museum, the Assembly mid-1970s, the park experimented the founding of our nation. Calendar Room remained a shrine. The present with costumed interpretation. This feasts include Independence Day and restoration began in 1953 and con­ practice was judged unsuccessful and Presidents Day. Patriotic societies tinued through the mid-1960s. With abandoned. hold official ceremonies to describe the scientific techniques of historic and perpetuate aspects of civic pride. preservation at their disposal, Park Patriotism, as historian Merle Curti has noted, is an abstract emotion Homage paid to George Washington Service architects restored the room compares with the divus Julius cult. to its correct eighteenth-century ar­ which requires a knowledge of the country's history and purpose to Today, Independence Hall is the ma­ chitectural appearance. The refurnish­ terial symbol of American patriotism. ing, however, was another matter. become an active virtue. Many cul­ tures have enshrined physical spaces While our values of patriotism are and materials that relate to their civic Today, visitors to the Assembly more the lineal descendants of ancient origins. This enshrinement dictates Room see an evocative enshrinement, Rome, Japanese Shinto, still in prac­ and controls the flow of beliefs and not an accurate restoration of the fur­ tice, offers an immediate comparison. information while simultaneously res­ nishings to a particular point in time. Shinto has no written doctrine. Its ponding to society's needs for patri­ Notwithstanding the usual absence of "scripture" is certain ancient historical otic reinforcement. sounds, smells, and tactile discom­ writings of political and dynastic in­ forts absent from the majority of In ancient Rome, for example, the terest. Information about the cult is museums that claim to recreate the Senate maintained control over the orally transmitted and the Japanese past, the Assembly Room has breaches state religion, which featured calendar carry no clear fixed definitions of it. of logic. Because the two events feasts and official ceremonies as well Followers of Shinto believe in a com­ critical to the room's existence oc­ as myriad temples to various dieties. plex system of anima or Kami which curred eleven years apart, the visitor This was not an emotion-charged belief must suspend a reliance upon fact, system. Priests performed meticulous much as a listener to a folk tale or rituals but prophets were actively dis­ continued on page 24

23 Assembly Room . . . A Look Inside: continued from page 23 Recognizing Significant range from abstract qualities such as While the patriotic lessons dispensed Interiors growth or fertility to the individual through the Assembly Room have re­ Peggy A. Gustave, ASID spirits of national heroes and dead mained constant, the specific method ancestors. Propitiation of Kami at ap­ of presenting them through an ar­ Do you remember the ice cream propriate shrines is believed to main­ rangement of objects and mediation parlor that served cherry phosphates, tain equilibrium from the familial to by guides has changed. The most or the neighborhood grocery with the Imperial levels of society. powerful symbolic object in the build­ barrels of crackers, porcelain fixtures, ing was the Liberty Bell. But when and sawdust floors? Chances are This religion, as old as Japan itself, the most sacred object is removed, a has an elaborate, symbolic material when you daydream about the Amer­ shrine loses its efficacy unless another ican past, your thoughts return to the culture. Shrines are the residences of object replaces it. When the Park Ser­ Kami and the physical structures are familiar interiors of lost buildings vice moved the bell to its new pavil- such as these. Now, imagine the considered sanctified. The shrine sys­ lion in 1976, the hall temporarily lost tem in Japan has much in common grand stairs at the New York Metro­ some of its sanctity. This has been politan Museum of Art replaced with with the NPS historic park system. partially regained through the Syng Today, most of modern Japan's escalators, or the Old Faithful Lodge inkstand which gradually has assumed at Yellowstone Park with mylar wall­ shrines are organized under a national more importance. Tightened security shrine association which has a coverings and track lights. No doubt and an elaborate protective ritual you find the very thought absurd or, bureaucratic structure of offices. have developed around it. Locally, shrines are managed by at miminum, ill-conceived. These priests and committees of worshippers Charles B. Hosmer, Jr., historian of mind pictures point to the direct re­ who own the shrine land and build­ the American preservation move­ lationship interiors have to the envel­ ings, and who raise funds from ment, visited Independence last year ope of the building. They also suggest private donation. The entire affair and predicted that the Assembly our fascination with the interior varies and may be a complex of Room would have another restoration spaces where our forefathers con­ buildings; however, in plan, all before the year 2000. In a sense, the ducted the affairs of daily life. shrines have a worship area and an Park Service restoration has never inner chamber where the holiest ob­ been finished. We have never imple­ ject of the particular cult resides. Ob­ mented many of the changes recom­ jects such as purification wands, mended in the furnishings plan; sub­ weapons, and banners are arranged in sequent study or debate has refuted symbolic patterns and displayed others. This approach to restoration throughout the shrine. Through the could well continue until 2000. But if performance of rituals and through Hosmer had a complete architectural tours, the shrine priests meditate the renovation in mind, only two types beliefs of the cult for the worshippers. of events could catalyze it: a cele­ Access to the sacred areas are con­ bratory occasion revolving around trolled and the space around the the historic events that occurred building is symbolically decorated in this room or a change in the build­ and considered sacred. At stalls near ing's status or ownership. Neither one the property, visitors may purchase seems likely, since the present ar­ charms and amulets associated with rangement of city ownership with the shrine. Park Service administration and operation seems satisfactory, and the If this sounds much like the Assembly park has planned no restoration for Room at Independence National His­ the Bicentennial of the United States torical Park, it is because the estab­ Constitution, the only major anniver­ lishment of patriotic religion is a sary before 2000. I don't believe cross-cultural phenomenon and its Hosmer's prediction. But then, I'm practice conforms to certain material viewing the Assembly Room through and social models. Demarking the site the perspective of Roman state Sample page from Significant Interiors of a great historical event as sacred religion in which the public officials Survey. and euhemerizing the participants is a controlled the Sybylline oracles and way of preserving the traditions that actively discouraged prophecy. @ According to Elliot Willensky, are central to patriotism. Each of the AIA, co-author of the AIA Guide to Assembly Room's major restorations New York City, an important part of occurred when there was a change in The author is Supervisory Curator at Indepen­ the meaning of architecture is often the status of Independence Hall's dence National Historical Park, with an M.A. exemplified in the most fragile of its ownership or occupancy, or for pur­ from the Winterthur Program and a Ph.D. in folklore. This article is excerpted from a longer elements—the design, appearance, poses of resanctification during an­ article being produced for publication and manner of use of interior space. niversary celebrations. elsewhere. Primarily, buildings are erected as shelters. . . for internal use and habita­ tion. There is an intimate and private

24 successive layer attached to a struc­ ture becomes significant in its own right, and the most recent is preferred to the past. The point at which we depart from the theories of these past masters in working toward the preservation of earlier interiors is the identification of character-defining elements for the orig­ inal design. For example, color helps to define character. Since color trends have moved away from salmon and turquoise, a Frank Lloyd Wright residential building may receive non- historic changes to its woodwork. Some may argue that mauve and mint are as sensitive to the native stone and copper cladding as the original colors and that such a change is equally a product of its own time. Nevertheless, such a change offers no contribution to posterity's under­ standing of Wright's aesthetics. The responsible colorist will act accord­ ingly, giving back the character of the color which the original designer in­ tended for us to see. Accurate colors Restoration of the Old Archade in Cleveland, Ohio. Before and After. (Photo are essential to a restoration, and the courtesy of SIS Project) technology for making these color se­ lections is relatively straight forward. Room arrangements and floorplans also define character. The desire for relationship between a building's in­ meaning owners or professionals ig­ "new" spaces and the enthusiasm of terior space and the people who use norant of the value attributable to "found space" in rehabilitation pro­ it, a relationship which does not exist these historic interior elements. jects often affects the qualities of his­ in the exposure of its structural skin While great pains have been taken toric interiors. A historic Vermont to the street. Indeed, the artistry or to preserve the structural integrity inn loses some of its charm when two lack of artistry pertaining to interior and exteriors of many American build­ small rooms become a mini-suite after spaces not only makes a statement ings, developers, architects and even the demolition of interior walls. A about design, but as material culture, interior designers have largely ignored Tennessee pre-Civil War farmhouse is it reveals important insights into liv­ the insides. Certainly, we cannot sug­ altered aesthetically by the relocation ing patterns and cultural heritage. gest that just because interiors exist of its central stairs. Nevertheless, time and again thou­ behind closed doors, they do not Use of furniture, art, and acces­ sands of older homes, imposing build­ matter. sories provide another category offer­ ing lobbies, palatial hotels, and lavish ing insight into the past. A Baltimore restaurants have met the wrecker's Determining Significant Interiors row house may display a peculiar ball, or been brutalized out of exis- A major concern in preserving in­ juxtaposition of German tiles, Span­ lence by remodeling or modernization. teriors, however, is the determination ish pine furniture, Portuguese bas­ Why? Partly because the value of of exactly what is and is not signif­ kets, Boston ferns, and fabrics from icant. Where significant interiors have their interior space went unrecognized. Provence in order to create an survived intact, they should be pre­ "American Country Kitchen." The in­ "It's like taking a scalpel and carv­ served. Where important interiors appropriate use of furnishings and art ing out a piece of our memory," said have been covered up, they should be weakens the original statement made Rita St. Claire, Fellow of the Amer­ revealed and repaired. In keeping by the structure. The eye is deceived; ican Society of Interior Designers with National Park Service policy, the mind is confused; and the interior (FASID). Interior spaces designed and there may be a good reason to restore loses integrity. built by past generations often repre­ lost interiors. In the same way, the Alexandria sent the best expression of design, In Seven Lamps of Architecture, tavern should be furnished with craftsmanship and artistic endeavors John Ruskin argued that we have no pewter and stoneware, not Imari of the period. However, delicately right to touch the buildings of past porcelain or Baroque silver. How­ carved mantlepieces, elegantly detail­ times. "They are not ours," he said. ever, the interiors of the Newport ed plaster ceilings, fine stained glass "They belong partly to those who mansion can successfully display windows and expertly crafted cabi­ built them, and partly to all the tapestries from Brussels and glass netry have been resigned to town generations of mankind who are to dumps, blanketed by modern mate­ follow us." He and others pleaded the rials, or otherwise destroyed by well- cause of anti-scrape, by which each continued on page 26

25 Look Inside . . . continued from page 25 chandeliers from Italy; not so the Greene and Greene bungalow in California. Even in the area of adaptive use, it is important to remember that inter­ iors are a product of people, econo­ mics and culture, as well as of time. Reused train sheds, cow barns, and schools once had uses separate from the retail shops, restaurants, and re­ tirement homes they have become. A change of interior transforms the train shed into a series of retail shops. Barns become a place for beef on a platter rather than on the hoof. The building where our seniors were edu­ cated now becomes a residence for them in their twilight years. The ex­ terior significance of these structures may not have been lost, but the inter­ iors generally will have been modified significantly. Nevertheless, retention Loew's King, Brooklyn, New York. (Photo courtesy of SIS Project) of interior elements which define char­ acter should be sought. Indeed, find­ The Significant Interiors Survey (SIS) iors, from the industrial to the resi­ ing a good use for existing interior is an ongoing inventory, with docu­ dential, and the palatial to the com­ space may prove to be the best way mentation, of important interior mon, are part of our collective exper­ to preserve it. spaces in the United States. It is a ience of the built environment. While permanent descriptive and photo­ the survey contains primarily historic Significant Interiors Survey graphic record available to the public interiors, there are some modern "We cannot hope to preserve that nationwide, but with particular value spaces. which we do not know we have," in the cities to which the material Local surveys are performed primar­ said R. Michael Brown, FASID, of directly applies. ily by ASID chapters and are often New York in 1979. With that thought, Because interior design is a fragile co-sponsored by preservation, historic he conceived the Significant Interiors art, the survey seeks to include all in­ or civic organizations, or academic Survey as an activity of the American teriors of historical, aesthetic, and/or institutions. It is coordinated by the Society of Interior Designers. cultural interest. All types of inter- national survey staff at ASID head­ quarters in New York, with financial support by ASID, the National En­ dowment for the Arts, Scalamandre, Stroheim and Romann, Brickel As­ sociates, and other organizations. Surveys are now being conducted in Minneapolis-St. Paul, Phoenix, Cleveland, Houston, Baltimore, Washington, and Tallahassee, to name a few. The survey staff published a manual on surveying interiors, Pre­ serving A Fragile Art, as well as a tour brochure describing 31 New York interiors. Additional surveys are being initiated, and other publications and a major traveling exhibition are being planned. A role clearly exists for the National Park Service in the survey. NPS historic interiors should be included on the SIS. The survey gathers background re­ search from local libraries, historical societies, city building departments, corporate files and periodicals. This information is included in each build­ Modification of interior space from an old railroad terminal into a restaurant, St. ing's research folder. A surveyor com­ Paul, Minnesota. (Photo courtesy of Mary Ellen Hern) pletes a survey form that includes de-

26 tailed descriptions of each important written in the 1930s: "Sod Houses of space and its character-defining ele­ NPS Records, A the Western Plains," "Catalogue of ments. Slides and other photographic Buried Treasure the Ligerwood Collection," or documentation are taken. Information "Newspaper Accounts of the Battle of from survey forms is entered into the Buford L. Pickens, FAIA Antietam." ASID national headquarters computer One discerning archivist stated for easy retrieval and updating, while Researchers from the private sector that:... the goal of the Na­ the original research and photographs look for neglected but signficant tional Park Service History currently remain in the survey's home information, which if published in a Collection is to seek out and city. new, appropriate context, could reach preserve the many kinds of The Significant Interiors Survey pro­ an interested audience. For several materials which illustrate and vides a unique, invaluable examina­ reasons, NPS records and reports document the history and cul­ tion of American interior design. It provide an attractive starting point. ture of the NPS and to main­ can be used by a variety of profes­ First, they cover a broad spectrum of tain these materials in a suit­ sionals from architects, historians, perennially intriguing subjects related able form for research pur­ curators, and interior designers to to our cultural history. Second, they poses. . .The value of such a present a disciplined, professional collection will be enhanced as scholars, educators and other con­ 1 cerned with the built environment. inquiry—firsthand observations time goes on. Most importantly, it can help build­ supported by photographs, drawings, It is considered mandatory today to ing managers and owners understand and other media. Finally, the authors provide a publication editor with where the interior of their building of some reports began their careers at sharp, clean 8" X 10" black and fits in. The survey plans to reach an the outset as authoritative specialists; white, glossy prints made from orig­ even wider audience through future others have since become so. Despite inals, not from photocopies. Since the publications, exhibitions, walking the advantages, however, original National Park Service came into being, tours, and associated educational pro­ copies of these reports often prove however, all its offices have been able jects. Perhaps in this way, all of us difficult to locate. to reproduce anything on a piece of will begin to find some new favorites When publishing older documents, white paper and to proliferate in- to appreciate and preserve in addition what counts is the quality of the house editions of memos and reports, to the more familiar interiors which recorded observations. In many cases, first by means of tissue carbons or have established standards of design the older the document the better, for mimeograph, and since about 1950, through the years. © the original source of data may no by use of the much simpler electro­ longer exist. A building may have static copier. When a report passed been demolished or severely altered; through many hands, each succeeding the total environment of the site may reviewer thus found it easy to "cor­ The author is Chairman, ASID Historic Preser­ have changed radically. Thus, the rect" the author's manuscript, sub­ vation, and the Vice President of Gustave early account becomes solid gold for stituting new typos for originals, jug­ Associates, Inc. in Phoenix, Arizona. For more gling the illustrations, deleting some, information on the Significant Interiors Survey today's cautious researcher. Consider contact American Society of Interior Designers the following titles of NPS reports but seldom, if ever, improving the (ASID) National Headquarters, 1430 Broadway, author's captions for closer ties to the New York, NY 10018 or phone 212/944-9220. text. Without an author's original typescript, it is impossible for a modern-day researcher to proofread a manuscript responsibly or to other­ wise prepare it for publication. For reediting in order to publish commercially, researchers are also in­ terested in the raw material—memos that shed light on the instigation of the project, the author's notes and sketches, and above all, any cor­ respondence that would explain the transmittal of the original report to the depository, with any acknowl­ edgement. Many offices in the Park System maintain cumulative files that may need a careful sifting before potential historical material vanishes during "spring house cleaning." One anonymous archivist from a federal agency who was assigned to process NPS records from the 1930s, offered this diagnosis: . . . the records-keeping practices the Service during this period Interior, General Store, Baton Rouge, Louisiana. (Photo courtesy of Mary Ellen Hern) continued on page 28

27 Buried Treasure . . . continued from page 17

and restoration, as well as the design of a new museum, the purpose of the Sonora expedition was to secure ar­ chitectural and historical data to aid in solving these problems. NPS Report "A" by Arthur Woodward covered the historical and archeol- ogical aspects. NPS Report "B" by Scofield DeLong and Leffler Miller recorded the architecture, with data and twenty-eight sheets of measured drawings. At the same time, George Grant, NPS's "star photographer," made more than three hundred photo­ graphs as part of the recording project. Following a guided tour of the Sonora missions in April 1983, I read the two NPS reports and was im­ pressed not only by their vivid des­ criptions but also by the fact that, Mission La Concepcion de Nuestra Senora de Caborca. A view from the dry Magdalena after fifty years, they deserved to be River bed, showing how the flooding had undermined major parts of the church, considered historical documents wor­ (photo, courtesy of John Clonts, WACC, Tucson, Arizona) thy of publication, jointly if possible. Even the time for such a project seemed to be auspicious, with rising were chaotic. The method was Sonora, Mexico. Because the mission awareness in the United States of our neither numerical, alphabetical, at Tumacacori National Monument Hispanic-American heritage and nor by subject; it was an absurd was part of the same Kino chain, faced world-wide plans underway to cele­ amalgum of the three, apparent­ with urgent problems of stabilization brate "Columbus 500" in 1992. ly dictated by the whims of continued on page 30 whoever happened to be in the office at the time. I have come upon instances where a file has several different headings crossed out prior to its deposit in the system. Another librarian charged with organizing a veritable mountain of some two million prints and negatives explained: The main problem has been that since the first official NPS phot- grapher was hired in 1929, there have been seven to ten different chiefs of the photo library, each with his own idea of how the collection should be arranged. This leads to confusion when trying to locate items. . . because of ongoing projects, there is not at this time a finding aid (or a catalogue) to the collection.2 My own experience during the past year and a half has been obtained in the search for the original 1935-1936 typescript and illustrations of two The Sonora Expedition Members at the "Dolores" site, 29 October 1935. Left to right: NPS reports concerning a six-man ex­ Robert Rose, park naturalist and guide; George A. Grant, official NPS photographer; Leffler Miller, associate architect; Howard Tovrea, engineer; Arthur Woodward, pedition to record the remains of the archeologist-historian and interpreter; and Scofield DeLong, associate architect and "Kino chain of missions" in northern elected party chief, (photo, courtesy of John Clonts, WACC, Tucson, Arizona)

2S Buried Treasure . . .

Map and Itinerary showing four "Kino mission" sites in Arizona and twenty in Sonora, Mexico. Fall of 1935 was a time of social unrest in the region; the presidente and chief of police of Santa Ana were seized and shot the day after the NPS party arrived in Hermosillo to obtain the Governor's official study permit. They were asked to remain in the capitol until Federal troops could take control of the towns. (Hollis Phototechnics, photo, courtesy of N. ]. Bleser)

A typical sheet of (28) drawings by the NPS architects, following measurements made during the 1935 expedition. In addition to the large structural forms, they also recorded decorative details for possible use at the Tumacacori National Monument Museum. (Hollis Phototechnics, photo, courtesy of N. ]. Bleser)

24 Buried Treasure . . . continued from page 28 already listed in the Washington Of­ fice bibliography. Considering the wealth of titles, the bibliography represents a vast resource of informa­ tion for the patient investigator. Too often we look down on the work of predecessors, asking ourselves what they can possibly contribute to a pre­ sent generation. Nevertheless, valu­ able information both about research process and site background is con­ tained in the cultural resource biblio­ graphy titles. Perhaps some concerned office might be able to trace the "critical path" of NPS reports from their point of origin to the first depository, and thence to their pre­ Drawing by S. DeLong, 1935. Mission at Tnbutama, Sonora, Mexico, sent location. If this treasury of his­ colorful motifs painted over the classical cornice around the nave. torical documents cannot be un­ earthed, whatever original material remains might best be shared and My inquiry for original copies tural Resources Management Biblio­ preserved through responsible began at the Western Regional Office graphy of more than 6,800 items, publication. © in August 1983. They referred me to listed (a) by author, and (b) by date, the Western Archeological and Con­ but not yet by subject. It was quite servation Center in Tucson, Arizona, surprising to discover the wide range The author is Past-President of the Society of where its excellent library is copying Architectural Historians. Recently he has been of titles that go into background researching American material in the principal some 5,000 of George Grant's nitrate studies indirectly connected to par­ 3 archives in the United States, England, France negatives onto safety film. ticular parks, and encouraging to and Spain. He would like to acknowledge with For my immediate interest, how­ consider that the bibliography might thanks the many courtesies and indulgences ex­ ever, the library conserved only tissue tended by the NPS librarians during his in­ make the work of future researchers quiries. Please contact Professor Pickens at 275 carbons and photocopies of the two somewhat easier. Union Blvd., Apt. 1409, St. Louis, MO 63108 Sonora reports, while the University Unfortunately, a major problem with any information concerning the location of Arizona and the museum library at arose as soon as I began to prepare a of the original typescript or drawings from the Tumacacori National Monument pos­ prospectus to present to a prospective 1935-1936 NPS Reports A and B. sessed only later editions of both. I publisher. Even the best commercial Foofnofes eventually located the original photographers cannot produce high- "master" typescript of Sonora Report quality prints from photocopies "B" at the Bancroft Library, Univer­ 1. David Nathanson, Chief, Office of Library already reduced from originals. This and Archival Services, Harpers Ferry sity of California, Berkeley. How­ is where my search stands today, still Center, The National Park Service History ever, Report "A" was unavailable. unable to assemble a complete, pub- Collection. Continuing my inquiry at the Denver lishable version of the two 1935 NPS 2. Interpreting Our Heritage, Chapel Hill, Service Center, I found much related reports. Of all the libraries I visited, N.C. 1957, pp. 8-9. material, but still no clues to the 3. Thomas A. DuRant, Picture Librarian, Office only the Bancroft Library had pre­ of Graphics Research, Harpers Ferry source I sought. Nevertheless, I was served an original NPS document—a Center, Springfield, Virginia, Mr. DuRant encouraged to learn from Tumacacori gift copy. was responsible for identifying the 5,000 that the Governor's Office in Her- combustible nitrate negatives made by So, perhaps the time has come in mosillo, Mexico had published (1983) George Grant, and for their loan to John this computer era to reassess the the NPS Report "A" in Spanish! Clonts to copy on safety film at NPS- riches buried among the 6,800 items WACC. All this partial success in the West encouraged me to visit the NPS His­ torical Collection at Harpers Ferry Center. Here, I found a most cordial welcome and a fine library, but still no clues to the location of the 1935 original edition of Report "A". I ex­ perienced similar results at the Harpers Ferry Center Graphics Re­ search Office in Springfield, Virginia. Finally, the Washington Office located on their own shelves a first- tissue, carbon-copy of Report "A" complete with usable glossy prints of all illustrations. Here, I also saw the beginnings of a computerized inven­ Drawing by S. DeLong, 1935. Mission at Tnbutama, Sonora, Mexico, tory of NPS formal reports—a Cul­ painted decoration over classical mouldings below the dome.

30 +• FEEDBACK •

Reusing Gas Fixtures

It the gas fixtures originally in a his­ If the necessary compromises are toric property are not available, care kept to a minimum, it is possible to should be taken to acquire fixtures simulate gas lighting both plausibly suitable both in period and type. and safely through the use of correct Anachronisms should be avoided, as fixtures discretely electrified. Gas- well as fixtures inappropriate to the lighting in America - A Guide for stylistic character, original use, and Historic Preservation is available former social status of the property. Current safety standards preclude the use of gas as an illuminant in almost all restorations of historic pro­ perties. Therefore, electricity is nec­ essary in reinstalled gas fixtures. Con­ ceal wiring by running it through the fixture instead of applying it to the outer surface. Many gas fixtures were sand-cast in brass, iron, spelter (a zinc alloy), or bronze. The channels through which the gas flowed were therefore often rough-surfaced; so great care must be taken to avoid rupturing the insulation when insert­ from the U.S. Government Printing ing the wires. Fixtures with brass tub­ Office (Stock Number 024-016-00094-3) ing instead of sand-cast branches do not endanger insulation. Gas keys Denys Peter Myers Nineteenth-century gaslight. should always be secured, however, Historian, Historic American Buildings Survey as turning them will cut the wires (HABSl. WASO within. Modern safety standards require a compromise where electrified gas fix­ tures join ceilings or walls. Gas pipes The Stencil Solution usually emerged directly from ceilings without any canopies, or plates to Stenciling is the application of a ecution of complex, multi-layered mask the transition. As canopies are substance such as paint, ink, or designs. But brass stencils were also now required where fixtures are con­ metallic powder onto a surface expensive and difficult to make. nected with wiring in ceilings or through an impervious material into The development of translucent walls, the smallest and least con­ which a pattern has been cut. Easily plastic films, and their application to spicuous canopies should be chosen. understood by volunteer workers, it stencilling in the 1970s caused a ma­ One of the most common errors can be executed with a minimum of jor advance in the craft. Mylar, like encountered in restored gas fixtures is expert help. A well-designed stencil waxed paper, is translucent and thus the use of incorrect glass shades, or kit, small artist's brushes, minimal allows for tight registration. Mylar "globes." All shades made before qualities of paint, and a well-planned rejects paint and is cleanable like 1876 at the earliest had bases approx­ work site can allow a crew of unskilled brass, but can be cut with a knife like imately three inches in span. Shades volunteers to be guided through the stencil board. It can be drawn on and about six inches across should never restoration or re-creation of historic used like tracing paper. It tends to lie be used in restorations representing a ornamental painting. If the stencil or flat, is difficult to tear, relatively in­ date before about 1878. If matching template pattern is complex, it can be expensive, and widely available (in sets of original shades are not avail­ analyzed, then reduced to a series of sheets or full rolls), coming in seven able, select good reproductions which numbered templates applied directly different weights. It can be clear, are not too thick and opaque to to a wall, frieze, or ceiling, and fogged, or gridded. plausibly resemble the nineteenth- painted in sequence. Modern materials In-fill painting a damaged wall­ century shades. allow for stencils of great size, while paper, or re-creating a Victorian precise registration methods permit In restoring original gas fixtures, frieze might require expert advice to the reproduction of even some wall­ great care should be taken to preserve produce the stencil kits and working paper patterns. Stencils can also con­ original finishes. Matte ormolu and tools, but the bulk of the labor can vincingly mimic woodblock printing burnished brass, often combined with be done by interested volunteers. and can be used in any circumstance colors, gave contrasting highlights Many projects, especially in colonial, in which silk screen methods would and accents in a single fixture. If a rustic, or early 20th century architec­ be used. "restored" fixture is entirely without ture are actually very simple. A pat­ contrasts, it may well have been Traditionally, stencils were cut tern can be traced in mylar, cut with overly cleaned, destroying its original from a form of heavy manila board, a matte knife, and pounce-painted finish. oiled in order to help repel the water- with a stencil brush to produce a fine reproduction of an historic pattern. Often the amount of light supplied based paints used to in-fill paint the by electricity in a restored gas fixture templates. Paper stencils were also is too great. A clear flame bulb of ten used. More delicate or complex pat­ Larry Boyce watts gives about the same amount of terns were often stencilled using Larry Boyce & Associates, Inc. light as an open-flame fishtail or bats- heavy wax paper which was trans­ San Francisco, California wing gas burner. A twenty-watt bulb lucent and could thus be more care­ 415/626-2122 fully registered. Commercial dec­ gives about the same amount of light (Editor's Note: The author is available to ex­ as a Welsbach gas mantle, which was orators used hand-cut brass stencils ecute or oversee complex stencil projects, not used until 1890. for larger commissions and for the ex­ restorations, and seminars.)

31 Announcements

NPS Conference on Fossil Resources

The First Conference on Fossil Re­ sources in the National Park Service will be held in October 1986 at Book Release Dinosaur National Monument, Utah. This 40-hour conference will not be a Recent Advances in Leather Conser­ meeting of paleotologists, but rather vation, proceedings of the June 1984 will serve as an interface between the FAIC leather refresher course, will be scientific community and managers published by The Foundation of The and interpreters. Topics will include American Institute for Conservation legal protection of fossils, threats to in May, 1985. The paperback book fossils (both human and non-human) contains not only significant new and how to mitigate them, addressing developments in treatment, but also fossils in a Natural Resources Man­ fundamental concepts and techniques agement Plan, basic data necessary for leather conservators. The trans­ for the successful management of cribed presentations were given by fossils in the field, how to use outside Men working on stenciled Second course guides Betty M. Haines, researchers to develop and implement Empire room, Archbishop's Mansion H.A.B. van Soest and Peter B. a management program, fossils as Inn, San Francisco. Hallebeek, as well as guest lecturer museum objects, interpreting fossils Jesse Munn and 16 of the other par­ and ancient environments, training ticipants. An extensive leather biblio­ seasonals, and technical expertise and graphy by Mary Garbin and product facilities available within the Service. data are included. The editor is Sonja Fogle and the assistant editors are Toby Raphael and Katherine Singley. The conference is an outgrowth of The cost, plus shipping, is $10 be­ concern about this resource service- tween May 1 and August 31, and $15 wide. Interested parties seeking addi­ after August 31, 1985. Please make tional information should contact checks payable in U.S. currency to Dan Chure, Park Paleonotologist, AIC, and send orders to: AIC, 3545 Dinosaur National Monument, P.O. Williamsburg Lane, NW, Washington, Box 128, Jensen, Utah 84035, (801) D.C. 20008. 789-2115. Frieze band, stenciled re-creation of an original wood block painted wall­ paper frieze.

IN THIS ISSUE . . .

B LJ L L E T I N, Our Visual Heritage 1 Color Centerfold 16-17 June-August, 1985 Decorative & Fine Arts 1 Significant Interiors 24

Published bimonthly by the NPS Art Collections 2 Feedback 31 Associate Director, Cultural Resources, in the interest of promoting and maintaining high Historic Archeology 14 Announcements 32 standards in the preservation and management of cultural resources.

Director: William Penn Mott, Jr. Associate Director: Jerry L. Rogers Editor: Mary V. Maruca Cultural Resources First-Class Mail Assistant Editor: Karlota M. Koester National Park Service Postage&Fees Paid Consultant: Debra Berke U.S. Department of Interior U.S. Department of the Interior Washington. D.C. 20240 G-83 Cultural Resources, Washington, D.C.

Volume 8: Nos. 3 & 4

32