initial commit of ebook 34897HEADmain

72 files changed, 20685 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/34897-8.txt b/34897-8.txt
new file mode 100644
index 0000000..232fa30
--- /dev/null
+++ b/34897-8.txt
@@ -0,0 +1,6897 @@
+Project Gutenberg's Colonial Homes and Their Furnishings, by Mary H. Northend
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Colonial Homes and Their Furnishings
+
+Author: Mary H. Northend
+
+Release Date: January 9, 2011 [EBook #34897]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK COLONIAL HOMES ***
+
+
+
+
+Produced by Annie McGuire. This book was produced from
+scanned images of public domain material from the Internet
+Archive.
+
+
+
+
+
+
+
+
+
+COLONIAL HOMES
+AND THEIR FURNISHINGS
+
+
+
+
+[Illustration: PLATE I.--Dodge-Shreves Doorway. Built in 1816.]
+
+
+
+
+COLONIAL HOMES
+AND
+THEIR FURNISHINGS
+
+
+BY
+MARY H. NORTHEND
+
+
+_WITH NUMEROUS ILLUSTRATIONS_
+
+
+BOSTON
+LITTLE, BROWN, AND COMPANY
+1917
+
+
+
+
+_Copyright, 1912,_
+BY LITTLE, BROWN, AND COMPANY.
+
+
+
+
+THIS BOOK
+IS DEDICATED TO
+ONE THROUGH WHOSE CONSTANT ENCOURAGEMENT
+AND WISE ADVICE I OWE MY SUCCESS
+IN THE FIELD OF LITERATURE
+
+
+
+
+PREFACE
+
+
+The wonderfully good collection of antiques for which Salem is noted was
+of great interest to me, being owned by personal friends who kindly
+consented to allow me for the first time to go through their homes and
+pick out the cream of their inheritance. If the readers are half as
+interested in these objects as I have become,--growing enthusiastic in
+the work through the valuable pieces found,--they will enjoy the
+pictures of colonial furnishings, many of which cannot be duplicated in
+any other collection of antiques. Family bits, wonderful old Lowestoft,
+and other treasures are included, all brought over in the holds of
+cumbersome ships, at the time when the commerce of Salem was at high
+tide.
+
+To Mr. Charles R. Waters, Mrs. Nathan C. Osgood, Mrs. Henry P. Benson,
+Mrs. William C. West, Mrs. Nathaniel B. Mansfield, Miss A. Grace
+Atkinson, Mrs. Walter C. Harris, Dr. Hardy Phippen, Mrs. McDonald White,
+and Mr. Horatio P. Peirson, as well as many others in my native city, I
+owe acknowledgment for their kindness in opening their houses and
+letting me in, as well as to Mrs. George Rogers of Danvers, Mrs. D. P.
+Page, Dr. Ernest H. Noyes, and Mrs. Charles H. Perry of Newburyport,
+Mrs. Walter J. Mitchell of Manchester, Mrs. Prescott Bigelow and Mrs.
+William O. Kimball of Boston, Mrs. A. A. Lord of Newton, Mrs. Charles M.
+Stark of Dunbarton, N.H., and the late Mr. Daniel Low.
+
+The work was commenced at first through ill health and the desire for
+occupation, and has met with such good results through an interest in
+the story of antiques, that I have to-day one of the most valuable
+collections of photographs to be found in New England.
+
+  MARY H. NORTHEND.
+  AUGUST 1, 1912.
+
+
+
+
+CONTENTS
+
+
+  CHAPTER                                                           PAGE
+        PREFACE                                                      vii
+     I. OLD HOUSES                                                     1
+    II. COLONIAL DOORWAYS                                             16
+   III. DOOR KNOCKERS                                                 29
+    IV. OLD-TIME GARDENS                                              41
+     V. HALLS AND STAIRWAYS                                           54
+    VI. FIREPLACES AND MANTELPIECES                                   63
+   VII. OLD-TIME WALL PAPERS                                          79
+  VIII. OLD CHAIRS AND SOFAS                                          92
+    IX. SIDEBOARDS, BUREAUS, TABLES, ETC.                            105
+     X. FOUR-POSTERS                                                 119
+    XI. MIRRORS                                                      132
+   XII. OLD-TIME CLOCKS                                              145
+  XIII. OLD-TIME LIGHTS                                              159
+   XIV. OLD CHINA                                                    172
+    XV. OLD GLASS                                                    194
+   XVI. OLD PEWTER                                                   210
+  XVII. OLD SILVER                                                   223
+
+
+
+
+LIST OF PLATES
+
+
+  I. Dodge-Shreves Doorway. Built in 1816                 _Frontispiece_
+
+                                                             FACING PAGE
+
+  II. The Warner House, Portsmouth, N. H. Built
+  in 1718                                                              8
+
+  III. Middleton House, Bristol, R. I. Built about
+  1808                                                                 9
+
+  IV. Indian Hill Farm, West Newbury, Mass. Begun
+  soon after 1650                                                     12
+
+  V. Andrew House Doorway, 1818                                       13
+
+  VI. Gardner House Doorway, 1804                                     22
+
+  VII. Doorway of Nathan Robinson House, 1804                         23
+
+  VIII. Sixteenth Century Knocker, Lion type. Striker,
+  of first type; Georgian Urn type, in use
+  on modern houses; Mexican Knocker of
+  the Hammer type; Hammer type Knocker,
+  Eighteenth Century, Charles P. Waters
+  House                                                               32
+
+  IX. Eagle Knocker; Eagle Knocker, Rogers House,
+  Danvers, Mass.; Medusa Head, elaborate
+  early type; Garland type of Knocker                                 33
+
+  X. Whittier Garden, Danvers, Mass.                                  46
+
+  XI. Peabody Garden, Danvers, Mass.                                  47
+
+  XII. Saltonstall Hallway, about 1800                                54
+
+  XIII. Hallway, Lee House, 1800                                      55
+
+  XIV. Hallway, Tucker House, about 1800                              60
+
+  XV. Hallway of Wentworth House, 1750                                61
+
+  XVI. Historic Fireplace at Ipswich, Mass.                           64
+
+  XVII. Old Fireplace in Wentworth House, Portsmouth,
+  N. H.                                                               65
+
+  XVIII. First Hob Grate in New England, Waters
+  House; Mantel Glass and Fireplace, showing
+  decoration of floral basket                                         70
+
+  XIX. Middleton House Steeple Top Andirons, and
+  Bellows; Southern Andirons, Atkinson
+  Collection                                                          71
+
+  XX. Cupid and Psyche paper, Safford House                           80
+
+  XXI. Venetian paper in Wheelwright House, Newburyport               81
+
+  XXII. Roman Ruins paper, Lee Mansion, Marblehead                    86
+
+  XXIII. Adventures of Telemachus paper, Nymphs
+  Swinging                                                            87
+
+  XXIV. Queen Anne Fiddle Back; Queen Anne,
+  Stuffed Chair; Dutch Chair, carved;
+  Empire Lyre-backed Roundabout, on
+  Chippendale lines, 1825                                             92
+
+  XXV. Chippendale, Lord Timothy Dexter's Collection,
+  H. P. Benson; French Chair, showing
+  Empire influence; Flemish Chair;
+  Banister-back Chair                                                 93
+
+  XXVI. Chippendale Armchair, showing straight,
+  square legs; Chippendale Chair; Chippendale,
+  one of a set of six, showing
+  Rosette design; Chippendale Armchair
+  with Cabriole legs, Ball and Claw feet                              96
+
+  XXVII. Empire Sofa; Cornucopia Sofa; Sofa in
+  Adams style, about 1800                                             97
+
+  XXVIII. Sheraton, mahogany frame, about 1800;
+  Sheraton, with solid arms, and straight,
+  slender legs; Sheraton, about 1790.
+  Note the graceful curve of the arms                                100
+
+  XXIX. Sheraton, about 1800; Sofa, about 1820;
+  Sofa, about 1820, with winged legs                                 101
+
+  XXX. Sheraton Night Table; Block Front Bureau
+  Desk, owned by Dr. Ernest H.
+  Noyes, Newburyport, Mass.; Cellarette,
+  1790, owned originally by Robert Morris                            106
+
+  XXXI. Dressing Glass, with Petticoat legs; Empire
+  Bureau, 1816                                                       107
+
+  XXXII. Chest of Drawers, 1710; Six-legged High
+  Chest of Drawers, about 1705                                       108
+
+  XXXIII. Dressing Table, with brass feet; Bureau
+  and Dressing Glass                                                 109
+
+  XXXIV. Block Front Bureau Desk, owned by
+  Nathan C. Osgood. One of the best
+  specimens in New England; oak paneled
+  Chest, about 1675                                                  112
+
+  XXXV. Secretary, showing Shell ornamentation;
+  Highboy with Shell ornamentation and
+  Ball and Claw feet, 1760; Highboy with
+  Shell ornamentation                                                113
+
+  XXXVI. Dressing Table, 1760; Mahogany Commode,
+  collection of Nathan C. Osgood.                                    116
+
+  XXXVII. Sheraton Sideboard; Simple form of Sheraton
+  Sideboard, with line Inlay around
+  Drawers and Doors. Date, 1800                                      117
+
+  XXXVIII. Bedstead in Middleton House, 1798                         120
+
+  XXXIX. Sheraton type in Kittredge House; Four-poster,
+  about 1825                                                         121
+
+  XL. Field Bedstead, slept in by Lafayette, in
+  Stark Mansion. Owned by Mrs.
+  Charles Stark, Dunbarton, N. H.                                    124
+
+  XLI. Sheraton Four-poster; Four-poster showing
+  decided English characteristics                                    125
+
+  XLII. Girandole in George Ropes House, 1800;
+  Girandole, 1800; Constitution Mirror,
+  1780                                                               134
+
+  XLIII. Picture Mirror, showing Dawn, in Adams
+  House, 1703; English Georgian Mirror,
+  1750; Two-piece Looking Glass, 1750                                135
+
+  XLIV. Oval Mirror, showing Acanthus Leaves.
+  Once on Cleopatra's Barge. The first
+  pleasure yacht built in America. Mirror,
+  1710, resting on ornamental knobs;
+  Mirror, 1810, in Dudley L. Pickman
+  House                                                              140
+
+  XLV. Mirror, 1770; Lafayette Courting Mirror,
+  Osgood Collection; Empire Mirror, 1810                             141
+
+  XLVI. Willard Banjo Clock, 1802; Banjo Clock,
+  1804; Willard Banjo Clock, 1802                                    150
+
+  XLVII. English Grandfather's Clock, William Dean
+  Howells; Collection of Old Clocks, property
+  of Mr. Mills, Saugus, Mass.; Grandfather's
+  Clock, formerly owned by President
+  Franklin Pierce. Property of Mrs.
+  Charles Stark                                                      151
+
+  XLVIII. General Stephen Abbot Clock; Terry Shelf
+  Clock, 1824; English Clock, with Ball
+  ornamentation                                                      158
+
+  XLIX. Whale Oil Lamps with Wicks; Mantel
+  Lamps, 1815; Paul and Virginia Candelabra                          159
+
+  L. Astral Lamps, 1778; English Brass Branching
+  Candlestick, showing Lions                                         164
+
+  LI. Colonial Mantel Lamp; Single Bedroom
+  Brass Candlestick; Sheffield Plate Candlesticks                    165
+
+  LII. Pierced, or Paul Revere, Lantern; Old
+  Hand Lantern; English Silver Candlestick;
+  Brass Branching Candlestick,
+  Chippendale, 1760                                                  170
+
+  LIII. Peacock Plate of Delft, very rare; Decorated
+  Salt Glaze Plate, about 1780                                       171
+
+  LIV. Liverpool Pitcher, showing Salem ship; Old
+  Chelsea Ware; Canton China Teapot;
+  Wedgewood, with Rose decoration.
+  Very rare                                                          176
+
+  LV. Gold Luster Pitcher; Staffordshire Pitcher,
+  with Rose decoration; Peacock Delft
+  Pitcher; Jasper Ware Wedgewood
+  Pitcher, Blue and White                                            177
+
+  LVI. The Shepherd Toby. One of the rarest Tobies;
+  English Toby, very old; very old
+  Toby showing Cocked Hat                                            190
+
+  LVII. Venetian and English Decanters; Toddy
+  Glasses, about 1800; English Glass with
+  Silver Coasters. Very old                                          191
+
+  LVIII. Russian Glass Decanter and Tumblers. Note
+  the exquisite cutting on this Decanter                             200
+
+  LIX. English Cut Glass Decanter, about 1800;
+  Typical Red Bohemian Glass Decanter;
+  American Glass Bottle, Jenny Lind, about
+  1850                                                               201
+
+  LX. Bohemian Glass. The center one is rare,
+  showing figure of Peacock, in Red and
+  White; English Cut Glass Wineglasses,
+  1790; English Glass Decanters. Very fine
+  and rare                                                           208
+
+  LXI. Pewter half-pint, pint, and quart Measures.
+  One hundred years old; Three unusual
+  shaped Pewter Cream Jugs; German Pewter,
+  Whorl pattern                                                      209
+
+  LXII. Old Silver Coffee Urn with Pineapple finial;
+  Sheffield Plate Teapot, formerly owned by
+  President Thomas Jefferson; Tall Silver
+  Pitcher, of Flagon influence                                       226
+
+  LXIII. Several old silver pieces; collection of Salem
+  silver, almost all inherited; wonderfully
+  fine Silver Bowl with chasing                                      227
+
+
+
+
+CHAPTER I
+
+OLD HOUSES
+
+
+There is an indescribable charm surrounding colonial houses, especially
+if historic traditions are associated with them. Many of an early date
+of erection are still to be found throughout New England towns, where
+the Puritan and the Pilgrim first settled, and not a few have remained
+in the same families since their construction. Some are still in an
+excellent state of preservation, though the majority show weather-beaten
+exteriors, guiltless of paint, with broken windows and sagging sills,
+speaking forcibly of a past prosperity, and mutely appealing through
+their forlornness for recognition.
+
+These are not, however, the first homes built by the colonists, and,
+indeed, it is doubtful if any examples of the earliest type are still
+standing. These were rude cabins built of logs, kept together by
+daubings of clay thrust into their chinks, and showing roofs finished
+with thatch. Great chimneys were characteristic of all these cabins,
+built of stone, lengthened at the top with wood, and best known by the
+name Catted Chimneys. In the rude interiors of the old-time fireplaces
+hung soot-blackened cranes, while on cold, cheerless nights the blaze of
+logs on the hearths
+
+  "Made the rude, bare, raftered room
+  Burst, flowerlike, into rosy bloom."
+
+The next type was the frame house, built large or small according to the
+means of the owner, and constructed through the influence of Governor
+John Endicott, who sent to England for skilled workmen. Generally, these
+dwellings were two stories in height, the more pretentious ones showing
+peaks on either side to accommodate chambers, and their marked
+superiority over the first type soon resulted in their adoption
+throughout New England. In design they bore some resemblance to the
+Dutch architecture of the period, the outcome doubtless of many of the
+early settlers' long sojourn in Holland. Many of the frames were of
+white wood brought from the mother country in the incoming ships, and
+the low ceilings invariably present were crossed with the heavy beams of
+the floors above, projecting through the timbers.
+
+The lean-to, characteristic of some houses of this type, did not come
+into vogue until about the middle of the seventeenth century, and its
+adoption is generally believed to have been for the use of the eldest
+son of the family, who, according to the law of England, would inherit
+the homestead, and until such inheritance, could remain, with his
+family, beneath the ancestral roof.
+
+The third type, the gambrel-roofed house, was at the height of its
+popularity about the time of the Revolutionary War, and continued in
+favor until the tide of commercial prosperity sweeping through the land
+brought in its wake the desire for more pretentious dwellings. Then came
+into fashion the large, square, wooden mansion, later followed by that
+of stately brick, excellent examples of both types being still extant.
+
+Like the Egyptian Isis who went forth to gather up the scattered
+fragments of her husband Osiris, fondly hoping that she might be able to
+bring back his former beauty, so we of to-day are endeavoring in New
+England to gather and bring into unison portions of the early homes,
+that we may eventually restore them to their original charm and
+dignity. Outwardly these dwellings appear much as they did when built,
+more than a century ago, but inwardly sad changes have been wrought,
+leaving scarcely a trace of their old-time beauty. Yet beneath this
+devastation one versed in house lore can read many a tale of interest,
+for old houses, like old books, secrete between their covers many a
+story that is well worth while.
+
+Among the carefully preserved specimens, none of the earlier type is
+more interesting than the Pickering house at Salem, Massachusetts, built
+in 1660, more than a hundred years before the Revolution. The land on
+which it stands is part of the twenty acres' grant which was a portion
+of Governor's Field, originally owned by Governor Endicott, and conveyed
+by him to Emanuel Downing, who, in order to pay for his son George's
+commencement dinner at Harvard, disposed of it to John Pickering, the
+builder of the home, in 1642.
+
+In design, the dwelling is Gothic, a popular type in the Elizabethan
+period, and closely resembles the Peacock Inn at Rouseley, England. The
+timbers used in its construction were taken from a near-by swamp, and
+when it was first built it showed on the northern side a sloping roof
+affording but a single story at that end. In 1770, the then owner,
+Timothy Pickering, decided to raise this end to make room for three
+chambers, and the new portion was built to conform exactly with the old
+part, the windows equipped with the same quaint panes, set in leaded
+strips, which were finely grooved to receive the glass, on which the
+lead was pressed down and soldered together. It was found when the
+weatherboards were ripped off that the sills were sound, and it was
+decided to continue to use them, feeling they would last longer than
+those that could then be obtained. Two of the peaks found to be leaky
+were removed at this time, and they were not replaced until 1840, when
+Colonel Timothy Pickering's son, John, had reproductions set in place.
+The house has never been out of the Pickering family, and, with one
+exception, has descended to a John Pickering ever since its erection.
+
+Distinctly a New England landmark is the Colonel Jeremiah Page house at
+Danvers, Massachusetts, erected in the year 1750. It occupies a site
+that at the time of its construction was on the highway between Ipswich
+and Boston, now broadened at this point and known as Danvers Square.
+Originally, it consisted of four rooms, but these were later moved back
+and a new front added, the ell being replaced by a larger one.
+
+From a historic point of view, the roof is probably the most interesting
+feature of this old home, for here occurred the famous tea-party that
+Lucy Larcom has forever immortalized. During the troublous times of
+1775, when all good patriots scorned the use of tea, Colonel Page
+demanded that it should not be drunk beneath his roof. Mistress Page had
+acceded to his request, but she did not promise that she would not drink
+it on his roof, so with a few friends she repaired one afternoon to the
+rail-enclosed roof, and here brewed and distributed the much liked
+beverage. The secret of the tea-party did not leak out until after her
+death, when one of the party, visiting at the house, asked to be taken
+to the roof, at the same time relating the, till then unknown,
+experience.
+
+Antedating the Page house some twenty-five years is the home of the
+Stearns family on Essex Street, Salem, erected by Joseph Sprague, a
+prominent old-time merchant, whose warehouse occupied the present site
+at the corner of North and Federal streets. This dwelling is of spacious
+dimensions, excellently proportioned, and it is especially interesting
+from the fact of its unusual interior arrangement, which provides on
+each floor for three rooms at the back and only two at the front. The
+original owner was captain of the first uniformed company of militia
+organized in Salem, April 22, 1776, and he was also the first American
+to spill his blood in the Revolution, receiving a slight wound at the
+time of Leslie's retreat, while scuttling his gondola so it should not
+fall into the hands of the enemy.
+
+Another fine old home is the Cabot house, also in Salem. This dwelling,
+erected in 1745 by one Joseph Cabot, is considered by experts to be of
+the purest colonial type, and it has proved a subject of unusual
+interest to any number of artists and architects.
+
+No modern touch has been allowed to mar the old-time aspect of the
+Whipple house at Ipswich, Massachusetts, built in 1760, and which
+remains wholly unchanged from its original construction. It stands
+to-day almost alone in its picturesque antiquity, its huge central
+chimney, tiny window-panes, plain front door, guiltless of porch, with
+iron knocker, steep-pitched roof with lean-to at the back nearly
+sweeping the ground,--all betokening its age. Little wonder it is the
+haunt of tourists, for it presents a picture in its old-time beauty that
+modern architecture can never duplicate.
+
+In the historic town of Marblehead, in Massachusetts, is one of the most
+interesting of old-time homes,--the Colonel Jeremiah Lee mansion, built
+in 1768, and considered at the time of its erection the finest house in
+the Colonies. It was designed by an English architect at a cost of ten
+thousand pounds, and the timber and finish used in its construction were
+brought from England in one of the colonel's ships. It stands well to
+the front of the lot of which it forms a part, with scarcely any yard
+space separating it from the sidewalk, and it boasts a handsome porch
+supported by finely carved pillars, approached by a flight of steps. The
+broad entrance door, with its brass latch and old-time knob, swings
+easily upon its great hinges into a spacious hall that extends the
+length of the dwelling, affording access to the finely finished interior
+apartments.
+
+Equally as interesting as these old homes are several houses in New
+Hampshire, one of the most prominent being the Stark mansion at
+Dunbarton. This was built in 1785 by Major Caleb Stark of Revolutionary
+fame, and it is approached to-day through the original tree-lined
+avenue, a mile in length. In construction it is of the mansion type, two
+stories in height, with gambrel roof, twelve dormer windows, and a
+large, two-storied ell. Its entrance door is nearly three inches
+through, with handsome, hand-made panels, and it swings on wrought-iron
+hinges two feet either way. It is adorned with a knocker and latch that
+were brought from England by the major. Ever since its erection, this
+house has been occupied by a member of the Stark family, and the present
+owner, Charles Morris Stark, boasts the distinction of being of
+Revolutionary stock on both sides of the family, his mother being a
+lineal descendant of Robert Morris, the great financier of the
+Revolution.
+
+[Illustration: PLATE II.--The Warner House, Portsmouth, N. H. Built in
+1718]
+
+Another interesting colonial home is the Warner house at Portsmouth,
+occupying a corner section on one of the city's main thoroughfares. This
+fine dwelling was erected by Captain Macpheadris, a wealthy merchant who
+came to this country from Scotland, and it is built of Dutch bricks that
+were imported from Holland, with walls eighteen inches thick. It stands
+firmly on its foundation, a magnificent specimen of early construction;
+and its gambrel roof, Lutheran windows, quaint cupola, and broad
+simplicity of entrance door, suggest the old-time hospitality that was
+so freely dispensed here. After the captain's death, the house came to
+his daughter, Mary, who had married Hon. Jonathan Warner, a member of
+the King's Council until the outbreak of the Revolution, and it is by
+his name that the fine old home is known.
+
+Two miles from Portsmouth, at Little Harbor, is the old home of Governor
+Benning Wentworth, built in 1750. In general, this dwelling is two
+stories in height, with wings that form three sides of a hollow square,
+though it boasts no particular style of architecture, appearing to be
+rather a group of buildings added to the main structure from time to
+time. It is screened from the roadway by great trees, and on the north
+and east faces the water. Originally it had fifty-two rooms, but some of
+these have been combined, so to-day there are but forty-five. The cellar
+is particularly large, and here in times of danger the governor hid his
+horses. After the governor's death, his widow married John Wentworth,
+and it was during the occupancy of Sir John and his wife that Washington
+was entertained here.
+
+Typical of the wooden mansion type, that succeeded in favor the
+gambrel-roofed dwellings, is the house now known as the Endicott house,
+at Danvers, Massachusetts. This building, constructed about 1800, was
+purchased about 1812 by Captain Joseph Peabody, a Salem merchant, and
+grandfather of the present owner, as a place of refuge for himself and
+family during the embargo. In design, it is most imposing, and the front
+now shows a wide veranda, with the entrance dignified by a
+porte-cochère, supported by high columns, between each two of which a
+great bay tree is set. Sweeps of smooth lawn afford an attractive
+setting, and great trees, here and there, bestow protecting shade. The
+dwelling is surrounded by beautiful gardens, the most interesting from a
+historic point of view being the old-fashioned posy plot laid out at the
+time of the erection of the house.
+
+[Illustration: PLATE III.--Middleton House, Bristol, R. I. Built about
+1808.]
+
+Not unlike in type to this fine home is "Hey Bonnie Hall" in Rhode
+Island, the residence of the Misses Middleton. Built in 1808, it stands
+to-day in all its original beauty, the pure white of its exterior
+admirably set off by the great green sweeps of sward, dotted with fine
+trees, that surround it on all sides. It was erected from plans of
+Russell Warren, who designed the White House at Washington, and it is
+renowned not only for its beautiful colonial architecture, but also for
+the wonderful collection of old-time furniture and objects of art that
+it contains.
+
+In type, it is very similar to a Maryland manor, with projecting wings,
+the service portion in a separate building connected with the main house
+by a covered passage, after the Southern fashion. In this passage is the
+well room, so called from the fact that a well of pure spring water is
+located here. In length the house is one hundred and forty feet, its
+front just enough broken to avoid monotony, and its spaciousness
+affording an air of comfort. Two Corinthian columns, as high as the
+house itself, support the roof over the entrance porch, and on either
+side are well-protected verandas, overlooking beds of old-fashioned
+flowers and smooth stretches of sward. In front lies the harbor, and
+beyond is the picturesque town of Bristol, affording a most pleasing
+prospect.
+
+[Illustration: PLATE IV.--Indian Hill Farm, West Newbury, Mass. Begun
+soon after 1650.]
+
+Unlike these latter-day types, in fact unlike any set design, is the
+low, rambling house at West Newbury, Massachusetts, known as Indian
+Hill, and so called from the location that it occupies. In appearance,
+this dwelling is most picturesque, resembling in design a castle, and it
+is as historic as it is interesting. The site that it occupies is the
+last reservation of the Indians in the neighborhood, the land having
+been sold by Old Tom, the Indian chieftain, to the town, and the deed of
+the sale being still preserved by the present owners.
+
+Viewed from any angle, the house presents a series of pictures, each
+equally as interesting as the other, and its irregular roof lines,
+gables and bays, quaint, diamond-paned windows, and chimneys adorned
+with chimney pots, are further embellished by the flowering vines of a
+rambler rose, perhaps the finest in the country. While the house can be
+seen from the road, it is only when one drives under the archway into
+the courtyard, bounded on three sides by barn, stables, and house, that
+he can realize its true worth.
+
+[Illustration: PLATE V.--Andrew House Doorway, 1818.]
+
+Salem, fortunate in specimens of early construction, is also fortunate
+in examples of latter-day types, and here are to be found several of the
+fine brick dwellings, built at the time of her greatest commercial
+prosperity. One of these is the Andrews house, located on Washington
+Square, and one of the three dwellings erected in 1818. Its brick
+exterior gives no hint of its age other than the softening dignity that
+time bequeaths, and it stands to-day, tall and broad, its gray-faced
+bricks brightened by white trimmings, and its beauty emphasized by a
+fine circular porch supported by white columns, topped with a high
+balustrade. At one side is a charming old-fashioned garden, laid out in
+prim, box-bordered beds, and all about its fence inclosure flowering
+vines clamber. Complete, the dwelling cost forty thousand dollars,--a
+large sum for the time of its erection.
+
+Every brick used in its construction was first dipped into boiling oil
+to render it impervious to moisture, and all the framework is of timbers
+seasoned by long exposure to the sun and rain. On one brick is cut the
+date of erection, the work of the master builder under whose supervision
+the dwelling was erected. The great pillars of the side porch,
+overlooking the garden, are packed, so the story goes, with rock
+salt--not an uncommon process at that time--to keep out dampness and to
+save the wood from being eaten by worms.
+
+Some years previous to the erection of this dwelling, Mr. Nathan
+Robinson had constructed on Chestnut Street a brick dwelling, considered
+by connoisseurs to be one of the finest specimens to-day extant. The
+porch, at the front, is wonderfully fine, and has attracted the
+attention of any number of students and architects, who have made a
+careful study of it.
+
+And so we might go on and on, singling out particularly good specimens
+here and there, but when all is said and done, it is undeniable that all
+old houses afford interesting study. Architects of the present are
+coming to appreciate their worth, and into many modern homes features of
+early construction are being incorporated. Naturally, to the
+antiquarian, nothing can ever take the place of these bygone specimens,
+and as he paces the main thoroughfares of historic cities, now lined
+with stores, he sees in fancy the stately homes with their fragrant
+garden plots, which modern demand has superseded. Pausing on the curbing
+near the old State House in Boston, what an array of bygone dwellings in
+fancy can be conjured, and how many of the old-time dignitaries can be
+recalled. So vivid is the picture that one might almost expect to see
+old Thomas Leverett saunter by, or perchance hear the rattle of wheels
+as the carriage of Dr. Elisha Cook lumbered on its way. It is a pleasant
+picture to contemplate, and the lover of the old breathes a sigh of
+regret at the passing of such picturesqueness.
+
+
+
+
+CHAPTER II
+
+COLONIAL DOORWAYS
+
+
+No type of architecture to-day holds such a distinctive place in the
+minds of architects and home builders as does that of the colonial
+period. This is especially true concerning the porch or doorway, for
+this feature, affording as it does entrance to the home, called for most
+careful thought, that it might be made harmonious and artistic, and
+expressive of the sentiment which it embodies. The straight lines and
+ample dimensions which characterized it required skill to arrange
+properly, and, considering the limitations of the period in which it was
+constructed, the results obtained were remarkable.
+
+These porches and doorways were designed at a time when our country was
+young, and the builders were not finished architects like the designers
+of to-day; but they were planned and built by men who were masters in
+their line, and who taxed their skill to the utmost that results might
+be artistic and varied, individualizing each home so that the entrance
+porch should express both hospitality and refinement.
+
+In the holds of the cumbersome ships that plied between the new country
+and the motherland were placed as cargoes, pillars, columns, and bits of
+shaped wood, all to be used in the construction of the new home, and
+incidentally in the porch. It was no easy task to devise from these
+fragments a complete and artistic whole, and to the ingenuity of the
+builders great credit is due.
+
+In contour and construction, these porches differ greatly. Those found
+in New England depict a stateliness that savors of Puritanical
+influence, while those in the South convey, through their breadth, an
+impression of the cordiality which is characteristic of that section.
+Some are semicircular, others square; a few are oblong, and some are
+three-cornered, fitting into two sides of the entrance, and in each case
+giving to the dwelling a congruous appearance that is refreshing to
+contemplate in an age like ours, when so many different periods are
+combined in a finished whole.
+
+All these porches show a harmony of form and proportion that gives just
+the right effect, and many are embellished by wonderful wood carving.
+The Grecian column, in its many forms, lends itself in a great degree
+to artistic effects, often bestowing an originality of finish that is
+most pleasing, and one that differs in every respect from the modern
+broad veranda, and the stately porte-cochère.
+
+The art of hand carving reached its highest state of perfection about
+the year 1811, during which period the best types of porches were
+erected. The results are shown not only in the capitals of the columns
+and on the architrave, but on the pediments and over the entrance door
+as well. A good example of the decoration of the architrave is seen on
+the old Assembly House on Federal Street, in Salem, Massachusetts, where
+the carving takes the form of a grapevine, with bunches of the hanging
+fruit, and also over the door of the Kimball house, in the same city,
+where Samuel McIntyre, one of the most noted wood carvers, lived.
+
+It can be well and correctly said that the colonial porch embodied not
+only the characteristics of the period in which it was built, but the
+personality of the owner as well. Should the unobservant person feel
+that this statement is far-fetched, let him take a stroll through some
+tree-shaded street of an old New England village, and the truth of the
+assertion is readily revealed. Though the house itself may be old and
+battered, and fast falling into decay, yet the porch greets one with a
+simple welcome that breathes of former hospitality, and, in admiration
+of this feature, the shabbiness of the rest of the exterior sinks into
+oblivion.
+
+Broadly speaking, porches are divided into three types or classes. The
+first belong to the period beginning with the year 1745 and continuing
+until the year 1785, a space of time marked by stirring events,
+culminating in the Revolutionary War, and the birth of the new republic.
+Houses of this period are of the gambrel-roofed type. The second class
+adorn the succeeding type of dwelling,--the large, square, colonial
+house, built by the merchant prince, whose ships circumnavigated the
+globe, and who filled his home with foreign treasures; while the third
+type is that which ornamented the brick mansion which came into vogue
+about 1818. As many of these were erected during the commercial period,
+they cannot, strictly speaking, be called colonial; they belong rather
+to the Washingtonian time, and reflect in their construction the
+gracious hospitality of that day.
+
+Porches of varied colonial types are found in most of the New England
+cities and towns, in the Middle States, and in the South, and
+particularly fine examples can be seen in Salem, Massachusetts. There
+is about all of these a dignity and refinement that is unmistakable,
+bespeaking a culture that is felt at once, and a stranger wandering
+through Salem's streets cannot help but be impressed with the fact.
+
+Adorning the three-storied houses with their flat roofs, they give an
+artistic touch to what would otherwise be plain exteriors. From step to
+knocker, from leaded glass to the arched or square roof of the doorway,
+there is a plainness and simplicity which betokens art, but of such a
+quiet, unpretentious type that by the untrained eye it is hardly
+appreciated, though to the architect it brings inspiration and affords
+study for classic detail, the result of which is shown in the modified
+colonial homes of to-day.
+
+Romance and history are strangely intermingled in these old-time porches
+and doorways. Under their stately portals has passed many a colonial
+lover, doffing his cocked hat to his lady fair, who, with silken gown,
+powdered hair and patches, sat at the window awaiting his coming. Those
+were Salem's halcyon days, when the tide of life ebbed and flowed in
+uneventful harmony, free from the disturbing elements of latter-day
+life.
+
+To attempt even a brief description of each and every doorway would be a
+herculean task. Rather, it is better to depict the different types,
+studying with critical eye the various examples. One is the semicircular
+entrance, with its rounded front, a type shown in many a New England
+home. The Andrew porch, numbered among the finest in the city, belongs
+to this class. Under this doorway passed the late war governor, John
+Andrew, during visits to his uncle, John Andrew, builder of the
+dwelling, that he always coveted for his own. The dwelling was one of
+three built in 1818 on three sides of a training field, which is now the
+Common. The fine elm trees that characterize the Common were planted in
+the same year. The other two houses were the John Forrester dwelling and
+the Nathaniel Silsbee house. The Andrew porch shows straight columns,
+and a roof topped with a balustrade; the simplicity of outline renders
+it most attractive.
+
+[Illustration: PLATE VI.--Gardiner House Doorway, 1804.]
+
+Another porch of the same type is that of the John Gardiner house on
+Essex Street, built in 1804. Here is an entrance considered by good
+judges of architecture to be one of the best examples of its type,
+characterized by perfect symmetry of outline. Numbered among its
+features are quaint indentations in the door head. This dwelling was
+formerly the home of Captain Joseph White, one of the worthy and noted
+Salem merchants. Other porches of similar contour, though differently
+ornamented, are to be found on Chestnut Street.
+
+[Illustration: PLATE VII.--Nathan Robinson House Doorway, 1804.]
+
+It is only when one carefully studies doorways such as these,
+contrasting them with latter-day porches, which are often little more
+than holes in the wall, fitted with a cheap framing and entirely out of
+keeping with the exterior, that their worth is viewed in the true light,
+and the opportunity to turn to the old-time types for inspiration is
+appreciated.
+
+Perhaps the most Puritanical of all the doorways are the simple narrow
+ones that generally stand at one side of the house, although sometimes
+they are used as the main entrance. These show either fluted side
+pilasters, or severely plain columns, surmounted by a pediment. The door
+is always dark in coloring, trimmed with a polished brass knocker and
+often with a brass latch.
+
+One of the most elaborate of these is that of the dwelling known as the
+Cabot house on Essex Street. This house was designed in 1745 by an
+English architect for Joseph Choate, and later came into the possession
+of Joseph Cabot.
+
+Another notable entrance is that of the Lord house on Washington
+Square. This is a side entrance, and is said to be one of the finest of
+its type in Salem. This house was at one time occupied by Stephen White,
+a man of worth, who was falsely accused of the murder of his uncle, and
+who engaged as counsel Daniel Webster. While this case was in progress,
+Webster brought his son, Fletcher, to the White home, where he met and
+fell in love with the daughter of the house, later making her his bride.
+Thus were romance and law strangely intermingled! The house was
+afterwards the home of Nathaniel Lord, one of the most brilliant jurists
+of his time.
+
+The inclosed porch is another phase of old Salem doorways. There are
+several interesting examples of this type still to be seen here, perhaps
+the most noted being the one on Charter Street, on a three-story, wooden
+building, about a century and a half old, low of stud, with square
+front, standing directly on a shabby little by-street, and cornered in a
+graveyard. This porch, inclosing the entrance door, is lighted by small,
+oval windows, one on either side, affording glimpses up and down the
+street. It has been graphically described by a silent, dark-browed man,
+who, with two women, came to the dwelling in the dusk of an evening in
+1838, and, lifting the old-time knocker, announced his arrival. The door
+was opened by Elizabeth Peabody, who graciously admitted Nathaniel
+Hawthorne and his sisters, showed them into the parlor, and then ran
+up-stairs to tell her sister Sophia of the handsome young man--handsomer
+than Lord Byron--who had just arrived. As the door closed behind him
+that evening, Hawthorne shut out forever the dreary solitude of his
+life, and we read that he came again and again to the old home, where he
+played the principal part in one of the most idyllic of courtships,
+ending in his marriage two years later with the fair Sophia. This
+dwelling he made the scene of _Dr. Grimshawe's Secret_, and the old
+porch has taken on a dignity and historic interest that will live
+forever.
+
+But perhaps one loves to dwell longest on the doorway of the Assembly
+House on Federal Street, for it is full of vivid memories. It is an
+oddly shaped porch, beautifully carved, and under its portals the
+daughters of Salem's merchant princes passed, holding in their slender
+hands the skirts of their silken gowns, as they gayly mounted the broad
+stone steps. On the evening of October 29, 1784, Lafayette was
+entertained in this old home, and five years later, Washington, who had
+just been inaugurated as the first President of the United States, came
+here. Concerning his visit, he wrote in his diary: "Between 7 and 8 I
+went to an Assembly, where there were at least a hundred handsome young
+ladies." With one of these, the daughter of General Abbot, Washington
+opened the ball, and for her later, as he did not dance, he secured as a
+partner General Knox.
+
+Other types of porches still seen in Salem include the Dutch porch,
+quaint and comely in its construction, an excellent example of which is
+seen on the Whipple house on Andover Street, while surrounding the
+Common on Washington Square are many rare and picturesque porches of
+various dates of erection.
+
+Considered by experts to excel them all is the porch that adorns the
+Pierce-Jahonnot house on Federal Street. This dwelling was erected by
+Mr. Pierce, of Pierce and Waitte, merchants, in the year 1782, and
+beside the main entrance it boasts a fine example of the narrow doorway
+at one side. In the early spring, crocuses clustering about the base of
+the porch add a touch that is decorative and charming, and the
+box-bordered garden beds, just in front, filled with masses of pure
+white bloom, complete a wholly delightful setting. There is about this
+particular doorway a touch of sentiment felt by every Salemite. It is a
+piece of architecture of which any one might feel proud, and in its
+beauty and dignity it stands distinctive in the midst of many fine bits.
+It is the Mecca of architects, who delight in the exquisite blending of
+doorway and entrance.
+
+There is a touch of the old Witchcraft Days connected with a doorway at
+Number 23 Summer Street, that resembles in type the one immortalized by
+Hawthorne. More than two hundred years ago, this porch was the site of
+an event that culminated in tragedy. Bridget Bishop, the first victim of
+the terrible delusion of 1692, kept a tavern here, and in her gay
+light-heartedness, she scorned the dictates of the church and insisted
+upon wearing on Sabbath Day a black hat and a red paragon bodice,
+bordered and looped with different colors. Her boldness in defying the
+rigid doctrines made the dignitaries suspicious of her, and at her
+trial, when one witness told of meeting her before the site of the
+present doorway where his horse stopped, and the buggy he was driving
+flew to pieces,--she of course having bewitched it,--was condemned to
+death.
+
+Individual types found throughout the city show a variety of
+construction and ornamentation, and many of these are most unique,
+although they do not belong to any special period. Prominent among these
+is the Pineapple doorway on Brown Street Court, an excellently
+proportioned and finely adorned entrance, which, through the remoteness
+of its location, is rarely seen by tourists. The dwelling of which it is
+a part was built in 1750 by Captain Thomas Poynton, and this feature,
+unlike the old Benjamin Pickman porch on Essex Street, which shows a
+codfish, has nothing about it suggestive of New England. The pineapple,
+which is set in a broken pediment, was brought over from England in one
+of the captain's own ships, and in the days of his occupancy it was kept
+brightly gilded, its leaves painted green.
+
+Many of the doorways show an innovation in the presence of the climbing
+vine, which winds its tendrils about the pillar supports, emphasizing
+their beauty. It is not definitely known whether the early owners
+encouraged the vine-covered porch or not, but they probably did, as they
+delighted in the vine-covered summer-house, which was a feature of
+nearly every old-time garden.
+
+While Salem may hold a prominent rank in attractive porches, many fine
+examples are to be found in Philadelphia, and though these specimens
+differ radically in design, they are most attractive. One is to be seen
+on Independence Hall on Chestnut Street, while others are found on
+churches and houses.
+
+These doorways illustrate a phase of architectural construction totally
+different from the porches of New England and those of the South, yet
+they combine features of the other types, while at the same time
+displaying a certain definite style of their own which gives to them as
+great distinctiveness as characterizes Salem porches.
+
+If the twentieth-century architect desires studies of truly attractive
+doorways, the seaport towns of New England will afford him excellent
+models. There is enough variety here in porches which are still
+preserved to give him any number of models from which to devise an
+entrance that will serve its purpose in every sense of the word.
+
+For the home builder, it will not be amiss to carefully consider the
+best type of porch before he goes to the architect to develop his plans;
+he can be assured that study will develop ideas that will give to his
+home an individuality that will embody his ideas and personality.
+
+
+
+
+CHAPTER III
+
+DOOR KNOCKERS
+
+
+There is no more decorative feature of the entrance door than the
+old-time door knocker, especially if in conjunction with it are used a
+latch and hinge. It possesses a dignity and charm that is most
+attractive, and when shown in brass, brightly burnished, it forms a most
+effective foil for the dark or polished surface of the wood.
+
+Door knockers have been in use, save for short periods during the
+seventeenth and nineteenth centuries, since their invention, early in
+the world's history, although they were most freely used during the
+Romanesque, the Gothic, and the Renaissance periods. For easy
+identification they may be divided into three classes, the first
+characterized by a ring, the second by a hammer, and the third by human
+figures and animals' heads. The first two types show a much larger
+surface of plate than the third, and the designs employed are often most
+elaborate.
+
+Door knockers in use during the Medieval period were perhaps the most
+carefully designed, while those of the Renaissance period showed the
+most fanciful treatment. It must be remembered, when considering the
+ornamental qualities of both these types of knockers, and comparing them
+with latter-day productions, that they were made at a time when
+designers were practically unknown, artists being employed to draw
+patterns which were worked out by assistants under the supervision of
+master smiths, which method resulted in a greater diversity of
+treatment.
+
+Iron was at first used in the construction of knockers, partly on
+account of its inexpensiveness, and the results secured from this
+seemingly ugly material were both artistic and beautiful. Later, brass
+came into favor for the purpose, and it has since remained the principal
+knocker material, as no better substitute has been found. Brightly
+polished, a brass knocker undeniably adds to the decorative
+attractiveness of any door.
+
+During the fifteenth and sixteenth centuries, knockers were used on all
+classes of houses. These for the most part were very elaborate in
+design, showing a wonderful delicacy of workmanship, and they were in
+many instances larger than those found on modern colonial homes.
+
+Except for the period during the seventeenth century, as above
+mentioned, door knockers remained in favor until the middle of the
+nineteenth century, when a wave of modernity, sweeping the length and
+breadth of the land, brought in its wake an overthrow of colonial ideas
+and furnishings. Modern doors, plain of surface, replaced the finely
+paneled old-time ones, and with their coming disappeared the knocker and
+the latch. Probably the principal cause of this was the demolition of
+many of the old landmarks, and the substitution of dwellings of an
+entirely different architectural type. This innovation for a second time
+consigned the knocker to oblivion, and many there were who, not
+realizing its artistic value, cast it into the scrap heap. Others, with
+a veneration for heirlooms, packed the knockers away in old hair trunks
+under the eaves of the spacious attic, together with other antiques of
+varying character.
+
+No doubt the greatest number were saved by the wise and far-sighted
+collector, who, realizing the artistic beauty of the knocker, felt that
+it would in time come to its own again. Quietly he purchased them and
+stored them away, awaiting the day of their revival, and his foresight
+was amply repaid when the modified colonial house came into vogue,
+demanding that the knocker should again be the doorway's chief feature.
+Many of those now shown are genuine antiques, while others are
+reproductions, but so carefully copied that only to one who has made a
+study of antiques is the difference discernible.
+
+[Illustration: PLATE VIII.--16th Century Knocker, Lion type, Striker of
+first type; Georgian Urn type, in use on modern house; Mexican Knocker
+of the Hammer type; Hammer type Knocker, 18th Century, Charles P. Waters
+House.]
+
+Old door knockers vary as to size according to the date of their
+construction. Many are of odd design, having been made to fit doors of
+unusual shapes, and the ornamentation is as varied as the shapes. The
+most elaborate knockers depict such ideas as Medusa's head, Garlands of
+Roses, and, in many cases, animals' heads, while the simple ones show
+oval or plain shapes, with border decorated with bead or fretwork.
+
+[Illustration: PLATE IX.--Eagle Knocker; Eagle Knocker, Rogers House,
+Danvers, Mass.; Medusa head, elaborate early type; Garland type of
+Knocker.]
+
+The shape of the knocker is of great assistance in classification, as is
+the metal used. The most common type has the striker round or
+stirrup-shaped. This is either plain or ornamented with twisted forms,
+with wreathing or masks, and the plate is formed of a rosette or lion's
+head.
+
+In the second type, the striker is hammer-shaped, the handle often
+showing a split and straplike formation, while the plate and knob are
+plain. This is an early type, as is shown from the fact that specimens
+still exist that are not unlike Byzantine and Saracenic forms. It is
+to this type that the exquisite iron-chiseled knockers of Henry II and
+Louis XIV belong.
+
+The lyre or elongated loop drawn down to form the striker constitute the
+third style. Masks, snakes, dragons, and human figures belong to this
+class, and, on account of the elaborate workmanship employed, these are
+often found in brass and bronze. This type shows ornamentation lavished
+on the striker, while the plate is very plain.
+
+The greatest difference noted in all these classes is that in the third
+type the escutcheon or plate by which the knocker is fastened to the
+door is of little importance, while in the first two types it is the
+leading motive.
+
+During the Gothic period, the design was diamond-shape, richly decorated
+with pierced work, and while this same motif was retained in the making
+of the Renaissance knocker, it was frequently varied by the
+double-headed or some similar style.
+
+What is correct concerning the design of the Medieval knocker holds good
+in that of to-day. No door knocker ever designed was ugly, even at the
+time of the earliest manufacture, when so little was known concerning
+architectural construction. There is a fine individuality in the style
+of all knockers, and singularly enough one fails to find duplicates of
+even the most admirable specimens. Another fact that seems strange is
+that reproductions often sell for as much as genuine antiques. It would
+seem that the price of the old knocker would be high, on account of its
+historical value, and yet this type of knockers sells at a lower price
+than present-day specimens. Old brass examples can be purchased as low
+as two dollars and fifty cents, while large and elaborate ones bring
+only ten dollars. This is not on account of their true value not being
+known, but because there is, as yet, comparatively little demand for
+them; and their sale at the best is limited, for where a person could
+use twenty candlesticks, two knockers would suffice for door
+ornamentation.
+
+There is an important phase of the copied specimens that must be taken
+into consideration, and that is that they have no historic value. This
+fact has made reproductions of no appeal to either the collector or the
+antiquarian, unless there is some special interest in the model from
+which they have been copied.
+
+Whether a knocker is a reproduction or a genuine antique can often be
+told by examining the plate and noting if it is forged to the ring or
+flat plate. If so, it is a fine piece of workmanship and a genuine
+antique; otherwise, it is spurious.
+
+The best place to purchase genuine old knockers is in the curio shops,
+where only such things are for sale. Even in this event, it is well to
+know the earmarks, for if one is anxious for a real antique, he should
+be posted on the characteristics, as a spurious specimen is apt to find
+its way even here.
+
+The door knockers in general use to-day are the Georgian urn or vase,
+the thumb latch, and the eagle. Such designs as Medusa's head, and the
+head of Daphne with its wreath of laurel leaves are also sometimes
+found.
+
+The lion with ring has always been more popular in England than in our
+country, and, indeed, during the Revolutionary War and for fifty years
+after, it was not even tolerated here, being superseded by the eagle,
+which came into vogue about 1775.
+
+The garland knocker, which belongs to the early type, is still sometimes
+found to-day. One such specimen is shown on a modern colonial home at
+Wayland, Massachusetts. This originally graced the doorway of one of
+Salem's merchant prince's homes, but it was purchased by a dealer in
+antiques at the time of the decline in favor of the knocker, later
+finding its original resting place, from which it has only recently been
+removed.
+
+Another rare and unusual knocker is shown on a house on Lynde Street,
+Salem, Massachusetts. This is of Mexican type, and has been on the house
+since its erection. It was painted over some years ago by an owner who
+cared little for its worth, and it was not until a comparatively short
+time ago that it was discovered to be a fine example of a rare type.
+
+The horseshoe knocker, a specimen of the hammer class, is a prized relic
+of many old homes. Like all true colonial specimens, it is made of
+wrought iron, painfully hammered by hand upon the forge in the absence
+of machinery for working iron, as even nails had to be hammered out in
+those early times. This is one of the quaintest and most original
+knockers, and is after the pattern of the earliest designed. Subsequent
+specimens were more elaborate, colonial craftsmen bestowing upon them
+their greatest skill. Among the most ornate were the purely Greek or
+Georgian vases or urns, eagles in all possible and impossible positions,
+heads of Medusa, Ariadne, and other mythological ladies, and Italian
+Renaissance subjects, such as nymphs, mermaids, and dolphins, with
+ribbons, garlands, and streamers.
+
+Not a few of these knockers have wonderfully interesting histories.
+Scenes have been enacted about them, which, could they be but known,
+would make thrilling tales. Take, for instance, the knocker on the
+Craigie House at Cambridge, Massachusetts. How many men of letters from
+all over the world have lifted the knocker to gain admittance to our
+late loved poet's home, and think what stories such visits could
+furnish!
+
+On the Whittier homestead at Amesbury, Massachusetts, is still to be
+seen the knocker which was on the door during the poet's life. This is
+of eagle design, probably chosen on account of its patriotic
+significance. Another interesting knocker formerly graced the house
+wherein the "Duchess" lived, on Turner Street, in Salem, many times
+lifted by Hawthorne, who was a frequent visitor to this dwelling, and
+who forever immortalized it in his famous romance, _The House of Seven
+Gables_. This is now replaced by another of different design.
+
+Considered to be one of the oldest knockers in this section is that on
+the door of the May house at Newton, Massachusetts. Be that as it may,
+it is certainly unique. The plate shows a phoenix rising from the
+plain brass surface, while the knocker has for ornamentation a Medieval
+head. This knocker has attracted the attention of antiquarians
+throughout the country, who have given it much study in attempts to find
+out the period in which it was made.
+
+Thumb latches are not so common as the hammer and ring class. Two of
+these specially unique show wonderful cutting. One is found on the front
+door of the Waters house on Washington Square, Salem, being brought from
+the John Crowninshield dwelling, while the other is seen on the side
+porch of this same residence, having been placed there at the time of
+the building's erection in 1795.
+
+England is the seat of most of the old-time knockers, although they are
+still found in almost every part of the globe. Threading the narrow
+by-streets of London, one finds many historic specimens replaced by
+simple modern affairs. Some have become the prey of avaricious tourists,
+while others, because of their owners' little regard for their value,
+have been relegated to ash heaps and thrown away.
+
+This is true of the knocker made famous by Dickens in the _Christmas
+Carol_. On the polished surface of this, Scrooge was said to have
+thought he saw reflected the face of Marley "like a bad lobster in a
+dark cellar." Later he spoke of it as follows: "I shall love it as long
+as I live. I scarcely ever looked at it before. What an honest
+expression it has in its face. It is a wonderful knocker." Clasped hands
+holding a ring of laurel is the form of the knocker still seen on the
+door of the famous Dr. Johnson house, and, as one gazes at it, he can in
+fancy see David Garrick and Sir Joshua Reynolds ascending the steps, and
+if he pauses a moment longer he can no doubt even hear the metallic ring
+of the knocker, as it responds to the vigorous raps that they give.
+
+The most beautiful knocker left in London is the one shown on the outer
+gate of the Duke of Devonshire's house at Piccadilly. The design here,
+as unique as it is beautiful, shows an angelic head with flowing hair.
+
+Chapels and cathedrals in England have many examples of this type of
+door decoration, one being a knocker handle with pierced tracery seen on
+Stogumber Church in Somerset.
+
+The history of door knockers is practically unwritten, and little is
+known concerning their make. The revival of antiques is responsible for
+their present popularity, and gives them an importance in house
+ornamentation little dreamed of a few years ago. To be sure, the coming
+of electric bells has precluded their necessity, but, on account of
+their ornamental value, it is doubtful if they ever become obsolete. The
+variety of design, the many artistic shapes to which they can be
+adapted, and, more than all, their decorative qualities, make them
+particularly valuable.
+
+
+
+
+CHAPTER IV
+
+OLD-TIME GARDENS
+
+
+There was a restful charm and dignity surrounding the garden of olden
+times that is lacking in the formal ones of to-day. This effect was
+gained partly from the prim box borders and the straight, central path,
+and partly from the stateliness of the old-fashioned flowers. Gardens
+formed a distinctive feature in the colonists' home grounds, from the
+time of their landing on unknown soil. At first they were very small,
+and consisted mostly of wild flowers and plants that had been brought
+from their homes in England and Holland. The early settlers brought with
+them to this new land a deep love for floriculture, and the earliest
+garden plots filled with flowering plants, though rude in construction,
+saved the house mother many a heartache, reminding her as they did of
+the beautiful gardens in the motherland left behind.
+
+We find in the earliest records of the new settlers allusions to
+flowers, and Reverend Francis Higginson speaks of the wild flowers which
+he saw blossoming near the shore. He considered them of enough
+importance to record in his diary on June 24, 1629, writing "that wild
+flowers of yellow coloring resembling Gilliflowers were seen near the
+shore as they sighted land, and that as they came closer they saw many
+of these flowers scattered here and there, some of the plots being from
+nine to ten feet in size."
+
+Four of the men who went ashore on the twenty-seventh of that month
+found on the headlands of Cape Cod single wild roses. Later on he tells
+again of the number of plants found growing, giving their names. These
+facts have enabled people in later years to locate the same flowers
+growing near the same places as when they were first discovered.
+
+Governor Bradford also considered the flowers of importance, and in his
+historical account of the Colonies of New England, he tells us that
+"here grow many fine flowers, among them the fair lily and the fragrant
+rose."
+
+On Governors Island in Boston Harbor were rich vineyards and orchards,
+as well as many varieties of flowers. Governor Winthrop, inserting a
+clause in the grant, said that vineyards and orchards should be planted
+here; that this was complied with is shown from the fact that the rent
+in 1634 was paid with a hogshead of wine.
+
+Following the growth of colonist gardens, we find that John Josslyn
+arrived in Boston four years later, in 1638, and that soon after his
+arrival he visited his brother's plantation in Black Point, Maine. He
+made a careful list of plants that he found here, each one of which he
+carefully described and sent in part to England, and it is interesting
+to note that in those days, the colonists in the spring gathered
+hepaticas, bloodroot, and numerous other wild flowers.
+
+His description of the pitcher plant is graphic: "Hollow leaved lavender
+is a plant that grows in the marshes, overgrown with moss, with one
+straight stalk about the bigness of an oat straw. It is better than a
+cubic high, and upon the top is found one single fantastic flower. The
+leaves grow close to the root in shape like a tankard, hollow, tight,
+and always full of water." The whole plant, so he says, comes into
+perfection about the middle of August, and has leaves and stalks as red
+as blood, while the flower is yellow.
+
+Mr. Josslyn also speaks of the fact that shrubs and flowers brought from
+England and Holland by the Puritans as early as 1626 were the nucleus
+of old-fashioned gardens, and that woadwaxen, now a pest covering acres
+of ground and showing during the time of blossoming a brilliant yellow,
+was kept in pots by Governor Endicott, while the oxeye daisy and
+whiteweed were grown on Governor Endicott's Danvers farm.
+
+He also tells us of the gardens with "their pleasant, familiar flowers,
+lavender, hollyhocks, and satin." "We call this herbe in Norfolke
+sattin," says Gerard, "and among our women, it is called honestie and
+gillyflowers, which meant pinks as well, and dear English roses and
+eglantine."
+
+The evolution of the garden commenced at this time, and from then until
+fifty years ago the old-fashioned garden was in vogue. There was much
+sameness to this kind of garden; each one had its central path of
+varying width, generally with a box border on either side, while inside
+were sweet-smelling flowers, such as mignonette, heliotrope, and sweet
+alyssum. Vine-covered arbors were the central feature, and at the end of
+the walk stood a summer-house of simple proportions, sometimes so
+covered with trailing vines as to be almost unseen.
+
+It was here on summer afternoons that our grandmothers loved to come for
+a social cup of tea, knitting while breathing in the sweet-scented air,
+permeated with the fragrance of single and double peonies, phlox, roses,
+and bushes of syringa. Tall hollyhocks swayed in the breeze, holding
+their stately cups stiff and upright, and there were tiger lilies, as
+well as the dielytra, with its row of hanging pink and white blossoms,
+from which the children made boats, rabbits, and other fantastic
+figures.
+
+In some of the old-time gardens, the small, thorny Scotch roses
+intermingled with the red and white roses of York and Lancaster. Little
+wonder that the perfume of their blooms was wafted through the air,
+although they were hidden among the taller roses, and there was no
+visible trace of their presence.
+
+One walked along the broad sidewalks of the old-time cities, expecting
+to find at every turn a garden of flowers. Not even a glimpse did they
+obtain, for the gardens of those days were not in view, but hidden away
+behind high board fences which have now in many cases been changed for
+iron ones, thus giving to the public glimpses of the central arbor and
+the long line of path with brilliant bloom on either side.
+
+One reason that the gardens in the olden days were hidden from view was
+that the houses, more especially the Salem ones, were built close to the
+sidewalk, and there was no chance for flowers in front or at either
+side.
+
+[Illustration: PLATE X.--Whittier Garden, Danvers, Mass.]
+
+[Illustration: PLATE XI.--Peabody Garden, Danvers, Mass.]
+
+Most of the noted old gardens have long since become things of the past,
+but a few are still left to give hints of the many that long ago were
+the pride of New England housewives. The estate of the late Captain
+Joseph Peabody at Danvers, Massachusetts, was at one time famed for its
+old-fashioned garden. This lay to the right of the avenue of trees that
+formed the driveway to the house. These trees were planted in 1816 by
+Joseph Augustus Peabody, the elder son of the owner. The garden proper
+was hidden from view, as one passed up the driveway, but lay at the
+front of the house. In its center was a large tulip tree, which still
+stands, said to be one of the oldest and largest in the country. One of
+the unique features of the grounds, and one that has existed since the
+days of Captain Peabody's occupancy, is a small summer-house, showing
+lattice work and graceful arches. Its top is dome-shaped, surmounted by
+a gilded pineapple.
+
+There is, however, another historic summer-house on this estate. It was
+formerly on the Elias Hasket Derby property, and was built about
+1790. This was purchased by the present owner of the estate, who had it
+moved to her grounds, a distance of four miles, without a crack in the
+plaster. It was built by Samuel McIntyre, and is decorated with the
+pilaster and festoons that are characteristic of his workmanship. Four
+urns and a farmer whetting his scythe adorn the top. Originally a
+companion piece was at the other end, representing a milkmaid with her
+pail. This latter figure was long ago sold by the former owner and
+placed with a spindle in its hand on the Sutton Mills at Andover,
+Massachusetts, where it stood for many years until destroyed by fire.
+The house itself contains a tool room on the lower floor, while at the
+head of the staircase is a large room, sixteen feet square, containing
+eight windows and four cupboards. It is hung with Japanese lanterns, and
+the closets are filled with wonderful old china. Its setting of flowers
+is most appropriate.
+
+At Oak Knoll in Danvers is still left the garden that the poet Whittier
+so much loved. It stands at the side of the house, bordering the avenue
+that leads from the entrance gate. The paths have box borders, and
+inside is a wealth of bloom, the central feature being a fountain which
+was a gift from Whittier to the mistress of the home. It was here he
+loved to come during the warm summer afternoons to pace up and down,
+doubtless thinking over and shaping many of his most noted poems. The
+garden has been carefully tended, and it shows to-day the same flowers
+that were in their prime during his life.
+
+Another fine example of a box-bordered, old-time garden is seen at
+Newburyport, Massachusetts, on the estate of Mrs. Charles Perry. Here
+the colonial house stands back from the main road, with a long stretch
+of lawn at the front. Passing out of the door at the rear, one comes
+upon a courtyard with moss-grown flagging that leads directly to the
+garden itself, fragrant with the incense of old-time blooms.
+
+At Indian Hill, the summer home of the late Major Benjamin Perley Poore
+at West Newbury, much care has been given to the gardens to keep the
+flowers as they were in the olden days. A feature of this estate, in
+addition to the gardens, is a shapely grove of trees at the rear of the
+mansion, that took first prize years ago as being the finest and
+best-shaped specimens in the county. Many of these trees were named for
+the major's friends, and they bear names well known to New Englanders.
+
+More than a century ago, when Salem was the trade center of the world,
+her gardens were renowned. These gardens were at the rear of the
+dwellings, and it was here that the host and his guests came for their
+after-dinner smoke, surrounded by the flowers that they loved.
+
+The first improvements in garden culture were made by one George
+Heussler, who, according to Captain Jonathan P. Felt, came to America in
+1780, bringing with him a diploma given him by his former employers.
+Previous to this period he had served an apprenticeship in the gardens
+of several German princes, as well as in that of the king of Holland,
+and was, in consequence, well qualified for the work. The first
+experience he had in America in gardening was at the home of John Tracy
+in Newburyport, where he worked faithfully for several years. Ten years
+afterwards he came to Salem to take charge of the farm and garden of
+Elias Hasket Derby, Senior, at Danvers, and later worked in other
+gardens in the city of Salem, where he lived until his death in 1817.
+
+From the records we glean that on October 21, 1796, Mr. Heussler gave
+notice that he had choice fruit trees for sale at Mr. Derby's farm,
+while a newspaper of that date informs us that the latter gentleman had
+recently imported valuable trees from India and Africa and that he had
+"an extensive nursery of useful plants in the neighborhood of his rich
+garden." His son, E. Hersey Derby, had a garden of great dimensions at
+his estate in South Salem, or, as it was then called, South Fields. This
+was in 1802, and for a long time the fame of this rare and beautiful
+garden was retained.
+
+Both of the Derby gardens were worthy of attention, and it is said by
+those in authority that in the Derby greenhouse the first night-blooming
+cereus blossomed. This was in 1790, and the flower was the true _cereus
+grande flora_, not the flat-leaved cactus kind that is now cultivated
+under that name. It was largely the influence of the beautiful Derby
+gardens that gave to Salem its impetus for fine garden culture.
+
+Who knows how many romances have been enacted in the old-fashioned
+gardens of long ago! They were fascinating places for lovers to wander
+and in their vine-clad summer-houses many a love-tale was told. The
+sight of an old-time garden recalls to-day the early owners, and in
+imagination one can hear the swish of silken skirts as the mistress of
+the home saunters down the central path to take tea with friends in her
+beloved arbor. There were warm friendships among neighbors in those
+days, and the summer season was marked by a daily interchange of visits;
+and so the old-time garden is fraught with memories of bygone
+festivities and perchance of gossip.
+
+After the close of commerce, the Derby Street houses, formerly occupied
+by the old merchants, gradually became deserted, and new houses were
+sought in different parts of the town, farther removed from shipping
+interests. Chestnut Street was the location of many of these new homes,
+and here the beautiful old-fashioned gardens were shown at their best.
+These were usually inclosed, and were reached by a side door, opening
+directly into a veritable wealth of bloom.
+
+Among the extensive gardens cultivated here was a smaller one containing
+a greenhouse. This was owned by John Fiske Allen. Mr. Allen was an
+ardent lover of flowers, and was always interested in adding some new
+and rare specimen to his collection. From Caleb Ropes in Philadelphia he
+purchased seed of the _Victoria Regia_, the water lily of the Amazon.
+These plants blossomed for the second time in our country on July 28,
+1833, the grounds being thronged with visitors during the time of their
+blossoming. This fact was called to the attention of William Sharp, who
+had illustrations made for a book on the subject. The following year an
+extension was made to the greenhouse, and more seed was planted, which
+had come from England, and, in addition, orchids and other plants were
+grown.
+
+The Humphrey Devereux house stands almost directly across the street
+from the Allen house. This garden, under the care of the next owner,
+Captain Charles Hoffman, became famous, for here the first camellias and
+azaleas in this country were planted. One of the former plants is still
+seen in a greenhouse in Salem. Captain Hoffman had a well-trained
+gardener, named Wilson, whose care gave this garden a distinctive name
+in the city. This garden is now the property of Dr. James E. Simpson,
+and it shows like no other the direct influence of olden times. There is
+the same vine-clad arbor for the central figure, and the plants which
+are grown behind box borders are the same that grew in our grandmothers'
+time. This scheme has been carefully carried out by the mistress of the
+house, who is passionately fond of the old-time blossoms.
+
+In the garden of the Cabot house on Essex Street, the first owner of the
+house imported tulips from Holland, and, during the time of their
+blossoming, threw open the garden to friends. The later owners improved
+the garden by adding rare specimens of peonies and other plants, and
+have kept the same effects, adding to the gardens' beauty each year.
+
+While the old-fashioned garden has gone into decline, yet the modern-day
+enthusiast has brought into his formal gardens the flowers of yesterday.
+The artistic possibilities of these have appealed so strongly to the
+flower lover that they have been restored to their own once more. The
+box border is practically a thing of the past, having been replaced by
+flower borders of mignonette and sweet alyssum, which afford a fine
+setting for the beds. Like pictures seem these old-fashioned gardens,
+framed with thoughts of days long gone by, and one unconsciously sighs
+for those days that are gone, taking with them the sweet odor of the
+flowers that grew in our grandmothers' time.
+
+
+
+
+CHAPTER V
+
+HALLS AND STAIRWAYS
+
+
+The colonial hall as we have come to think of it--dignified and
+spacious, with characteristics of unrivaled beauty--was not the type in
+vogue in the first years of the country's settlement, but rather was the
+outgrowth of inherent tendencies, reflecting in a measure the breadth
+and attractiveness of the English hallway.
+
+The earliest dwellings were built for comfort, with little regard for
+effect, and they showed no hallways, only a rude entrance door giving
+directly upon the general and often only apartment. Sometimes this door
+was sheltered on the outside by a quaint closed porch, which afforded
+additional warmth and protection from the driving storms of rain or
+snow; but it was never anything more than a mere comfort-seeking
+appendage, boasting no pretentions whatever to architectural merit.
+Crude, indeed, such entrances must have seemed to the stern Puritan
+dwellers, in comparison with those of their ancestral abodes; and it
+is not to be wondered at if in secret they sometimes longed for the
+hallways of their boyhood, where, after the evening meal in the winter
+season, the family was wont to gather about the roaring fire, perchance
+to listen to some tale of thrilling adventure.
+
+The first American hall came in with the building of the frame house,
+erected after the early hardships were over, and the colonists could
+afford to abandon their rude cabin domiciles. This was really little
+more than an entry, rarely characterized by any unusual features, but it
+served as a sort of introduction to the home proper, and was dignified
+by the title of hallway. The hall in the old Capen house at Topsfield,
+Massachusetts, belongs to this type.
+
+[Illustration: PLATE XII.--Saltonstall Hallway, about 1800.]
+
+Later came the more pretentious hall, typical of the gambrel roof house,
+that enjoyed so long a period of popularity. This was generally a narrow
+passage, with doors opening at either side into the main front
+apartments, and with the staircase at the end rising in a series of
+turns to the rooms above. The first turn often contained in one corner a
+small table, which held a candlestick and candle used to light a guest
+to bed, or a grandfather's clock, the dark wood of its casing serving
+as an effective contrast to the otherwise light finish of the apartment.
+
+Not infrequently the hall was solidly paneled, and a built-in cupboard
+or like device was sometimes concealed behind the paneling; or, as in a
+dwelling in Manchester, Massachusetts, it contained an innovation in the
+form of a broad space opened between two high beams, halfway up the
+staircase, arranged, no doubt, for the display of some choice
+possession, and showing beneath a motto of religious import.
+
+[Illustration: PLATE XIII.--Hallway, Lee House, 1800.]
+
+In the better class of houses of this period, the hallway sometimes
+extended the width of the dwelling, opening at the rear on to the yard
+space. This type was the forerunner of the stately attractive hall that
+came into vogue in the last half of the eighteenth century, and
+continued in favor during the first years of the nineteenth century,
+with the advent of the wooden and brick mansion.
+
+Belonging to the earlier class are the Warner and Stark halls in New
+Hampshire. The former is paneled from floor to ceiling, the white of the
+finish now mellowed to ivory tones, and serving to display to advantage
+the fine furnishings with which it is equipped. At the rear it opens
+upon a grassy yard space, shaded by tall trees, thought to be the site
+of the old slave quarters, long since demolished. The walls show several
+adornments, among the most interesting being the enormous antlers of an
+elk, which, tradition tells, were presented to the builder of the
+dwelling by some of the Indians with whom he traded, as an evidence of
+their friendship and good will. The latter hall is of similar type,
+entered through a narrow door space and continuing the width of the
+dwelling; it ends at the rear in a quaint old door that shows above its
+broad wooden panels a row of green bull's eyes, specimens of early
+American glass manufacture, still rough on the inside where detached
+from the molding bar. This door gives upon an old-time garden plot,
+fragrant with the blooms of its original planting, and preserving intact
+its early features. Rare bits of old furniture are used in the equipment
+of this hall, and the paneled walls are hung with family portraits.
+
+When unwearied toil had made living considerably easier, and many of the
+merchants had amassed fortunes, there sprang up, in both the North and
+the South, those charming colonial mansions that were the fit abode of a
+brave race. They demanded hallways of spacious dimensions, and into
+favor then came the broad and lofty hall, embodying in its construction
+the highest development of the colonial type. Quite through the center
+of the house this hall extended, from the pillared portico and stately
+entrance door, with its fan lights and brazen knocker, to another door
+at the rear, through the glazed upper panels of which tantalizing
+glimpses could be obtained of tall hollyhocks and climbing roses growing
+in the old-fashioned garden just without.
+
+[Illustration: PLATE XIV.--Hallway, Tucker House, about 1800.]
+
+In a measure this hall was a reproduction of the English type,
+particularly in its spaciousness of dimension. Unlike this type,
+however, it lacked the dominant influence of the fireplace, and in its
+construction it showed several independent features, all tending to
+emphasize the attractive dignity suggested in the broadness of outline.
+Often an elliptical arch spanned the width at about one third the
+length, generally serving to frame the staircase, and tending to make
+dominant the attractiveness of this feature. This was usually little
+more than a skeleton arch, being a suggestion, rather than a reality,
+sometimes plain, and sometimes slightly ornamental. This feature is
+shown in the Lee hall at Salem, and in the main hall of the old Governor
+Wentworth house at Little Harbor, New Hampshire. This latter hall is
+particularly interesting, not only for its beauty of construction, but
+also for its historic associations. Under its arch, framing the fine old
+staircase, men prominent in the history of the State and country have
+passed, and on the walls and over the door are still seen stacks of
+arms, thirteen in number, the muskets of the governor's guard, so long
+dismissed.
+
+[Illustration: PLATE XV.--Hallway, Wentworth House, 1750.]
+
+The most important feature of all these halls was the staircase, and in
+its construction the greatest interest was centered. Generally it
+ascended by broad, low treads to a landing lighted by a window of
+artistic design, and continued in a shorter flight to the second floor
+apartments. It was always located at one side, and generally near the
+rear, to allow the placing of furniture without crowding. The balusters
+were usually beautifully carved and hand turned, with newel posts of
+graceful design; and sometimes even the risers showed carved effects.
+The cap rail was usually of mahogany. Hard wood was sometimes used in
+the construction of the staircase, the treads in this event being dark
+and polished, while soft wood painted white was also much used.
+
+The finish of the walls in this type of hall varied. Some were entirely
+paneled, others showed a quaint landscape paper above a low white
+wainscot, and still others showed hangings of pictorial import, framed
+like great pictures. To the last-named class belongs the Lee hall at
+Marblehead, considered to be one of the finest examples of its type
+extant. Black walnut is the wood finish here, and the hangings, designed
+by a London artist, are in soft tones of gray, beautifully blended, and
+represent scenes of ruined Greece, each set in a separate panel,
+handsomely carved.
+
+Occasionally, to-day, a staircase of the spiral type is found,--a type
+that possesses certain satisfying characteristics, but which never
+enjoyed the popularity of the straight staircase. Some few of the
+staircases in the old Derby Street mansions at Salem are of this type,
+as is the staircase at Oak Knoll, in Danvers, the poet Whittier's last
+residence. The common name for this type of staircase was winder.
+
+A large number of representatives of the finest type of the colonial
+hall are scattered throughout the North and South, and their sturdiness
+of construction bids fair to make them valued examples indefinitely. One
+particularly good example is shown at Hey Bonnie Hall, in Bristol, Rhode
+Island, a mansion built on Southern lines, and suggesting in its
+construction the hospitality of that section. Here the hall is twenty
+feet wide; the walls are tinted their original coloring, a soft rich
+green, that harmonizes perfectly with the white woodwork and the deep,
+mellow tones of the priceless old mahogany of the furnishings. A
+well-designed, groined arch forming a portion of the ceiling, and
+supported at the corners by four slender white pillars, is one of the
+apartment's attractive adjuncts, while the dominant feature is the
+staircase that rises at the farther end, five feet in width, with treads
+of solid mahogany and simple but substantial balusters of the same wood
+on either side. The upper hall is as distinctive as the lower one, and
+exactly corresponds in length and width. Wonderful old furnishings are
+placed here, and at one end is displayed a fine bit of architectural
+work in a fanlight window, overlooking the garden.
+
+One wonders, when viewing such a hall as this, how this type could ever
+have been superseded in house construction, but with the gradual decline
+in favor of the colonial type of dwelling, it was abolished, and in
+place of its lofty build and attractive spaciousness, halls of cramped
+dimensions came into vogue, culminating in the entry passage typical of
+houses built toward the middle of the nineteenth century. Happily,
+present-day house builders are coming to a realizing sense of the
+importance of the hallway, and are beginning to appreciate the fact
+that, to be attractive, the hall must be ample, well lighted, and of
+pleasing character. With this realization the beauty of the colonial
+hall has again demanded attention, and in a large number of modern homes
+it has been copied in a modified degree.
+
+
+
+
+CHAPTER VI
+
+FIREPLACES AND MANTELPIECES
+
+
+It is a far cry from the fireplaces of early times to those of the
+present, when elaborate fittings make them architecturally notable. We
+read that in the Middle Ages, the fire in the banquet hall was laid on
+the floor in the center of the large apartment, the smoke from the
+blazing logs, as it curled slowly upward, escaping through a hole cut in
+the ceiling. Later, during the Renaissance period, the fire was laid
+close to the wall, the space set apart for it framed with masonry jambs
+that supported a mantel shelf. A projecting hood of stone or brick
+carried the smoke away, and the jambs were useful, inasmuch as they
+protected the fire from draughts. From this time, the evolution of the
+fireplace might be said to date, improvement in its arrangement being
+worked out gradually, until to-day it is numbered among the home's most
+attractive features. It is interesting to note, in reference to these
+latter-day specimens, that many of them are similar in design to those
+of the Renaissance, Louis Sixteenth, and colonial periods.
+
+Not a few of the early fireplaces were of the inglenook type, a fad that
+has been revived and is much in evidence in modern dwellings; and many
+of them followed certain periods, such as the Queen Anne style and the
+Elizabethan design. Several, too, were topped with mantels, features
+practical as well as ornamental, which are almost always associated with
+the fireplaces of to-day. Many of the old mantels were very narrow,
+prohibiting ornamentation with pottery or small bits of bric-a-brac;
+they were so built, because the designers of early times considered them
+sufficiently decorative in themselves without any additional
+embellishment, and their sturdiness and architectural regularity seem to
+justify this opinion. Mantels and fireplaces of early Renaissance type
+show in detail an elegance that is characteristic of all the work of
+that period, the Italian designers being masters in their line.
+
+In the baronial halls of Merrie England, we find huge fireplaces, wide
+enough to hold the Yule log, around which, after the chase, the
+followers gathered to drink deep of the wassail bowl. Such pictures must
+have lingered long in the minds of the colonists in their new
+surroundings, and to us they are suggestive of the Squire in "Old
+Christmas," who, seated in his great armchair, close by the fire,
+contentedly smoked his pipe and gazed into the heart of the flickering
+flames, filled with the joy of his ancestral possessions.
+
+[Illustration: PLATE XVI.--Historic Fireplace at Ipswich, Mass.]
+
+Life with the early colonists was a stern reality. The climate here was
+far more rigorous than that of the motherland, and a home and a warm
+fire were the two necessities first demanded. Logs from the near-by
+forest afforded the former, while rocks taken from the clearings
+supplied the latter. The fireplaces of those days were perhaps the
+largest ever built in any land, some ten feet or more in depth, and
+broad enough to hold the logs which were stacked just outside the cabin
+door. The rude stones which formed the fireplace were piled wall
+fashion, the largest at the bottom and the smallest on top, the chinks
+between made strong by daubings of clay. Later, the builders gave a more
+finished effect to this feature, and the hearths were then extended many
+feet into the single large apartment, while on either side were placed
+rude, home-made benches with high backs, to shield the inmates from the
+cold felt outside the circle of the fire's warmth.
+
+[Illustration: PLATE XVII.--Old Fireplace in Wentworth House,
+Portsmouth, N. H.]
+
+At the rear of the fireplace was arranged a huge backlog, to afford
+protection to the stones, and also to throw the heat into the room. This
+was often of unseasoned timber, that it might last the longer, two feet
+in diameter, and eight feet or more in length. Firedogs were used to
+hold the smaller logs, while creepers were employed for the smallest of
+all, and to start the fire, small pine boughs and small timbers were
+heaped high, flint and tinder serving to ignite them. Once started, the
+fire was kept indefinitely, being carefully covered at night or piled
+with peat; above the blaze swung the soot-blackened crane, with its
+various pots and kettles. Such was the early colonial kitchen, the
+fireplace its dominant feature, the light from its glowing logs throwing
+into relief the sanded floor, bare, unplastered walls, and the rafters
+overhead. With the coming of prosperity, these rude log huts gave way to
+timber houses, two stories in height, and with their advent the better
+type of colonial fireplaces came into vogue.
+
+[Illustration: PLATE XVIII.--First Hob Grate in New England, Waters
+House; Mantel Glass and Fireplace, showing decoration of floral basket.]
+
+Dating as far back as the earliest fireplaces are found fire sets, as
+they were sometimes called, comprising the hearth accessories necessary
+for an open fire. The oldest of these sets, which were in use long
+before coal was burned as fuel, consisted usually of a pair of
+andirons, a long-handled fire shovel, and a pair of tongs. In some cases
+more than one set of andirons was included, for in the great, cavernous
+fireplaces of the colonists' log cabins, the high supports used for the
+heavy forestick and logs were not suitable for the smaller wood, and
+creepers had to be set between the large andirons to hold the short
+sticks in place. Bellows were often found beside the fireplace in those
+times, but the poker was rarely if ever included in fire sets, previous
+to the introduction of coal as a fuel.
+
+In material and design these fire sets, particularly the andirons,
+differed widely. Iron, steel, copper, and brass were the metals most
+commonly used for their construction, although in other countries even
+silver was occasionally made into fire irons. As for design, they ranged
+from the very simplest and most unpretentious styles up through the
+quaint dogs' heads to the grotesque figures and elaborately wrought
+pieces to be found among good collections of antique hearth accessories.
+
+Andirons for kitchen use were as a rule very plain and substantial.
+Sometimes they were merely straight pieces supported by short legs and
+having uprights of either plain or twisted metal, topped by small knots
+of some sort. They were probably most commonly made of iron, and not a
+few were rudely hammered and shaped on the pioneer blacksmith's anvil.
+It is consequently little to be wondered at that many of the andirons
+once used in colonial kitchens give one the impression of having been
+designed for strength and utility rather than for ornament.
+
+The better class of andirons in use during the seventeenth and early
+part of the eighteenth centuries were for the most part of graceful,
+but, at the same time, simple and dignified designs. The finest ones
+were of brass, which was kept brightly polished by the energetic
+housekeeper. Short knobs or uprights were often placed a few inches back
+of the main uprights and served the double purpose of holding the
+forestick in place and of protecting the shining brass. Occasionally
+andirons were made in rights and lefts with the shanks curving outward
+from the short knobs where they joined the straight, horizontal
+supports.
+
+[Illustration: PLATE XIX.--Middleton House Steeple Top Andirons, and
+Bellows; Southern Andirons, Atkinson Collection.]
+
+Among other popular andiron designs of this period were the twisted
+flame, the urn topped, the queer iron and brass dogs with claw feet, the
+colonial baluster, and the steeple topped. Of these, the steeple-topped
+andirons were perhaps the rarest, while the colonial baluster pattern
+with ball tops was, without doubt, the most popular and commonly used.
+
+A good example of the style of andirons which came into favor during the
+latter half of the eighteenth century is found in the Hessian design.
+They take their name from the fact that the upright of each iron is cast
+in the form of a Hessian soldier, posed as if in the act of marching.
+Since this particular pattern first made its appearance immediately
+after the close of the American Revolution, it is not difficult to
+comprehend its significance, for it is a well-known fact that the
+patriotic colonists heartily hated the hired allies in the employ of
+King George of England who had fought against them. This humbling of the
+Hessian to service among the flames and ashes, although only in effigy,
+seemed to afford the Americans a great deal of satisfaction, if the
+great popularity of these andirons stood for anything.
+
+Probably no finer collection of colonial hearths is to be found anywhere
+than in Salem. The Derby Street mansions even now show wonderful bits of
+the skill which has made Salem a name synonymous of the best in the
+architectural world. McIntyre designed many of these, following in some
+cases the style of the decorator, Adams. Many of the mantels show a
+wonderful harmony of contour, capped by a simple shelf, for the most
+part unadorned. One such is seen in the Gove house on Lynde Street, its
+straight, simple lines affording dignity and grace that are most
+attractive. The decoration is the head of Washington, fixing the period
+of its construction about the time of the Revolution.
+
+Other popular decorations were the eagle, which came into favor at the
+same period as the Washington decoration, baskets of flowers,
+wonderfully delicate in their carving, garlands, and many such designs,
+in all of which McIntyre shows a versatility that, considering the
+limitations of his day, is truly remarkable.
+
+While many of the mantels were of wood, some few were of marble. Two
+such of special interest are to be found, one in the Thomas Sanders's
+house on Chestnut Street, and the other in Hon. David M. Little's
+residence on the same thoroughfare. The former shows an exquisite
+design, supported on either side by caryatids, gracefully carved; and
+the latter, of the same period, is practically of the same design. A
+third marble mantel is found in the home of the Salem Club, formerly the
+residence of Captain Joseph Peabody. This mantel is of Florentine marble
+and was imported by the captain in 1819. It is particularly beautiful
+in its finish, and has served as an inspiration for many similar mantels
+to be found in New England.
+
+Belonging to the early type is the quaint fireplace found in the hallway
+of the Robinson house on Chestnut Street. This apartment was formerly
+the kitchen, and the fireplace in its original condition was discovered
+in the process of remodeling. Upon investigation, it was found to be a
+composite of three separate fireplaces, built one within the other, and
+culminating outwardly in a small grate; and when opened, it showed
+portions of the old pothooks. It was restored to its original aspect,
+appearing to-day as it was first constructed, its narrow mantel adorned
+with rare bits of pewter.
+
+In what was formerly the home of Mrs. Nathaniel B. Mansfield in Salem,
+is a curious mantel, which was first owned by Mr. Fabens. It is one of
+the rarest bits of McIntyre's work, decorated with his best wrought and
+finest planned carving. Another fine mantel is in the home of Hon.
+George von L. Meyer at Hamilton, Massachusetts. This is as historic as
+it is beautiful, and was part of the original equipment of the
+Crowninshield house in Boston.
+
+Many of the later style fireplaces, more especially of the better class,
+showed firebacks. These were of iron, and were designed to keep the
+back of the fireplace from cracking. Some of these old firebacks had
+flowers for ornamentation, while others showed decoration in the form of
+family coats-of-arms. In the Pickering house on Broad Street, Salem, is
+a quaint fireback which was made in the first iron foundry at Saugus,
+now Lynn. This has on the back the initials of the then owners of the
+dwelling, John and Alice Pickering, inscribed as follows, "J. A. P.
+1660." This same Alice Pickering was very fond of dress, and an old
+record of 1650 tells that she wore to church a silken hood. For this
+offense she was reprimanded and brought before the church, but was
+allowed to go when it was learned that she was worth two hundred pounds.
+
+By the beginning of the eighteenth century, fireplaces had come to be
+considered of great decorative importance, and in an account written in
+1750 Isaac Ware says of them: "With us no article in a well-furnished
+room is more essential. The eye immediately falls upon it on entering
+the room, and the place for sitting down is naturally near it. By this
+means it becomes the most prominent thing in the furnishing of the
+room."
+
+The popularity of the fireplace was somewhat checked in 1745 through the
+invention of the Franklin stove, which immediately came into favor.
+These stoves were constructed of iron, with trimmings of rosettes and
+railing and knobs of varying size; in appearance they were very similar
+to the small, open fireplace with andirons for burning logs. As heat
+producers, however, they were a decided improvement over the old-time
+hearth, which in many cases smoked abominably, and sent much of the heat
+up the chimney instead of into the room. The new stoves proved
+economical, and there was but little waste of heat through the pipes
+connecting them with the chimneys.
+
+In the dining room of Harriet Prescott Spofford's house at Newburyport
+is one of these stoves, before which Whittier delighted to sit during
+his frequent visits to this old home. It is a fine specimen of its kind,
+and as interesting in its way as the quaint room which it graces. For
+many years this dwelling served as an inn, kept by one Ebenezer Pearson,
+being one of the favorite resorts for pleasure parties, and in the
+old-time dining room much brilliant parrying of wit took place, as
+distinguished visitors amiably chatted over their teacups.
+
+Later in the eighteenth century, another form of heating came into
+vogue. This was the fire frame, which appeared about thirty years after
+the invention of the Franklin stove, and in type was something of a
+compromise between the open fireplace and the stove, possessing certain
+characteristics of each. It was so arranged that it could be used in a
+fireplace that had either been filled in with brick, or finished with a
+fireboard, and in appearance was very similar to the upper part of a
+Franklin stove. Unlike the stove, however, it rested directly upon the
+fireplace hearth, instead of being raised from the floor.
+
+When coal first came into use, a Salem man saw it burn, and so impressed
+was he with its worth that he told Dr. George Perkins of Lynde Street
+about it. The doctor immediately ordered a barrel of the fuel to be
+brought down in a baggage wagon from Boston, and he also ordered a
+new-fangled stove of the hob grate order. The trial took place in the
+living-room of his home, and the neighbors gathered to watch it burn. So
+great was the success of the venture that a load of coal was ordered,
+and it landed at the North River wharf, where the water was then so deep
+that vessels could easily come to pier there. The cargo consisted of
+from one hundred and sixty to one hundred and seventy tons, considered
+an enormous load at the time.
+
+The first coal burned in a stove was in Wilkes-barre, Pennsylvania,
+where Judge Jesse Fell, in the main room of the old tavern, in February,
+1808, started the first coal fire. Previous to that time coal had been
+burned in open forges, under a heavy draught, by a few blacksmiths, but
+it had never been adapted for household purposes, and the discovery that
+it could be used changed it from a useless thing to something of great
+value.
+
+In 1812 Colonel George Shoemaker discovered coal in the Susquehanna
+Valley, and he took twelve tons of it to Philadelphia to sell. He
+disposed of two tons, but was compelled to give the rest away, as people
+considered him a fraud, proving that the use of coal was not general at
+this period.
+
+The hob grate came into use in 1750, a few years after the advent of the
+Franklin stove, and it proved especially valuable for the burning of
+coal, when that product became popular. At first it was known as "Cat
+Stone," but later was called hob grate, by which name it is known at the
+present time.
+
+Fenders of brass or iron were generally used with these grates, a small
+one placed close to the fire to prevent the ashes from falling over the
+hearth, and a larger one arranged around the entire fireplace. Although
+hob grates were popular in Northern houses, they were much more
+frequently used in the South.
+
+Tiles were little used in America until the hob grate era, when they
+seem to have come into vogue. They were used to surround both hob grates
+and Franklin stoves. Some of them showed decorations of religious
+subjects, while others, like a set in a Salem house, told in pictures
+the story of Æsop's Fables. There is a tiled fireplace still in
+existence in the Saltonstall-Howe house at Haverhill, Massachusetts, a
+dwelling originally owned by Dr. Saltonstall, the first medical
+practitioner in the city. This fireplace, in the dining-room, shows a
+double row of tiles, depicting a series of Scriptural events, and it is
+equipped with a fender of ancient hammered brass, a family heirloom. The
+date of the fireplace can be definitely determined without knowledge of
+the time of the erection of the house from the fact of the absence of a
+mantel above. Another similar fireplace adorned with quaint Dutch tiles
+is shown in the Pickering house living-room. Like the Saltonstall one,
+this fireplace has a beautiful, ancient fender of brass and a pair of
+bellows that were made by Rev. Theophilus Pickering, a preacher in
+Essex, Massachusetts, who succeeded the Rev. John Wise.
+
+The first hob grate ever placed in a Salem home is to be seen in the
+Waters house on Washington Square. It is topped with one of McIntyre's
+famous mantels, showing that the original fireplace was brought down to
+be used with the grate.
+
+Elias Hasket Derby, one of Salem's most famous merchants, had a
+beautiful estate where Market Square now stands. The house, which was a
+marvel of elegance, stood in the center of the square, surrounded with
+terraced gardens that swept to the water's edge. After his death the
+house was too large and elegant to be kept up, and it was torn down and
+the land sold. The timbers of the house, the wood carving, and mantels
+were purchased by Salem house owners, one hob grate finding its way to
+the old Henry K. Oliver house on Federal Street. This dwelling, which
+was built in 1802 by Captain Samuel Cook for his daughter, who married
+Mr. Oliver, shows old-time fireplaces in many rooms, one of brass being
+found in the parlor. This was the first of its kind ever placed in a
+Salem home, and it has a grate, on either side of which are brass
+pillars about three feet in height, with brass balls on top. A brass
+band extends from pillar to pillar below the grate, and the fender is
+also of brass. The mantel above is elegantly carved, and came from the
+Elias Hasket Derby mansion.
+
+A soapstone fireplace with grate is shown in the General Stephen Abbot
+house on Federal Street, where General Abbot, who served under
+Washington, entertained the latter during his visit to Salem. Behind
+this fireplace is a secret closet, large enough to conceal three men,
+where, during troublous times, slaves were hidden.
+
+With the advent of the furnace, many beautiful fireplaces were closed
+up, or taken away to be replaced by modern ones that lacked in every
+respect the dignity and grace of the colonial specimens. Happily this
+state of affairs was of short duration, and to-day the fireplace in all
+its original charm is a feature of many homes. To be sure, it is now a
+luxury rather than a necessity, but it is a luxury that is enjoyed not
+only by the wealthy classes, but by those in moderate circumstances as
+well, who appreciate the great decorative advantages of this feature.
+Surely there is nothing more homelike than the warm glow of blazing
+logs, and it is a delight to sit before the sputtering flames, and enjoy
+the warmth and glow, as did our ancestors in the long ago.
+
+
+
+
+CHAPTER VII
+
+OLD-TIME WALL PAPERS
+
+
+The records of many old-time features are scanty in detail, and, in
+consequence, their meaning is differently and often wrongly interpreted.
+Even one who has spent years in delving into the past secures facts that
+differ materially from those obtained by some one else who has spent a
+like time in research, and thus accounts of varying dependency are
+propounded for reference. This is especially true in tracing the origin
+of the old picture wall papers that, with the revival of colonial ideas,
+are again coming into vogue.
+
+One may prate about the papers of to-day, but they cannot compare either
+in style or in effect with these early types, which show designs
+patiently and carefully worked out by men who were masters of their
+craft, and who, while lacking the advantages afforded the designers of
+the present, nevertheless achieved results that have never been
+surpassed. This fact is especially noteworthy, and it is wholly to the
+credit of these old-time craftsmen that their products are to-day an
+inspiration to architects and home builders who are seeking the best in
+the way of interior decoration.
+
+When wall papers first came into use is uncertain, for various
+authorities with apparently good reason set different times. China
+claims the honor of having originated them, as does Japan, while Holland
+boasts the distinction of having first introduced them into other lands.
+We know for a certainty that wall papers fashioned in strips three feet
+long and fifteen inches wide were made in Holland centuries ago and
+introduced into England and France, and latter-day specimens, of similar
+type, are to be found in the homes of the colonists in our own land.
+
+The printing of these decorative wall papers was at first done from
+blocks, much as books were printed in early times. While it may not have
+been block printing, a unique wall hanging of like type was to be seen
+until within the last few years in a colonial house on Essex Street, at
+Salem--the Lindall-Andrews dwelling, built in 1740 by Judge Lindall.
+This wall paper, printed and hung in squares, adorned the parlor at the
+left of the hallway, and before its removal a reproduction was made by
+Bumstead for a descendant of the first owner to use on the walls of a
+room in her summer home.
+
+Dr. Thomas Barnard, minister of the First Church, who succeeded in
+arranging for a compromise at the time of Leslie's Retreat, lived in
+this dwelling during his pastorate, and on the walls of the hallway he
+caused to have painted by one Bartol of Marblehead, father of Dr. Cyrus
+Bartol, a series of wonderfully realistic pastoral scenes, that have
+never been removed and are still to be seen, although their brightness
+has been dimmed by time.
+
+Pictorial wall paper did not come into general favor in Europe until the
+eighteenth century, the period that marked the adoption of the long roll
+still in vogue. To be sure, this type had been used much earlier by the
+Chinese, but machinery for its fashioning was not invented until the
+latter half of the eighteenth century. Up to this time, wall paper was
+made in small squares and laboriously hung,--a fact that made it
+expensive and accordingly prohibitive to all but the wealthy classes.
+
+Jackson of Battersea in 1744 published a book of designs taken from
+Italian scenes and bits of sculpture. These were pictures done as panels
+and printed in oils, and resulted in the adoption of printed wall paper
+throughout England. From that time on, as their cost grew less, wall
+papers were extensively used in the motherland, which fact accounts for
+the general adoption of this type of wall hanging by the colonists, as
+the new land grew richer, and square, substantial homes were built.
+
+In the early days of the colonies, there were few mechanics who were
+able to furnish settings for the new homes, and consequently the home
+builders were forced to depend on foreign lands for most of their
+furnishings. Among these, wall hangings were not included, due partly to
+the fact that there was no place for them in the rude cabins of early
+times, and partly because they were not then in general use. Wall papers
+were first brought to this country in 1735, though, owing to their
+expensiveness, they were not used to any extent until many years later.
+The frugal housewife preferred to paint the walls either in soft gray
+tones, with a mixture of gray clay and water, or with yellow paint,
+ornamented with a hand-painted frieze of simple design, often
+supplemented by a narrow border stenciled above the chair rail. The
+earliest examples of this work depicted the rose, the poppy, the violet,
+or the pink, followed later by depictions of human interest, such as
+Indians, wigwams, forest scenes, etc. This idea has been carried out in
+the recently renovated Kimball house at Georgetown, Massachusetts, where
+the mistress of the home has used for wall adornment hand-painted
+friezes of soft-tinted flowers and emblematic designs.
+
+Later, wall papers were brought here in quantities, and while a number
+of these rare old hangings have been removed and replaced by others of
+modern type, yet there are many left, each rich in memories of bygone
+days. The stories connected with them will never be known, save the
+legends which have been handed down from generation to generation, and
+which the present grandames love to repeat, as they sit at twilight by
+the open fire, and the roaring of the logs recalls to mind the olden
+days.
+
+Much of the wall paper brought here was made to order from accurate
+measurements, and much was carefully selected in accordance with
+previous instructions. Often special patterns were purchased for a new
+home by a young lover, and into their selection went fond and happy
+thoughts of the bride-to-be.
+
+Even to this day one occasionally finds, stored away in some old attic,
+rolls of priceless paper which had been brought here years ago and never
+used. To the student and dreamer such a discovery is rich in
+association, and even to the practical home maker it is fraught with
+suggestions. There is something genuine about it, a touch of quaintness
+and simplicity that, for lack of a more accurate term, we call colonial.
+
+From one such attic, not so very long ago, were brought to light rolls
+of rare old paper, which had been hidden away under the eaves for forty
+years. Upon investigation this was found to be the Don Quixote pattern,
+one of the three rarest types known, depicting the story of this quaint
+character from the time of his leaving his home accompanied by his
+faithful squire, Sancho Panza, to the time of his return, a sadder and
+wiser man. The scenes are worked out in soft gray tones, wonderfully
+blended, providing a harmonious and attractive ensemble.
+
+On the walls of a third-story room in the Andrew house on Washington
+Square, Salem, is shown a wonderful wall paper, representing an old-time
+English hunt. In the first picture of the series the soft green of the
+trees furnishes a contrasting background for the red coats of the
+hunters who, on prancing steeds, with yelping hounds grouped about, are
+ready for the start. Then follow the run over hill and dale, past
+cottages where wondering peasants gape in open-mouthed admiration at the
+brilliant train as it flashes by, and the bringing of the fox to bay,
+ending with the luncheon upon the greensward, showing the huntsmen and
+their ladies fair enjoying a well-earned repast.
+
+[Illustration: PLATE XX.--Cupid and Psyche paper, Safford House.]
+
+When this dwelling was first built, the parlor, at the right of the
+hallway, was papered in a rare old hanging, that was removed when
+defaced, the owners at the time giving little thought to its value. In
+the room, since its erection, has hung a great, handsomely framed
+mirror, occupying an entire panel space. Behind this mirror, a short
+time ago, when the room was to be repapered, a panel of the first wall
+covering was discovered, as distinct in coloring and detail as the day
+it was placed there. It is one of twelve panels,--consisting of
+twenty-six breadths each five feet seven inches long by twenty inches
+wide, fifteen hundred blocks being used in its printing,--depicting the
+marriage of Cupid and Psyche, Psyche's lack of faith, and the sad ending
+of the romance, and is a pattern that is numbered among the most noted
+designed. The panel found here has been preserved, and the old mirror
+hung in place hides it from view.
+
+Such papers are a keen delight to lovers of the colonial, for they
+convey their meaning clearly and attractively in well-chosen and
+harmonious coloring. Contrasted with present papers, depicting designs
+figured or flowered, they show their worth, and it is little wonder that
+architects have discovered their fascination, and are having old ideas
+in new dress depicted on the walls of many modern dwellings.
+
+The colonists understood harmony in home decoration, and their wall
+hangings as well as their furniture were carefully chosen. They
+purchased papers to suit their apartments, and the colors were selected
+with a view to the best effect, so that the soft white of the woodwork
+might be in keeping with their pictorial value. Consistency is the
+keynote of the colonial interior, and it is this feature that has given
+to homes of this type that touch of distinction that no other period of
+architecture possesses.
+
+[Illustration: PLATE XXI.--Venetian paper in Wheelwright House,
+Newburyport.]
+
+The old wall papers all represent foreign scenes, those of France and
+England predominating, the latter in a greater degree than the former,
+though the French papers were more highly finished than the English.
+When the colonist became prosperous, and the newest fashions of the
+motherland were eagerly copied, wall papers of both types were imported;
+many of these are still preserved, showing shadings done by hand with
+the utmost care, and colorings of lovely reds, blues, and browns, all
+produced by the use of from fifteen to twenty sets of blocks.
+
+[Illustration: PLATE XXII.--Roman Ruins paper, Lee Mansion, Marblehead.]
+
+One of the most exquisite of French papers is shown in the Knapp house
+at Newburyport, Massachusetts, built by a Revolutionary hero, at the
+time of the erection of the Lee Mansion at Marblehead. This paper is
+thought to have been fashioned in the first quarter of the nineteenth
+century, and in type it is like that found on the hall of the
+"Hermitage," Andrew Jackson's residence near Nashville, Tennessee. It is
+produced in wonderful shades of soft green, red, peacock blue, and
+white, all undimmed by time, and it represents scenes from Fénelon's
+"Adventure of Telemachus," a favorite novelty in Paris in 1820.
+
+[Illustration: PLATE XXIII.--Adventures of Telemachus paper, Nymphs
+Swinging.]
+
+Other fine examples of this type of paper, which have never been hung,
+are still preserved in the home of Major George Whipple at Salem, having
+been imported about 1800. These show different scenes, including
+representations of gateways and fountains, with people in the
+foreground.
+
+Natural scenes were favorite themes with many designers, one such
+example being a Venetian scheme still shown on the walls of the
+Wheelwright house in Newburyport, a fine, colonial dwelling, built a
+hundred years ago by an ancestor of William Wheelwright, whose energies
+resulted in the first railroad over the Andes. This paper is found in
+the drawing-room, and another, illustrative of a chariot race, is shown
+in one of the chambers.
+
+The Bay of Naples was another favorite theme with designers; in fact, it
+was numbered among the best-liked subjects. Its faithfulness of detail
+and exquisite coloring are no doubt responsible for this popularity, and
+then, too, no other subject could better bear repetition. Other favorite
+views were scenes of France, more particularly of Paris, and these types
+were in great favor during Washington's administration and that of John
+Adams, though later they lost caste.
+
+The new landscape papers suggest the old ones, though they are unlike
+them in tone and character, except in cases where specimens have been
+taken as models and copied with faithful exactness. Such instances,
+however, are rare. The best examples of old specimens of this type date
+from twenty-five years prior to the Revolution up to about fifty years
+afterwards.
+
+Fine examples of such paper are still to be seen at the Lee Mansion at
+Marblehead, now the home of the Marblehead Historical Society. These,
+like many others, were made to order in England by accurate
+measurements, proof positive of this fact being gleaned a few years ago
+when the panel between the two windows in the upper hall was peeled off,
+and on the back was found the following inscription, "11 Regent Street,
+London. Between windows, upper hall." They are all excellently
+preserved, and constitute probably the most remarkable set in America.
+For the most part, they are done in gray, outlined in black, and depict
+old Roman ruins, set like framed pictures, in alternation with strange
+heraldic devices, like coats of arms. In some of the rooms the papers
+are in sepia tones, showing castellated scenery, sailboats gliding over
+lakes, and peasant figures loitering along the shore.
+
+Another interesting wall paper is found at Hillsboro, New Hampshire, in
+the home of Governor Pierce, father of Franklin Pierce, fourteenth
+President of the United States, which is now used as an inn. The room
+that it adorns is set apart, and the pattern depicts galleys setting
+sail for foreign lands, while to the music of the harpsichord, the
+gentry dance upon the lawn. In its prime this estate was one of the show
+places of Hillsboro, with beautiful gardens surrounding the house, and
+interesting features in the way of peacocks that proudly displayed
+themselves to the gaze of admiring guests.
+
+Unlike these old-time papers, and yet equally as distinctive, is the
+wall covering in the hall of the Warner house at Portsmouth, New
+Hampshire. This is a series of paintings, extending the length of the
+staircase, and constituting the most unique wall adornment in the
+country. Ever since the hall was finished, there has been displayed at
+the staircase landing, in the broad spaces at either side of the central
+window, life-sized paintings of two Indians, highly decorated and finely
+executed, thought to be representations of fur traders of early times;
+but the rest of the series was lost to view for a long time until about
+sixty years ago, when the hall was repaired. During the process of
+renovation, four coats of paper that had accumulated were removed, and
+as the last coat was being torn off, the picture of a horse's hoof was
+disclosed. This led to further investigation, and soon a painting of
+Governor Phipps, resplendent in scarlet and yellow, seated on his
+charger, was brought to light, followed by the representation of a lady
+carding wool at a colonial spinning-wheel, who had been interrupted in
+her task by the alighting of a hawk among chickens. Next came a
+Scriptural scene, that of Abraham offering up Isaac, followed by a
+foreign city scene, and several other sketches, covering in all an area
+of between four and five hundred square feet. The entire paintings
+to-day are presented in their original beauty, and they lend to the fine
+hall an atmosphere of interesting quaintness.
+
+But whatever their type, the old wall hangings are always attractive.
+Sometimes it is the subject that most strongly appeals, again it is the
+coloring, or it may be the effect, but in any event each and every one
+serves the purpose for which it was intended, and a room hung with
+old-time wall paper is undeniably beautiful, affording a setting that
+modern effects rarely equal.
+
+
+
+
+CHAPTER VIII
+
+OLD CHAIRS AND SOFAS
+
+
+There is a charm about old furnishings that cannot fail to appeal to all
+lovers of the quaint and interesting, and a study of their
+characteristics is a diversion well worth while. Old-time cabinet-makers
+understood the value of bestowing upon details the same consideration
+they gave main features, and, as a result, their work shows that harmony
+that gives to it an interest not found in later types, and which, more
+than anything else, has helped bring it into prominence in the equipment
+of modern dwellings. While this is true of all colonial fittings, it is
+especially true of the chair, for this article more than any other
+depicts the gradual betterment of rudely formed beginnings culminating
+in the work of the three master craftsmen, Chippendale, Hepplewhite, and
+Sheraton, whose designs, even to-day, serve as an inspiration to
+high-class cabinet-makers.
+
+In the early days of the colonies, chairs were scarce appurtenances,
+and the few used, generally not more than three in number in each home,
+and known as forms, were very rudely constructed, being in reality
+stools or benches, fashioned after the English designs then in vogue.
+Later, these developed into the high-backed settles, which are so much
+used in a modified form to-day.
+
+[Illustration: PLATE XXIV.--Queen Anne, Fiddle Back; Queen Anne, stuffed
+chair; Dutch Chair, carved; Empire Lyre-backed Roundabout on Chippendale
+lines, 1825.]
+
+By the middle of the seventeenth century, chairs had come into more
+common usage, the type then in favor being strong and solid of frame,
+with seat and back covered with durable leather or Turkey work.
+Generally, the legs and stretches were plain, though sometimes the legs
+and back posts were turned.
+
+Specimens of the turned variety, which are the first seats that really
+could be termed chairs, are very scarce to-day, the best examples being
+found at Pilgrim Hall at Plymouth, in the home of Hon. John D. Long at
+Hingham, Massachusetts, in the Heard house at Ipswich, Massachusetts,
+and in the Waters collection at Salem, where one specimen shows a
+covering which is a reproduction, having been fashioned to exactly match
+in design and texture the original one it replaced when that one wore
+out.
+
+The year 1700 marked the introduction of the slat-back chair, which
+enjoyed a long period of popularity. The number of slats at the back,
+characteristic of this type, varied with the time of making, the first
+specimens showing but two, while later types showed five. These chairs
+were solid and strong of frame, and in Pennsylvania were made curved to
+fit the back, affording a comfortable support. They included, in
+addition to ordinary chairs, armchairs, and it was to an armchair of
+this make that Benjamin Franklin affixed rockers, thus inventing the
+first American rocking-chair and inaugurating a fashion that has never
+waned in popularity. This first rocking-chair and its contemporaries,
+which did not antedate the Revolutionary War by any great number of
+years, had rockers that projected as far in the front as they did at the
+back,--a peculiarity that makes them easily recognizable to-day. Later,
+this objection was remedied, and the present type of rocking-chair came
+into fashion.
+
+[Illustration: PLATE XXV.--Chippendale, Lord Timothy Dexter's
+Collection, H. P. Benson; French Chair, showing Empire influence;
+Flemish Chair; Banister-back Chair.]
+
+From 1710 to 1720 the banister-back chair was much used, though it never
+enjoyed equal favor with the slat-back type. Instead of the horizontal
+slats typical of the earlier model, the banister-back chair showed
+upright spindles, usually four in number, and generally flat, though
+sometimes rounded at the back. Its seat, like that of the slat back,
+was of rush, and it was fashioned of either hard or soft wood, and
+almost always painted black. One interesting example of this make is
+found at "Highfield," the ancestral home of the Adams family at Byfield,
+Massachusetts, having been brought here in the early days of the
+dwelling's erection by Anne Sewall Longfellow, who came here the bride
+of Abraham Adams, and who brought the chair herself from her old home
+across the fields that divided the two estates, so that no harm would
+befall it. It has been carefully treasured by her descendants, and
+to-day occupies its original resting place by the side of the wide old
+fireplace, where, on the night before the Battle of Bunker Hill, leaden
+bullets used in that historic encounter were cast.
+
+Slightly later than these types came the Dutch chair, sometimes severely
+plain in design, and again pierced and curiously carved. One excellent
+example of this model, formerly owned by Moll Pitcher, the famous
+soothsayer of Lynn, who told one's fate by the teacup at her home at
+High Rock, is now preserved in a Chestnut Street dwelling at Salem, and
+shows the straight legs and straight foot of the best class of the
+Dutch type, and the usual rush seat. Most Dutch specimens found their
+way to Dutch settlements, though many were brought to New England direct
+from northern Holland.
+
+Easy chairs which came into style not long after the slat-back model,
+proved the most comfortable type yet invented, and served as a welcome
+variation from the straight and stiff-backed chairs up to that time in
+favor. They were stuffed at back and sides, and covered with patch or
+material of like nature. Owing to the amount of material which was used
+in stuffing and covering them, their cost was considerable, varying from
+one to five pounds, according to the style and quality of covering used.
+
+The most common and popular chairs of the eighteenth century were those
+of the Windsor type, manufactured in this country as early as 1725, and
+deriving their name from the town in England where they originated. The
+story of their origin is most interesting. The reigning George of that
+day, the second of his name, saw in a shepherd's cottage a chair which
+he greatly admired. He bought it to use as a model, thus setting the
+stamp of kingly approval on this type, and bringing it into immediate
+favor. It is not related what color he had his chairs painted, but
+the general coloring employed was either black or dark green, though
+some chairs were not painted at all. The finish of the back of this type
+was varied to suit different fancies, some few having a comblike
+extension on top as a head-rest, while others had a curved or bowlike
+horizontal top piece, like a fan. These types originated the names comb
+back and fan back, by which Windsor chairs of these types are known.
+American manufacturers in general copied the English styles, though they
+also developed several variations. Many American Windsors, particularly
+the fan backs, are equipped with rockers, the date of their manufacture
+coming after the Revolution.
+
+[Illustration: PLATE XXVI.--Chippendale Arm Chair, showing straight,
+square legs; Chippendale Chair; Chippendale, one of a set of six,
+showing Rosette design; Chippendale Arm Chair with Cabriole legs, Ball
+and Claw feet.]
+
+But Windsor chairs, popular and fine as they were, by no means were the
+best type developed in this century, for this period marked a great
+change in the history of cabinet-making, resulting in the development of
+wonderful designs, exquisitely blended and finished. First on the list
+of the new master craftsmen was Chippendale, who in 1753 issued his
+first book of designs, and whose models were given first consideration
+for more than thirty years. Then, in 1789, followed Hepplewhite, and two
+years later came Sheraton, while lesser lights, such as the Brothers
+Adam, Manwaring, Ince, and Mayhew, all contributed their share to the
+betterment of chair manufacture.
+
+The chair seems to have been Chippendale's favorite piece of furniture,
+and in its design he has blended the finest points in French, Dutch, and
+Chinese patterns. His first chairs showed Dutch influence, and for these
+he used the cabriole leg, greatly improving its curving, with the Dutch
+or ball-and-claw foot, the latter more frequently than the former. His
+chair seats were broad and flat, and in his backs he disregarded the
+usual Dutch types, his uprights generally joining the top at an angle,
+and his top piece being usually bow-shaped. His backs were a little
+broader at the top than at the bottom, and he used the central splat
+carved and pierced.
+
+Next, his chairs showed Louis the Fifteenth characteristics, notably in
+the splats, which were often handsomely carved and pierced. During this
+time he produced his ribbon-back chair, though his best chairs, showing
+this influence, were upholstered armchairs, with legs terminating in
+French scroll feet. Later, he introduced in his chairs Gothic and
+Chinese features, even though the backs still preserved the Dutch and
+French features. Finally, the details of the several features became
+much mixed, and at length resulted in a predominance of Chinese
+characteristics. Most of his chairs were done in mahogany, which was a
+favorite wood in his day, and his skill is especially displayed in the
+wonderful carving which is typical of much of his work. Not only are his
+chairs excellently proportioned, but they are so substantially built
+that even to-day, after more than one hundred and fifty years' usage,
+they show no sign of wear.
+
+[Illustration: PLATE XXVII.--Empire Sofa; Cornucopia Sofa; Sofa in Adams
+style, about 1800.]
+
+Not a little of his work found its way to New England homes, many fine
+specimens at one time gracing the dwelling of "Lord" Timothy Dexter,
+Newburyport's eccentric character, who made his fortune by selling
+warming pans to the heathen, who used the covers for scooping sugar, and
+the pans for sirup. His home was filled with quantities of beautiful
+furniture, including many excellent Chippendale chairs.
+
+Hepplewhite, the second of the master cabinet-makers, succeeded
+Chippendale in popular favor in 1789, and his furniture, while much
+lighter and consequently less durable than that of his predecessor,
+showed a beauty of form and a wealth of ornamentation that rendered it
+most artistic. He employed not only carving of the most delicate and
+exquisite nature, but inlay and painting as well, introducing japanning
+after the style of Vernis-Martin work.
+
+The shield or heart-shaped back is one of the characteristics of his
+chairs, though he also used oval backs and sometimes even square backs.
+They are all very graceful and delicate, with carved drapery, and many
+of the shield-shaped type show for decoration the three feathers of the
+Prince of Wales, Hepplewhite being one of the Prince's party when
+sentiment ran strong during the illness of George III. Other decorations
+employed by him were the urn, husk and ear of wheat. The wood he
+generally used was mahogany, though occasionally he made use of painted
+satinwood.
+
+[Illustration: PLATE XXVIII.--Sheraton, mahogany frame, about 1800;
+Sheraton with solid arms and straight, slender legs; Sheraton, about
+1790. Note the graceful curve of the arms.]
+
+Following close upon the heels of Hepplewhite came Sheraton, the last of
+the three great masters in cabinet-work. His designs were delicate, but
+strong, and generally his chair backs were firmer than those of
+Hepplewhite. When he had exhausted other forms of decoration, he
+indulged his fancy for brilliant coloring, mixing it with both inlay and
+carving. Later he embellished his work with the white and gold of the
+French style, finally employing features of the Napoleonic period,
+such as brass mounts and brass inlay. His last seats show the
+influence of the Empire type, which came into vogue in the early days of
+the nineteenth century, and the curved piece which he brought in about
+1800 served as a model for nearly a century, though it was not adorned
+with the brass mounts that he had intended.
+
+His greatest glory as a constructor lies in his skillful workmanship and
+his excellent choice of woods,--satinwood, tulipwood, rosewood,
+applewood, and occasionally mahogany, being his selection; and as a
+decorator in the color and arrangement of his marquetry, as well as in
+the fact that he never allowed consideration of ornament to affect his
+work as a whole.
+
+Among the chairs he fashioned was one that has come to be known in this
+country as the Martha Washington chair, from the fact that a specimen of
+this type was owned at Mount Vernon. Several excellent examples of his
+chairs are found at "Hey Bonnie Hall," in Bristol, Rhode Island, one of
+them being the chair in which John Adams is said to have died.
+
+Chairs of all types are found in any number of old-time homes, those in
+Salem being as representative as any, for to this old seaport more than
+to any other, in proportion, rare furnishings were brought. Many of the
+pieces are of historic interest, such as the old-time chair of Flemish
+make, brought over in the ship _Angel Gabriel_, which was wrecked off
+the coast of Maine; much of its cargo was recovered, including this old
+chair, which was later brought to Salem in another ship. Another fine
+old specimen is the armchair, for many years the prized possession of
+Hawthorne, and an heirloom in his family, which he presented to the
+Waters family, in whose possession it now is.
+
+With the passing of Sheraton, Empire models held full sway, and, while
+some of these were comfortable and graceful, the majority were massive,
+stiff, and extreme in style. Early nineteenth-century chairs
+manufactured in America are of this type, some of them of rosewood, some
+of mahogany, and some painted, while many are of mahogany veneer.
+
+But while chairs were the most common seats in the colonies, they were
+not the only ones, for old-time homes were supplied with sofas as well.
+To be sure, these did not come into use until many years after the
+advent of the chair, the time of their appearance being about the year
+1760; the majority shown are the work of the master cabinet-makers.
+Sheraton models are those most commonly found here, though the earliest
+specimens are of Chippendale manufacture, excellent examples of his work
+being still found, many of them characterized by Louis XV features. A
+special design of Chippendale's much in favor was "The Darby and Joan"
+sofa, in reality a double seat, which model, as well as many others that
+became very popular, was never shown in his catalogue.
+
+[Illustration: Plate XXIX.--Sheraton, about 1800; Sofa, about 1820;
+Sofa, about 1820, winged legs.]
+
+Sheraton sofas came in vogue about 1800, their graceful designs and
+handsome carving making them at once favorites. Many of these showed
+eight legs, though later, when his designs became heavier and more
+elaborate, only four legs were used. The coverings of these later
+specimens were generally haircloth, fastened with brass nails.
+
+The Brothers Adam also made some of the sofas found here, their designs
+showing a peculiar slanting or curved leg which is known as the Adam
+leg, and which is also characteristic of some of Sheraton's pieces.
+
+About 1820 what was known as the Cornucopia sofa came into style, the
+carving at the arms showing horns of plenty, which design was often
+repeated in the top-rail, while the hollow made by the curve of the
+decoration was filled with hard, round pillows, known as "squabs."
+Contemporaneous with this type was the Empire sofa, with winged legs and
+claw feet, often covered with haircloth. One example of this model,
+exquisitely carved, is in the possession of a Salem family. But whatever
+their type or characteristic, the old-time chair and sofa are
+distinctive, and it is a tribute to their worth that in the equipment of
+modern homes designers are reverting to them for inspiration. Likewise
+it is with relief that we welcome them, after so long harboring the ugly
+monstrosities that followed in favor the Empire types.
+
+
+
+
+CHAPTER IX
+
+SIDEBOARDS, BUREAUS, TABLES, ETC.
+
+
+The present interest in antiques has brought into prominence the
+old-time furnishings, and as a result ancient hiding places have been
+forced to give up their treasures, and hitherto little appreciated
+relics are now reinstated with all their original dignity. The architect
+of the twentieth century is responsible in a great measure for this, for
+in his zest to give to modern homes the best that could be afforded, he
+has seen fit to revert to early types for inspiration; and with the
+revival in favor of these specimens, genuine antiques have come to be
+appreciated, and their value has correspondingly increased.
+
+Included among these old-time pieces are chests, which in early days did
+service for numerous purposes. In America they were first fashioned by
+workmen who came to this country from foreign lands, through the efforts
+of the first governor, John Endicott, many of them being employed on
+plantations, where much of their work was done. These chests were made
+of the wood of forest trees, which then grew so plentifully, and are
+rude and simple in construction, in striking contrast to the rich,
+hand-carved, mahogany chests, which many of the colonists brought from
+the motherland, packed with their clothing, and which, later on, were
+shipped here in large numbers. Old inventories frequently mention both
+these types of chests, those manufactured here generally being spoken of
+as "owld pine chests." They were principally used in the chamber and at
+one side of the fireplace in the general room, the larger ones to hold
+family necessities, such as the homespun clothing and anything else that
+needed to be covered, while the smaller ones served as receptacles for
+the skeins of wool from which the handy housewife fashioned the family
+wearing apparel.
+
+Such chests were an intimate part of the home life in those early times,
+and viewing their quaintness it is not hard to picture the scenes of
+which they were a part, when the house mother, in her homespun gown,
+busily spun at her old clock wheel, drawing the skeins from the chest at
+her side, while the little ones, seated on rude benches before the open
+fire, carefully filled the quills for the next day's supply. Mayhap
+the eldest daughter fashioned on the big wheel, under her mother's
+guidance, her wedding garments, weaving into them loving thoughts of the
+groom-to-be, while the song in her heart kept time to the merry whirr of
+the wheel.
+
+Of the larger type of the "owld pine chest" is the treasured specimen at
+Georgetown, known for many generations as the magic chest, and so called
+from the feats it is said to have performed in the early days of its
+history, such as walking up and down stairs, and dancing a merry jig
+when a deacon sat upon its lid. It stands to-day quiet and demure,
+giving no hint of its former hilarious tendencies, though it is no
+longer used for its original purpose,--the storing of meal for the
+family use.
+
+[Illustration: PLATE XXX.--Sheraton Night Table; Block Front Bureau
+Desk, owned by Dr. Ernest H. Noyes, Newburyport, Mass.; Cellarette,
+1700, owned originally by Robert Morris.]
+
+With the betterment of financial conditions, the rude pine chests went
+out of fashion, and in their stead beautiful hand-carved specimens were
+brought from foreign countries. Many of these show exquisite coloring,
+any number of examples being still preserved; sometimes they were placed
+in the chamber, but more frequently on the landing at the head of the
+stairs.
+
+[Illustration: PLATE XXXI.--Dressing Glass with Petticoat legs; Empire
+Bureau, 1816.]
+
+Chests with drawers were in fashion as early as 1650, according to the
+old records, many of them handsomely carved, and all showing little
+egg-shaped pieces upon the drawers. Some of the finest of these old
+chests are shown in the Waters collection at Salem. Generally they were
+fashioned of oak, and a frequent characteristic was a lid on top which
+lifted off, allowing for the packing of large articles, while the
+drawers at the front were used for storing smaller things. Sometimes
+chests are found constructed on frames, but not often. This type was
+probably fashioned to hold linen, being the forerunner of the high chest
+of drawers which came into vogue in the later days of the seventeenth
+century. Up to some time after 1700, chests continued in general use,
+though it is doubtful if they were made in any great quantity after
+1720. The number of legs found on these chests varies with the time of
+making, some showing six, while others have but four.
+
+[Illustration: PLATE XXXII.--Chest of Drawers, 1710; Six-legged High
+Chest of Drawers, about 1705.]
+
+With the advent of the high chest of drawers, other woods than oak, such
+as walnut and cherry, and later mahogany, became popular; the use of
+these woods produced a marked change in chest designs, notably in the
+massiveness of build. Many specimens of both types are found throughout
+New England, one very fine example of the early type showing the drop
+handle, which is a characteristic of the early chest, being included in
+the Nathaniel B. Mansfield collection. Another of the later type, now in
+the Pickering house, carefully stored away that no harm may befall it,
+shows on one side the initials of Colonel Timothy Pickering, who used it
+during his army days.
+
+[Illustration: PLATE XXXIII.--Dressing Table with Brass feet; Bureau and
+Dressing Glass.]
+
+Dressing tables were made to go with these chests, following the same
+lines of design, though constructed with four rather than six legs.
+These came to be designated as "lowboys" in distinction from the chests
+mounted upon high legs, which were known as "highboys." Examples of both
+were found in the old General Abbot house at Salem, until a few years
+ago; while a highboy, showing bandy legs, a characteristic of the
+earliest high chest, is a prized possession in the Benson home, also at
+Salem.
+
+Many highboys and lowboys show inlay work, one of the former, of English
+manufacture, being found in the Warner house at Portsmouth, while
+another, of different style, is shown in the Osgood house at Salem.
+
+Lowboys were made to correspond with every style of the high chest, and
+frequently they were constructed of maple, beautifully marked, after
+the fashion of the chests made of walnut and cherry. Highboys sometimes
+took the form of a double chest, showing drawers extending almost to the
+floor, and mounted on varied-style feet, frequently of the claw-and-ball
+type. These, as well as lowboys, continued to be regularly used until
+well into the last quarter of the eighteenth century. Hepplewhite's book
+of designs, published in 1789, shows models for chests of drawers
+extending almost to the floor, but it is not probable that they were
+made in any number after this date.
+
+[Illustration: PLATE XXXIV.--Block Front Bureau Desk, owned by Nathan C.
+Osgood, Esq. One of the best specimens in New England; oak paneled
+Chest, about 1675.]
+
+The desk occupied a prominent place in New England homes in the early
+days of the colonies, though not to the extent of the other and more
+necessary articles of furniture. It varied in size and design according
+to the period of its manufacture, the earliest type being little more
+than a box that locked, with flat or sloping top, and placed on the
+table when used. This type was often ornamented with rich carving, and
+sometimes it was arranged upon legs, with a shelf beneath.
+
+The form in common use about 1700 was known as the "scrutoir," being in
+reality a desk resting on a chest of drawers; the sloping front opened
+on hinges, and afforded a writing desk. One example of this type, fitted
+with ball feet, and showing secret drawers and many cupboards, is found
+in the Ropes house in Salem, being an inheritance from the original
+owner, General Israel Putnam. Another of equal interest is in the home
+of Mrs. Guerdon Howe at Haverhill. This originally belonged to Daniel
+Webster, who was at one time a law partner of Mr. Howe's grandfather.
+This desk, which was brought to the house after the death of Webster, is
+filled with old and interesting letters.
+
+[Illustration: PLATE XXXV.--Secretary, showing shell ornamentation;
+Highboy with shell ornamentation and ball and claw feet, 1760; Highboy
+with shell ornamentation.]
+
+The earliest "scrutoirs" were of foreign manufacture, chiefly English,
+but by 1710 they were being made in this country. These early American
+"scrutoirs" are very plain in form, generally made of cherry, though
+occasionally one is found constructed of walnut. After the first quarter
+of the eighteenth century, American manufacturers improved their output,
+and made some very handsome specimens of the type known as bureau desks.
+One excellent example of the very early bureau desk of foreign make is
+found in the possession of the Alden family, having been brought to this
+country in the _Mayflower_ by John Alden himself.
+
+By 1750 the desk in its various forms had come to be considered an
+important part of the household equipment, and in their manufacture
+many woods were employed, such as mahogany, cherry, apple, and black
+walnut, sometimes solid, and sometimes veneered. The following thirty
+years saw the advent of many new styles, two of which were more dominant
+than the rest; one of these was the development of the early "scrutoir,"
+and the other the forerunner of the bookcase desk or secretary.
+
+During this period Chippendale designed several desk models, the most
+notable of which was probably his secretary, characterized by Chinese
+fret designs in the glass doors, and an ingenious arrangement of secret
+drawers. In 1790 Hepplewhite followed with his designs, many of which
+were severe in contour, being wholly straight in front and arranged with
+two glass doors above, sometimes fancifully framed. Then Sheraton's
+desks and secretaries came into favor; many of his models showed
+practical features and beautiful finish, and after 1793 were generally
+characterized by inlay work, with the lower portion consisting of a
+cupboard instead of the usual drawers.
+
+[Illustration: PLATE XXXVI.--Dressing Table, 1760; Mahogany Commode,
+collection of Nathan C. Osgood, Esq.]
+
+During these latter days of the eighteenth century, beautiful
+secretaries were manufactured in this country, ranging in form from the
+very plain to the very elaborate, but after 1800, when some few
+French Empire desks found their way here, serving as models for American
+manufacturers, the domestic output became less graceful, depending for
+beauty on the grain of the veneering used.
+
+Many of all these types of desks are found throughout New England, one
+particularly good specimen being shown in the Noyes house at
+Newburyport. This belongs to a period antedating the Revolutionary War,
+and shows the oval which is characteristic of its type. Among its
+features are paneled doors one and one half inches thick.
+
+Though the date of their introduction was not until well along in the
+eighteenth century, sideboards are prominent among the old-time
+furnishings, and in the highest state of their development they were
+articles of beauty and utility. In reality they are a development of the
+serving table, which came into vogue in the first half of the eighteenth
+century, and in form are a combination of the serving table and its
+accompanying pieces. At first they were little more than unwieldy,
+unattractive chests of drawers, gradually developing to their best form,
+with carved front, slender legs, and other details. In their
+construction, mahogany was chiefly used, inlaid with satinwood, holly,
+tulip, and maple, and veneered occasionally with walnut; and they showed
+in their finished lines the best work of the skilled craftsman. The last
+type of the old sideboard showed Empire characteristics, being more
+massive than graceful, but yet containing features of marked beauty.
+
+While Chippendale is often credited with having made sideboards, no
+record of this fact is found among his designs, though he makes frequent
+mention of several large tables, which he calls sideboard tables. No
+doubt, many of the sideboards credited to him were made by Shearer, a
+designer to whom belongs the credit of originating the sideboard, and
+who included in his designs pieces with curved and serpentine fronts, a
+style which was later perfected by Hepplewhite. There is no doubt that
+Hepplewhite made sideboards, for in his book of designs he shows a
+sideboard model, with a deep drawer at each end and a shallow one in the
+center, as well as four different designs in the table form, without the
+drawers, which are similar to Chippendale's work. Hepplewhite's
+sideboards are characterized by square legs, often ending in the
+spadefoot, the ends sometimes square and sometimes round, the front
+swelled, straight, or curved, affording a great variety to his work.
+Generally his sideboards are made of mahogany, and almost invariably
+they are inlaid, though occasionally they show carving.
+
+Sheraton also designed sideboards, and while in general appearance they
+somewhat resemble Hepplewhite's designs, in many respects they are
+superior. They were equipped with any number of devices, such as
+cellarets, closets for wine bottles, slides for the serving tray, and
+racks for plates and glasses, and many of them are lavishly ornamented
+with inlay work, though few show carving.
+
+[Illustration: PLATE XXXVII.--Sheraton Sideboard; Simple form of
+Sheraton Sideboard, with line inlay around drawers and doors. Date
+1800.]
+
+Examples of all these types are found in the colonies, one of
+Hepplewhite design showing the fine inlay work and graceful proportions
+typical of his pieces and originally owned by Governor Wentworth, being
+in the possession of a Salem family. Another, of Sheraton make, is
+preserved in the Stark home, having been brought here from the Governor
+Pierce house at Hillsboro. Another of like make is found in the Howe
+house, having originally belonged to an ancestor of the present owner,
+Governor John Leverett, governor of Massachusetts during the time of
+King Philip's War.
+
+Shortly after 1800, the style of sideboard greatly changed, becoming
+more massive, with the body placed nearer the floor, and the legs
+shorter. French Empire styles influenced the manufacture in this country
+to a great extent, though carving and the grain of the wood were still
+depended upon for ornament, rather than the French features. The best
+examples of this type are to-day found in the South; 1820-1830 saw the
+advent of a plainer model, being in reality an adaptation of one of
+Sheraton's types; in the following years other variations were made, all
+showing the heaviness of the Empire style in a more or less degree,
+until about 1850, when the architectural merits of the sideboard
+disappeared.
+
+Intimately associated with the sideboard is the table which probably
+shows more variety in design than any of the other old-time furnishings.
+From the table board or top used in 1624, square, oval, or round in
+contour, evolved the butterfly table popular about 1700, many examples
+of which are found throughout Connecticut. These followed in form the
+outline of a butterfly, and were supported by pieces of wood shaped much
+like the rudder of a ship. Other types popular here were the Dutch
+table, the hundred-legged table, the dish-top table, and the tea table.
+
+The first table used in this country was the table top, which was
+literally a board made separate from its supports, which was taken off
+and placed at one side of the room after meals. This showed different
+forms, and was known by different names, one called the chair table, and
+so constructed that when not in use it served as a seat, being probably
+the most unique. It was invariably fashioned with drawers.
+
+Included in the later designs were writing tables fashioned by Sheraton,
+showing elegant carving at the back, the most decorative of these, known
+as the "Kidney" based table, being used either for writing or as a
+lady's worktable. Another model of Sheraton's was a worktable known as
+the Pouch Table, arranged with a bag of drawn silk. These were often
+fitted with drawers and a sliding desk, which drew forward from beneath
+the table top.
+
+The dining table of this period showed the pillar and claw style with
+central leg fixed to a block, on which the table hinged. This principle
+received the support of the English people for many years, and Sheraton
+tables of this make had four claws to each pillar, and castors of brass.
+So much did Sheraton designs resemble those of French artisans that only
+close inspection will decide as to which cabinet-maker a certain piece
+belongs.
+
+Following this type came the telescopic table, showing extensions fitted
+through slides moving in grooved channels.
+
+Other later tables were card tables, which closed and could be stood
+against the wall when not in use, the pie-crust table of the Dutch style
+of make, and the table with scalloped moldings carved from solid pieces
+of wood, with legs terminating in claw-and-ball feet. Tables of Empire
+design often have brass feet and lyre supports, while others show the
+rope carving and acanthus leaf.
+
+Popular types of the later days of the eighteenth century were Pembroke
+tables, small and of ornamental design, with inlaid tops and brackets to
+supply the two side flaps, as well as Pier tables, circular or
+serpentine in shape.
+
+
+
+
+CHAPTER X
+
+FOUR-POSTERS
+
+
+At no time since the days of the Renaissance has interest been so keen
+in interior decoration as it is at the present day, not only as regards
+the main living rooms of the home, but the sleeping apartments as well.
+This has resulted in a revival of old-time features, and the chamber
+fittings of the present in many cases are similar in type to those of
+early times, when purely classical designs were in vogue,--models that
+have never been surpassed in beauty by later designers, though many a
+fine piece of furniture has been made since then by expert
+cabinet-makers.
+
+Early specimens showed a delicacy of touch and a mastery of thought that
+gave to them a lasting place in the world of architecture, and while the
+coming historian may dilate upon twentieth-century models, he cannot
+make any comparison that will in any way be derogatory to these
+wonderfully fine old pieces. In early days, labor was a very different
+problem from what it is to-day, years being often spent in the making of
+a single specimen of furniture, and, indeed, in some countries, a
+workman has been known to have spent his whole life in the fashioning of
+a single piece.
+
+Taking these points into consideration, one cannot wonder that early
+century pieces are still as perfect as they were the day that they left
+the makers' hands, and it is with regret that he views the hurry and
+rush of modern times resulting in the practical abolition of hand
+carving, and the introduction of machinery that has helped in the
+deterioration of the art. Reproductions, as they are made to-day, while
+in many cases very beautiful, cannot equal in finish the originals
+fashioned at a time when art was the first consideration.
+
+Fortunately, many genuine antiques are still in existence, and present
+interest for the most part centers in their types and periods of
+manufacture. With so many periods and so many makers, it is not
+surprising that mistakes in these respects are sometimes made,
+especially as regards the bedstead. For the best of these, one need not
+search farther back than the seventeenth century, for the most valuable
+specimens were made in the seventeenth and eighteenth centuries, many
+of these to-day bringing from two to three hundred dollars apiece.
+
+Of course, these fine beds were not the first beds used here, though no
+doubt the earlier types, as well as these later specimens, were imported
+from England, along with the other household furnishings. If any
+bedsteads were made here, they were undoubtedly simple and
+unpretentious, along the lines of the settle and board tables.
+
+The articles of furniture devised by people of different countries for
+comfort in sleep vary according to climate and the progress of
+civilization. The bed of our primeval ancestors consisted of dried
+mosses and leaves, with a canopy of waving leaves above. Later, through
+the need of shelter from the frost and protection from crawling insects,
+a rude structure consisting of a framework of poles, covered with
+branches, was substituted. Probably the first authentic representation
+of a bed is found on ancient Egyptian tombs, depicting a long, narrow
+receptacle, suited for but one person. Greek and Roman beds,
+representations of which have also been found, are of the single type,
+resembling in shape the Flemish couches made in the latter half of the
+seventeenth century, while the Greek thalamos, another type, showed a
+framework of great beauty, curiously carved, and decked with ivory,
+gold, silver, and precious stones. Roman luxury outvied that of Greece,
+as is shown by specimens that have been found in Pompeii, and the
+hangings of the bed, while receiving special attention, seemed to be
+less highly prized than the frame, probably on account of the mildness
+of the climate.
+
+The eleventh century saw the half-savage people of northern Europe
+building beds into the walls of their rooms, and fitting them with doors
+and sliding panels to insure against the cold. These cupboard couches
+are reproduced in a modified form in many summer homes to-day, being
+arranged like steamer berths.
+
+After the Norman Conquest, beds of this type came into favor in England,
+though they were quickly superseded by a great oaken bed with
+roofed-over top. This was arranged in the center of the room, and
+heavily curtained for protection against the wind that blew in through
+the cracks of the poorly hung doors and the unglazed windows, closed
+only by loosely fitted shutters. Many of these beds were of prodigious
+size, the most historic, "The Great Bed of Ware" to which Shakespeare
+alludes, being twelve feet square, built of solid oak, and finished with
+the most elaborate carving imaginable. This bed is known to have
+furnished sleeping accommodations for twelve persons at one time, and it
+has stood for nearly four centuries in an ancient inn, located in the
+town of Ware. In style, this is a four-poster, and doubtless marks the
+induction of this, the most expensive but the most popular bed of its
+day.
+
+[Illustration: PLATE XXXVIII.--Bedstead in Middleton House, 1798.]
+
+Old-time four-posters consisted, as do those we see to-day, of four
+posts, supporting a tester, and connected laterally by sidepieces which
+were almost always undecorated, as the bedspread was supposed to fall
+over the sides of the bed and cover them. A headboard was considered
+almost indispensable, although it is absent in some cases. It was
+usually rather low and decorated with carving, more or less elaborate.
+The footboard was sometimes used, but was quite often omitted in the
+older specimens, and seems to have come into favor later on, as an
+additional detail. When the posts were lowered, the footboard rose into
+prominence, but this was not until after the first quarter of the
+nineteenth century had elapsed.
+
+Many of the beds had a canvas bottom, held in place either by iron rods
+or ropes, or sometimes by both. It was "sackcloth and ashes" at
+house-cleaning time in those days, for either kind required the united
+strength of several muscular arms to put it together. The hair mattress
+was unknown at that period, and in its place was used brown linen
+sacking filled with straw and buttoned at one side, so that the straw
+could be easily removed at any time. This formed the lower strata of the
+bed, and above it were laid innumerable feather beds, piled one above
+the other, so high that often steps were necessary assistants in getting
+into bed.
+
+[Illustration: PLATE XXXIX.--Sheraton type, in Kittredge House;
+Four-poster, about 1825.]
+
+In colonial homes, where bedrooms were fireless, curtains and hangings
+were important accessories of the bed to shield the sleeper from drafts.
+These were often made of linen, handspun by some member of the
+household, and while many were white, some were in colors. One of these,
+of blue and white homespun pattern, edged with hand-made ball fringe,
+has been in constant use for generations, and as yet shows not the
+slightest sign of wear. It is now owned by a fortunate Salem woman.
+
+[Illustration: PLATE XL.--Field Bedstead, slept in by Lafayette, in
+Stark Mansion. Owned by Mrs. Charles Stark, Dunbarton, N. H.]
+
+Many of these hangings were made of chintz and hand-embroidered linen,
+and in homes of limited means they were also made of patch, following
+the style of the quilt. Blankets were likewise home-made, of handspun
+wool, adorned with roses in each corner, which gave them the name of
+rose blankets. A blue and white homespun counterpane added the
+finishing touch, and often the hangings of the bed were of this same
+material, the curtains being drawn back loosely so that, on cold nights,
+they could be permitted to fall about the bed. Often both counterpane
+and hangings were finished with a hand-made netted fringe, varying in
+width from five to eight inches.
+
+While beds were a scarcity in the rude homes of our early ancestors,
+still they were sometimes brought here from over the seas, as is proven
+from an account written by Rev. Robert Crowell in his _History of
+Essex_, in which he speaks of two bedrooms in Darius Cogswell's house.
+These were divided off from the main room by handsome curtains that were
+stretched the whole way across, and, in the bed reserved for visitors,
+the guests of the night lay inclosed with curtains to exclude the night
+air; these, when drawn in the morning, allowed one to peer through the
+cracks in the shrunken logs at the world outside.
+
+Most of our ancestors, however, were content with much simpler beds than
+this, for mere frames, with curtains and valances, were most frequently
+used, the beds stuffed with straw or feathers plucked from live geese,
+or poultry, and laid on the floor. Among these early types are
+"Cupboard" or "Presse" bedsteads, frequently mentioned in the
+inventories from which we gather much of our information. These, when
+not in use, were fastened up against the wall, proving valuable space
+savers where space was limited. Bunks were another type of the early bed
+in use here, one specimen, used in early days for slaves who were in the
+family, being still shown at the Adams house at Byfield.
+
+Possibly the early settlers may have used a bed that is still in fashion
+among the Kentucky mountaineers, known as "Wild Bill." This is a
+one-poster, rather than a four-poster, and occupies a corner of the loft
+in a log cabin. The side and end of the cabin serve for headboard and
+one side of the bed; saplings nailed to the solitary post that runs from
+roof to flooring supply footboard and sidepiece; springy poles, running
+crosswise, uphold the home-made straw mattress and feather bed.
+Doubtless the rest of the mountaineer who uses this is sweet, but to one
+unused to it, it seems a diabolical bed!
+
+When life in the new country became easier, furniture of all kinds was
+brought here from England, much of it of the Queen Anne period. This
+comprised, among other details, four-posters made of black walnut, this
+wood having superseded English oak in popular favor during the preceding
+reign of William and Mary. Panelings and moldings that had done duty
+during the Jacobean period were retained in all their splendor, and to
+these were added the new feature of the claw-and-ball foot. Our oldest
+beds belong to this period, unless we consider Presse bedsteads or
+Cupboard bedsteads, already spoken of, as real beds. The Dutch name for
+such contrivances was "slaw-bank," and they might be said to be the
+forerunner of the latter-day folding bed.
+
+Mahogany was first used in England in the year 1720, and therefore it
+belongs to the Georgian period. Four-posters of this material, as
+constructed in the early days of their popularity, had slender and
+delicate posts, which were sometimes fluted and sometimes carved. In
+these earlier specimens the headboards were simply made and left
+undecorated. At this time great advance in the designing of furniture
+was made, for cabinet-makers published books of designs, and
+Chippendale, who was doubtless the greatest English exponent of his
+craft, designed beds with footpieces and sidepieces, carefully paneled
+and carved. He used tall and slender posts, and carving of the most
+elaborate nature. Genuine Chippendale beds are rare in America, and they
+are not common in England, seeming almost as if he had executed this
+piece of furniture less frequently than any other. We have, however,
+beautiful specimens which were modeled after Chippendale designs.
+
+In English furniture making, the brothers Adam held the supremacy from
+1775 until the end of the century. They endeavored to restore the simply
+classical styles of Greece and Rome, with Greek ornamental figures, such
+as the acanthus, urns, shells, rosettes, and female heads. They made a
+smaller bed than the Chippendale pattern, with lower posts and less
+abundant carving.
+
+Hepplewhite's influence culminated some ten years later than that of the
+brothers Adam. He designed four-posters of attractive delicacy, used
+carved rosettes and a delicately carved beading by way of decoration,
+and delighted to place an urn-shaped section, lightly festooned with
+drapery, on the post where the sidepiece joins the standard.
+
+[Illustration: PLATE XLI.--Sheraton Four-poster; Four-poster showing
+decided English characteristics.]
+
+Sheraton was the last of the noted cabinet-makers of the Georgian
+period, commencing to publish his designs in 1790. They were
+distinguished for the use of inlaid work, and later on he developed
+painted designs. In his work he introduced many light woods, such as
+whitewood, satinwood, and sycamore, which, when painted green, was
+termed harewood. The trend of sentiment at that time seemed to be toward
+simplicity and delicacy.
+
+The last great change in the old four-poster was made, curiously enough,
+in deference to Napoleon, for it was through his influence that ancient
+Roman decorations, such as the laurel wreath and the torch, were
+revived. England had her mental reservations regarding this type,
+however, and by the time the fashion reached America it simply lowered
+the bedposts. It was the beginning of the end, however, and forty years
+later came the Renaissance of black walnut, and with it the relegation
+of the old four-posters to attic and storehouse, or else to the chopping
+block. Saddest of all, their owners were glad to see them go, on account
+of the difficulty of putting them together. In the revival of colonial
+fittings, the four-poster has again been restored to favor, and in many
+modern homes the old four-poster is the chamber's most pleasing feature.
+
+There are some wonderfully fine old four-posters in America. One of
+these, in the Howe house at Haverhill, showing slender posts,
+surmounted by the ball and eagle, is made of brass. Originally it
+belonged to the first owner of the dwelling, Dr. Nathaniel Saltonstall,
+a contemporary of George Washington, and a descendant of Sir Richard
+Saltonstall. It has never been out of the family since its importation,
+the present owner being the widow of the first owner's great-grandson.
+
+Historic through the fact that it once graced the chamber of Oliver
+Wendell Holmes is the exquisite four-poster now in a Salem house. This
+is characterized by a richness of design that is most attractive, and
+the hangings are in keeping with the exquisiteness of the whole. In this
+same dwelling is another old poster, this time of the low type, that
+came into vogue about 1825. This shows but little of the carving that is
+a feature of the older types.
+
+Other fine old four-posters can be found in Salem. One is of Hepplewhite
+make, showing the slender posts and fluting of his type, while another
+is considered one of the best specimens in New England, with a drapery
+of patch that is probably all of a hundred years old.
+
+At Dunbarton, New Hampshire, in the old Stark mansion, is a fine example
+of the Field bedstead, standing exactly as it did when Lafayette
+occupied it so many years ago, and still known by the name then given to
+it, the Lafayette bed.
+
+In the Middleton house at Bristol is a most interesting four-poster,
+done in white, the gift to a bride of long ago. Lately this has been
+repainted exactly as it was when first placed in the house, the design
+depicted, that of the bow and arrow, showing as clear and dainty as when
+first traced. In another chamber in this same old home is another
+four-poster that was brought direct from Leghorn. Both of these rare
+specimens have been in the family since the building of the homestead.
+
+Examples of these fine old beds are growing scarcer and rarer each year,
+and their value is correspondingly increasing. Some years ago they could
+be had almost for the asking, but with their revival in favor, their
+worth has increased. They depict an era that is associated with the best
+in the way of design and craftsmanship, and not a few of them have
+historic associations that render them particularly notable.
+
+
+
+
+CHAPTER XI
+
+MIRRORS
+
+
+The heavily freighted ships that came into the harbor in the days of
+Salem's commercial prosperity brought in their holds many valuables,
+including mirrors, several of which are to-day found in Salem homes. Not
+a few of these are ancestral heirlooms, closely interlinked with
+interesting family histories, and their depths have reflected the faces
+of many old-time belles.
+
+Even in the earliest days of the colonies, mirrors formed a part of the
+household accessories, for our Puritan ancestors, scorning as they did
+all pretence of personal vanity, did not forbear to glimpse their
+appearance before they wended their way to service on Sabbath morn.
+Proof positive of their use at this time is to-day in existence in the
+form of inventories that list the prices and tell odd, descriptive
+stories concerning them, as, for instance, a record of 1684 that speaks
+of "a large looking-glass and brasses valued at two pounds, five
+shillings."
+
+The origin of the mirror is shrouded in mystery and the time of its
+invention uncertain, but there is no doubt that rude reflectors were
+made to serve the purpose in South Europe and Asia, at least three
+hundred years before the Christian Era. These were made of metal, varied
+in shape, and they were considered necessary toilet accessories. All
+were highly polished, and several showed handles elaborately wrought.
+
+Small mirrors of polished iron or bronze were used by the early Chinese,
+who wore them as ornaments at their girdles, attached to a cord that
+held the handle or knob. Who knows but these may have been forerunners
+of the "vanity case" in use to-day!
+
+Small circular placques of polished metal known as pocket and hand
+mirrors came into vogue between the twelfth and the fifteenth centuries.
+These, too, were worn at the girdle, and placed in shallow boxes covered
+with a lid. The cases were of ivory, beautifully carved with
+representations of love, romance, and, less frequently, of the hunt.
+
+Looking-glasses when first used were fastened to the wall like panels,
+but in the fifteenth century they became movable. These earlier mirrors
+show a great variety of shapes, and were made of different kinds of
+polished metal.
+
+The Venetians undoubtedly made the first looking-glasses, having been
+the ones to discover the art of coating plates of glass with an amalgam
+of tin foil and mercury. For over a century they guarded their secret
+well, and it was not until 1670 that the art became known in England
+through the keenness of an Englishman named Lambert.
+
+Salem merchants sent their ships to Venetian ports, and an occasional
+mirror of this make is found here. One of these is owned in Salem. It is
+about a foot and a half in length, its frame of gilt surmounted by a
+cornice and gilt pineapple, with claw feet.
+
+The introduction of glass mirrors gave rise to a new industry,--the
+making of mirror frames. In this occupation, cabinet-makers found a new
+vent for their skill, since by far the larger number of frames were made
+of wood. Of course, there were a few odd frames made, such as those of
+glass fitted together at the joints with gilt molding, but the majority
+were of wood. The different styles are characteristic of certain periods
+or designers, and it is upon the frame rather than upon the glass
+that one must rely for value, as well as for date of manufacture.
+
+Previous to the Revolution, the colonists manufactured little furniture,
+and were dependent upon England, Holland, Spain, and France for their
+house furnishings, including mirrors. Many beautiful specimens thus
+found their way here, and many are still to be found in colonial homes.
+One such is owned in Salem. This is a Bilboa glass, an especially fine
+type, one of several still preserved in New England, principally in
+Marblehead. There is a popular legend that these old glasses were
+brought from the Bay of Biscay by sailors for sweethearts at home,
+though some authorities insist that they were imported from Italy and
+paid for with dried fish. However this may be, they are certainly
+excellent illustrations of the early craftsmen's skill.
+
+The distinctive feature of the Bilboa glass is a column of
+salmon-colored marble on either side of the gilt frame. This marble is
+glued or cemented in small sections to the wood, and in some cases
+strips of marble form the border around the frame. It is ornamented on
+top by a broken arch surmounted by an urn. Grotesque and grinning heads
+top the columns, and a narrow bead molding surrounds the glass and
+decorates the lower part in scroll design.
+
+[Illustration: PLATE XLII.--Girandole in George Ropes House, 1800;
+Girandole, 1800; Constitution Mirror, 1780.]
+
+The earliest type of looking-glasses came into vogue in the first half
+of the eighteenth century, during the reign of Queen Anne of England.
+The frames of simple wood gave little hint of the extravagant
+decorations that were to follow, the only ornamentation being gilded
+wooden figures and squat urns, which were occasionally used.
+
+[Illustration: PLATE XLIII.--Picture Mirror showing Dawn, in Adams
+House, 1703; English Georgian Mirror, 1750; Two-piece Looking-glass,
+1750.]
+
+Owing to the extreme difficulty of making large pieces of glass, and
+also because it was not deemed prudent to waste the smaller pieces, many
+of the Queen Anne mirrors were made of two pieces of glass arranged so
+that one plate overlapped the other. Later, these parts were joined by
+strips of gilt molding. Several of these mirrors are still in existence,
+one of the earlier type being owned by Mrs. Walter L. Harris of Salem,
+showing a simple glass with gilt figure ornament.
+
+One of the finest mirror designers was Chippendale, who wrought out
+Chinese patterns, his schemes showing a wonderful weaving of birds,
+flowers, animals, and even human beings. One design, typical of his
+work, shows a flat wooden frame cut in graceful arches, with a gilded
+eagle perched on top with outspread wings. Gilt rosettes and flowers,
+as well as ornaments strung on wire, were frequently used by him, and
+are considered characteristic of his type.
+
+It was customary for the frames to rest on a pair of mirror knobs, which
+were fitted to the lower edge of the frame and screwed firmly to the
+wall. These knobs were often made of brass, but the most fashionable
+ones were of copper overlaid with Battersea enamel, and framed in rings
+of brass. Among the most quaint designs which were carried out on these
+mirror knobs were heads of prominent persons such as Washington,
+Lafayette, and Lord Nelson. Bright-colored flowers and landscapes, the
+American eagle, and the thirteen stars, representing the original
+colonies, were also frequently used, as were the queer designs of the
+funeral urn and weeping willow, that seemed to especially appeal to our
+ancestors' taste.
+
+By the year 1780 American mirror manufacturers had evolved a style
+peculiarly their own, and the glasses made at that time were known as
+Constitution mirrors. The frames were not unusual in design, generally
+being made of wood, in more or less elaborate shapes, but they were
+original in their decoration, especially in their tops. These generally
+were graced by the American eagle, the newly chosen emblem of the
+Republic, executed either in plaster covered with gilt, or in wood. A
+good example of the Constitution type is shown in the Lord house at
+Newton. The top shows the usual eagle decoration, though the cornice is
+overhanging, fixing the date of manufacture early in the nineteenth
+century. This mirror is especially historic, having belonged to the
+brilliant Revolutionary hero, Henry Knox, General Washington's most
+intimate friend.
+
+Another handsome mirror of the same period is one that was originally in
+the Harrod mansion at Newburyport. It was one of the few things saved
+when the house was burned at the time of the great fire in 1812. This
+mirror now hangs in the home of a lineal descendant of the Harrod family
+in Salem. It is in perfect condition, and shows the eagle top and draped
+sides.
+
+The overhanging cornice came into vogue early in the nineteenth century.
+A mirror characteristic of this date is shown in the living room at
+"Highfield," the Byfield home of the Adams family, built by Abraham
+Adams in 1703. It has a gilt frame of the ordinary picture type, and on
+account of its association is most interesting.
+
+A specimen of the same period is shown in the Lord house at Newton.
+This is decorated with the figure of a goddess sitting in a chariot
+drawn by two rams. The frame is of fine mahogany, with handsomely carved
+columns, simply ornamented.
+
+[Illustration: PLATE XLIV.--Oval Mirror, showing Acanthus leaves, once
+on Cleopatra's Barge, the first pleasure yacht built in America; Mirror,
+1710, resting on ornamental knobs; Mirror, 1810, in Dudley L. Pickman
+House.]
+
+Other types of mirrors popular in the days of our forefathers were the
+mantel mirrors that came into favor early in the eighteenth century,
+first in England and later in America. Their greatest period of
+popularity was from 1760 until the commencement of the nineteenth
+century. Many of these glasses were oval in shape, though the majority
+consisted of three panels of glass separated only by narrow moldings of
+wood. This style was probably originated by some economical
+cabinet-maker who, in order to avoid the heavy expense which the
+purchase of large plates involved, designed these. They were most
+favorably received upon their introduction, and many of the old glasses
+to be found at the present day are of this style.
+
+One of the most valuable of these three-piece mantel glasses is that in
+the drawing-room of the Pierce-Nichols house on Federal Street at Salem,
+the frame of which has attracted the attention of antiquarians all over
+the country. It was made for a bride, who in 1783 came to be mistress
+of this old home, and it shows a finish of gold and white harmonizing
+admirably with the surrounding white woodwork, exquisitely carved by
+Samuel McIntyre, the noted wood-carver. Its principal features are
+slender, fluted columns twined with garlands, which fancy is repeated in
+the decorations of the capitals. Above the glass are two narrow panels,
+one of white ornamented with gilt, and the other of latticework over
+white. Just beneath the overhang of the cornice is a row of gilt balls,
+a form of decoration that came into style during the latter part of the
+eighteenth century, and which continued to characterize a certain class
+of mirrors for several decades.
+
+Late in the nineteenth century mirrors known as bull's-eyes and
+girandoles came into vogue. These were circular in form, the glass
+usually convex, and they were made by Chippendale, the Adam Brothers,
+and others. The fact of their being convex rendered them impractical for
+common use, though it allowed for elaborate framing, and they were
+employed rather for ornament than for use. Looking up the old
+definition, we find these glasses alone have the right to be called
+mirrors, and that all else save "circular convex" should, properly
+speaking, be termed looking-glasses.
+
+One good example of this type was in the George house at Rowley,
+Massachusetts, now demolished. It showed a heavy gilt frame, surmounted
+by an eagle.
+
+Originally, there were shown in Hamilton Hall, at Salem, two fine
+examples of girandoles, with glass pendants, which in the midst of
+lighted candles reflected myriad sparkles. Interesting, indeed, would be
+the tales they could tell of fair ladies in powder and patches, and
+courtly gallants who in the long ago gathered in this famous hall to
+tread the measures of the minuet! These girandoles were the gift of Mr.
+Cabot, and they are now replaced by simpler examples, the originals
+having been given to the Saltonstall family, in whose possession they
+still are.
+
+Of the late colonial looking-glasses, there are two general types, the
+earlier dating back to about 1810 and characterized by an overhanging
+cornice, beneath which pendant balls or acorns are frequently found,
+with frames of wood carved and gilded, or painted. Further decoration is
+found in a panel beneath the cornice ornamented with various designs,
+such as a horn of plenty, floral subjects, or classical scenes.
+
+In the later type, the cornice has disappeared, and the frame as a rule
+is more simply ornamented. The upper panel, however, has been retained,
+and almost invariably it shows a painting of some sort. Until within a
+comparatively few years, it was not a difficult matter to secure mirrors
+of this type, but the recent fad for collecting old furniture has caused
+many of the best specimens to be purchased, and, in consequence, really
+good colonial mirrors are rapidly becoming scarce, and one is a
+treasured possession.
+
+The Kittredge house at North Andover, Massachusetts, shows several fine
+examples of this later type, and other examples are to be found in the
+Lord house at Newton, and in several Salem residences. These show a
+great variety of panels, ranging from pastoral scenes to horns of
+plenty, and from ships to simple baskets of flowers.
+
+It is interesting to note, in connection with these old-time mirrors,
+the influence of the period reflected in the framing, and also how
+graphically the frame depicts the social life of its date of
+manufacture, and the country in which it was designed. There is a marked
+flamboyancy in the Venetian designs of the early eighteenth century,
+changed in the middle of the same century to a heavy splendor and
+inartistic grandeur. England, slightly earlier, gave examples of fruit
+which many think were designed by Gibbon, but which materially lack the
+freedom of his work.
+
+Scrolls and angles, arabesques and medallions, belong to the second half
+of the eighteenth century. Many such came to New England, and one of
+these mirrors is still seen in a Salem home. Its decorations hint of the
+influence of the Renaissance, and it shows medallions decorated with
+grotesque figures on either side of the upper panel.
+
+[Illustration: PLATE XLV.--Mirror, 1770; Lafayette Courting Mirror,
+Osgood Collection; Empire Mirror, 1810.]
+
+Perhaps as interesting as any of the old mirrors is the Lafayette
+mirror, one excellent example of which is seen in the Osgood house at
+Salem. This is small in size, surmounted with a painting of Lafayette,
+and is one of a great number designed in compliment to the beloved
+Frenchman's visit to Salem in 1784. It is known as the Courtney Mirror.
+
+Many of the fine old specimens to be seen in Salem were brought to New
+England at the time of the old seaport town's commercial glory, about
+the period of the Revolution, and previous to the restrictions following
+the War of 1812. These were halcyon days in Salem, "before the great
+tide of East India trade had ebbed away, leaving Derby Street stranded,
+its great wharves given over to rats and the slow lap of the water
+among the dull green piles."
+
+Probably there are few of these old-time mirrors but have been connected
+with interesting traditions and events, and it seems a pity that their
+histories have never been compiled, but have been allowed to pass
+unrecorded, leaving the imagination to conjure up scenes of joy and
+sorrow that have been reflected in their depths. Still, for all their
+unwritten stories each and every one possesses a glamor of mystery that
+makes the work of collecting them most fascinating. The personal note so
+prevalent in nearly all workmanship of past centuries is particularly
+noticeable in the looking-glass, and perhaps it is this very attribute
+more than anything else that lends so great a degree of charm and
+attractiveness to them.
+
+
+
+
+CHAPTER XII
+
+OLD-TIME CLOCKS
+
+
+There is something quaintly pathetic about an old colonial clock. Its
+sociability appeals to all home lovers, as it cheerily ticks the hours
+away, with a regularity that is almost human.
+
+The first clocks, if so they might be called, were composed of two bowls
+connected by an opening through which water trickled, drop by drop, from
+one to the other. Next came a simple contrivance consisting of a greased
+wick tied into knots. The smoldering of the lighted wick determined the
+flight of time.
+
+The first clock, which was made in 807, was given as a present to the
+Emperor Claudius. It was a small clock of bronze inlaid with gold, and
+was fitted with twelve small doors. Each one of these opened at a given
+time, and allowed tiny balls to roll out, differing in number according
+to the hour represented. Promptly at the strike of twelve, toy horsemen
+came prancing out, and closed every open door. This was a marvel of
+clock-making that attracted a great deal of attention.
+
+In 1335, a monk, Peter Lightfoot by name, constructed a wonderful clock,
+which he presented to Glastonbury Abbey. During the fifteenth and
+sixteenth centuries, many and varied kinds of clocks were made, and we
+are assured that this was a successful venture, even in the early ages,
+from the fact that in 1500 a clock-makers' union was formed.
+
+To one who is interested in the history of clocks, there is no better
+place to view them than in Europe, where the most skilled clock-makers
+lived during the seventeenth and eighteenth centuries. Marseilles,
+Exeter, and Westminster Abbey are the homes of some of the most
+wonderful clocks in the world.
+
+Some of the most beautiful of these were made by Chippendale and
+Sheraton, the former manufacturing specimens that stood nine feet high
+and measured twenty-five inches across. On the door, was placed a
+reliable thermometer, while on the inner circle, the signs of the Zodiac
+were marked, the outer circle showing the movable features by means of a
+sliding ring.
+
+The manufacture of clocks in America began early in the eighteenth
+century. Among the earliest clock-makers was one Benjamin Bagnall, who
+learned his trade in England and settled in Boston in 1712. A record of
+a meeting of the selectmen of the town on August 13, 1717, reads: "that
+Mr. Joseph Wadsworth, William Welstead, Esq., and Habijah Savage, Esq.,
+be desired to treat with Mr. Benjamin Bagnall about making a Town
+Clock," and according to the record in September of that year he was
+paid for it.
+
+The earliest Bagnall clock on record is of the Pendulum type, in a tall
+case of pine; on the inside of the lower door was written: "This clock
+put up January 10, 1722." Another, very similar to this type, belongs to
+the New England Historical Genealogical Society of Boston. The case,
+though plain, is handsome and unusual, being made of solid black walnut.
+Most of the cases, however, were made of pine, veneered. The use of this
+wood was characteristic of old American-made cases, while those of old
+English make were veneered on oak.
+
+A particularly fine Bagnall clock is in the Hosmer collection at
+Hartford, Connecticut. It is a black walnut veneer on pine. A
+peculiarity of the Bagnall make is the small dial, only twelve inches
+square. Above the dial is an arched extension, silvered and engraved
+with the name of the maker. Samuel Bagnall, son of Benjamin, has left a
+few good clocks, thought to be equal to the work of his father.
+
+The clocks of Enos Doolittle, another colonial maker, are not numerous
+enough to give him a prominent place among the great manufacturers.
+Nevertheless, he deserves much praise for the few good clocks which he
+has left behind. One of them is at Hartford, Doolittle's native town.
+The case is of beautifully carved cherry, ornamented with pilasters on
+the sides of the case and face; the top of the case is richly ornamented
+with scrolls and carvings. A circular plate above the dial has the
+legend "Enos Doolittle, Hartford."
+
+[Illustration: PLATE XLVI.--Willard Banjo Clock, 1802; Banjo Clock,
+1804; Willard Banjo Clock, 1802.]
+
+There were many small clock-makers in colonial days, one, we might say,
+in every town, who left a few examples of their work; but none of them
+left the number or quality produced by the great clock-makers, the
+Willards. Benjamin Willard, who had shops in Boston, Roxbury, and
+Grafton, made a specialty of the musical clock, which he advertised as
+playing a tune a day and a psalm tune on Sundays. Aaron Willard, a
+brother, made tall, striking clocks. One of his productions, owned by
+Dr. G. Faulkner of Boston, has run for over one hundred and twenty
+years. On the inside of the case is written: "The first short timepiece
+made in America, 1784." It is a departure from the ordinary Aaron
+Willard clock, because it is so short. The case of mahogany stands only
+twenty-six inches high; and there are scroll feet, turning back. A
+separate upper part, with ogre feet, which can be lifted off, contains
+the movements. Simon Willard, another brother, in 1802 patented the
+"Improved timepiece" which later was known as the "banjo" because of its
+resemblance in shape to that instrument. The "banjo" which Willard
+manufactured had a convex glass door over the face, a slim waist with
+brass ornaments running parallel to the curve of the box, and a
+rectangular base, which was sometimes built with legs for a shelf,
+sometimes with an ornamental bracket on the bottom, in which case the
+clock was intended for the wall. The construction of these clocks was
+simple; the works were of brass, and capable of running eight or nine
+days. There was no strike, but this clock was a favorite, because of its
+accuracy.
+
+Hardly less famous than the Willards was Eli Terry, born April, 1773,
+in East Windsor, Connecticut. Before he was twenty-one, he was
+recognized as having unusual ingenuity at clock-making. He had learned
+the trade from Thomas Harland, a well-known clock-maker of the times,
+had constructed a few old-fashioned hanging clocks and sold them in his
+own town. He moved to Plymouth and continued to make clocks, working
+alone till 1800, when he hired a few assistants. He would start about a
+dozen movements at a time, cutting the wheels and teeth with saw and
+jack-knife. Each year he made a few trips through the surrounding
+country, carrying three or four clock movements which he sold for about
+twenty-five dollars apiece.
+
+Felt tells in his annals that "in 1770, Joseph Hiller moved from Boston
+to Salem and took a shop opposite the courthouse on the exchange." Later
+on, in 1789, we learn that Samuel Mullikin made an agreement to barter
+clocks for both English and West Indies goods, and also in exchange for
+country produce. So popular did they become that we learn that in 1844
+there were in Salem ten clock-makers and eleven jewelers all working at
+this trade.
+
+While the colonists still imported many of their clocks, yet in 1800
+clock-making had become such a thriving industry that wooden cases were
+constantly being made, the manufacture of the works being a separate
+field.
+
+[Illustration: PLATE XLVII.--English Grandfather's Clock, William Dean
+Howells; Collection of Old Clocks, property of Mr. Mills, Saugus, Mass.;
+Grandfather's Clock, formerly owned by President Franklin Pierce.
+Property of Mrs. Charles Stark.]
+
+One of the most interesting is a tall grandfather's clock, showing the
+moon above the face, at the Stark house in Dunbarton. This clock
+formerly stood in the old Governor Pierce mansion at Hillsboro. It is
+very handsome, showing fine inlaid work on the case.
+
+Varied in shape and size were the numerous clocks which were found in
+colonial homes in New England. They ranged from the tall grandfather's
+clock to the smaller wall and bracket pieces. One kind that was in use,
+though rarely seen to-day, is the table clock, a type highly prized by
+the colonists, and recorded as a fine timekeeper.
+
+By the early nineteenth century we find the making of American clocks
+had become so universal that they were to be found not only in many New
+England houses, but throughout the South and Middle states as well. Many
+of the rarest and oldest were at the plantation manors of Virginia and
+Kentucky as well as in New England.
+
+There are to-day in many houses colonial clocks valued not only for
+their worth, but for association's sake. One of these is in the home of
+Mr. John Albree at Swampscott, Massachusetts. It is considered one of
+the oldest of its kind in the United States, and was brought from
+England in the year 1635 by one John Albree, and has been in the family
+ever since. It is known as the weaver's clock, and has one hand only.
+These clocks are very rare, only a very few being known of.
+
+Singularly enough, few people, even those who are the most interested in
+clocks and their making, know much about their early history and
+construction. The purchase of a clock at the present time means not only
+the case, but the entire works as well. It was, however, far different
+in the early days, at least while the tall clocks were so popular.
+Transportation was difficult, so the clock peddlers contented themselves
+by slinging half a dozen clock movements over the saddle and starting
+out to find purchasers. After the works were purchased, and the family
+felt they had twenty pounds to spare, they called in a local
+cabinet-maker, and often the whole of the amount went into the making of
+the case. Naturally, a certain-shaped case was made to fit a certain
+movement, so that definite types of clocks were found, but it must be
+remembered that the case gave no indication of the period of the maker
+of the movements.
+
+[Illustration: PLATE XLVIII.--General Stephen Abbot Clock; Terry Shelf
+Clock, 1824; English Clock, with Ball ornamentation.]
+
+One of the first types of clocks made in America was the wall clock.
+This was set on a shelf through which slits were cut for the pendulum
+and weight cords to fall. These were known as "lantern," "bird cage," or
+"wag-at-the-wall," later replaced by the more imposing "Grandfather,"
+which served a double duty as timekeeper and as one of the "show pieces"
+of furniture.
+
+The first known Terry clock was made in 1792. It was built with a long,
+handsome case and with a silver-plated dial, engraved with Terry's name.
+This clock, just as it was when Eli Terry set it going for the first
+time with all the pride which he must have had in his first
+accomplishment, is now in the possession of the Terry family.
+
+There was an interesting clock of this type in the General Stephen Abbot
+house on Federal Street, Salem, and another is still in the possession
+of Mr. Henry Mills of Saugus, Massachusetts.
+
+Terry introduced a patent shelf clock, with a short case. This made the
+clock much more marketable, because it was short enough to allow of easy
+transportation and at the same time offered the inducement of a
+well-made and inexpensive case.
+
+The patent shelf clock was a surprise to the rivals of Terry, because
+this change in construction had produced an absolutely new and improved
+model,--an unheard-of thing in clock making. The conservatism before
+shown by the colonial makers had stunted the growth of clock
+improvements in many ways, hence Terry's new invention produced a
+sensation.
+
+The change was such as to allow the play of weights on each side and the
+whole length of the case. The placing of the pendulum, crown wheel, and
+verge in front of the wheels, and between the dial and the movement, was
+another space-saving device, as was also the changing of the dial wheels
+from the outside to the inside of the movement plates. The escapement
+was transferred by hanging the verge on a steel pin, instead of on a
+long, heavy shaft inside the plates. This allowed the clock to be
+fastened to the case in back, making the pendulum accessible by removing
+only the dial. Thus Terry fairly revolutionized small-clock making, by
+introducing a new form, more compact, more serviceable, and cheaper than
+any of the older makes.
+
+In 1807 Terry bought an old mill in Plymouth and fitted it up so as to
+make his clocks by machinery. About this time several Waterbury men
+associated themselves to supply Terry with the materials, if he would
+make the clocks. With this steady income from machine-made clocks, and
+the profits from extra sales, he made, in a very short time, what was
+then considered quite a fortune.
+
+In 1808 he started five hundred clocks at once,--an undertaking which
+was considered foolhardy. People argued that there weren't enough people
+in the colonies to buy so many clocks, but nevertheless the clocks sold
+rapidly. In 1810 Terry sold out to Seth Thomas and Silas Hoadley, two of
+his head workmen. The new company was a leader in colonial clock
+manufacturing for a number of years, until competition brought the
+prices of clocks down to five and ten dollars.
+
+All these years Terry had been experimenting, and in 1814 he introduced
+his pillar scroll top case. This upset the clock trade to such an extent
+that the old-fashioned hanging, wooden clocks, which hitherto had been
+the leading type, were forced out of existence. The shape of the scroll
+top case is rectangular, the case, with small feet and top, standing
+about twenty-five inches high. On the front edges of the case are
+pillars, twenty-one inches long, three quarters of an inch in diameter
+at the base, and three eighths at the top, having, as a rule, square
+bases. The dial, which takes up a half or more of the whole front, is
+eleven inches square, while below is a tablet about seven by eleven
+inches. The dial is not over-ornamental and has suitable spandrels in
+the corners. The scroll top is found plain as well as highly carved, but
+always the idea of the scroll is present.
+
+Terry sold the right to manufacture the clock to Seth Thomas for a
+thousand dollars. At first they each made about six thousand clocks a
+year, but later increased the output to twelve thousand. The clocks were
+great favorites and sold easily for fifteen dollars each.
+
+Another conservatism of the colonial clock-makers was the sharp division
+which they made between the use of wood and brass in the manufacture of
+the movements. The one-day clocks were made of wood throughout, and this
+prevented their use on water or even their exportation, because the
+works would swell in the dampness and render the clock useless. The
+eight-day clocks were made of brass, but the extra cost of the
+movements sufficient to make the clock run eight days excluded many
+people, who had to remain content with the one-day clock.
+
+It was not till 1837 that it occurred to any of these ingenious makers
+of timepieces to produce a one-day clock out of brass. To Chauncey
+Jerome, the first exporter of clocks from America to England in the year
+1824, the honor was reserved of applying the principle of the cheap wire
+pinion to the brass, one-day clock. Thus began the revolution of
+American clock manufacturing, which has placed this country before all
+the world as a leader in cheap and accurate watch and clock making.
+
+The whirr and bustle of hundreds of factories of to-day, which
+manufacture watches and clocks at an output of thousands per year, is a
+strong contrast to the slow and laborious construction of the old
+colonial clocks. And not only is there a contrast in their manufacture,
+but when one compares the finished products of the year 1700 and 1900
+side by side, one is conscious of conflicting emotions. There is
+naturally a decided feeling of admiration for the artistically designed
+timepiece of the twentieth century on the one hand, and, on the other,
+an irresistibly sentimental sensation when standing before a dignified,
+ancient, tall clock, on the door of which one reads:--
+
+  "I am old and worn as my face appears,
+  For I have walked on time for a hundred years,
+  Many have fallen since my race began,
+  Many will fall ere my race is run.
+  I have buried the World with its hopes and fears
+  In my long, long march of a hundred years."
+
+
+
+
+CHAPTER XIII
+
+OLD-TIME LIGHTS
+
+
+Since the introduction of gas and electric light, the old-time lamp has
+ceased to be a necessity, though in many instances it still does service
+as the receptacle for the gas jet or electric bulb. Likewise,
+candlesticks and candelabra are still in use, not, of course, as
+necessities, as they were a century ago, but yet doing efficient service
+in the homes of people who realize that the soft glow of the candle
+affords an artistic touch that nothing else can give. Undeniably, there
+is a peculiar fascination about candlelight that few can resist, and in
+whatever room it is used, that room is benefited through its
+attractiveness.
+
+It is only when harking back that one realizes the strides that have
+been made in house lighting. In the early days, when the country was
+new, the only light was firelight, candlewood, or pine torches. To be
+sure, there was always the punched lantern, hung on the wall ready for
+use at a moment's notice, but this was for outside rather than inside
+lighting.
+
+The earliest artificial light used by the colonist was candlewood, or
+pine torches. These torches were cut from trees in near-by forests, and
+were in reality short sections of dry, pitch-pine log from the heart of
+the wood, cut into thin strips, eight inches in length. The resinous
+quality of the wood caused these little splinters to burn like torches,
+hence their name. The drippings from them were caught on flat stones,
+which were laid just inside the fireplace; and to make a brighter light
+several torches were burned at one time, their steady flame, combined
+with the flickering blaze of the roaring logs, casting into the room
+just enough light by which to accomplish the simple tasks which had to
+be performed after nightfall.
+
+Even this rude means of lighting was not available in some homes, for it
+is not uncommon to read in old chronicles of lessons being learned by
+the light of the fire only. While such a state of affairs would be
+looked upon as a calamity to-day, it was not without compensation, for
+the merry flames of the huge logs, as they flickered and danced on the
+hearth, cast a cheerful light on the closed shutters, and against the
+brown walls, much to the delight of the little ones, who, seated on rude
+benches close at hand, threw hickory shavings into the fire to make it
+flame faster, or poked the great backlog with the long iron peel to make
+the sparks fly upward.
+
+Candlewood fagots were in use throughout New England until the early
+part of the eighteenth century, and it was customary each fall to cut
+enough wood to supply the family demand for a year. In some Northern
+states, these fagots were commonly used until 1820, while in the South
+they are used in a few sections even to-day, being often carried in the
+hand like a lantern.
+
+When candles were first used here, they were imported from England, but
+their cost was so high that they were prohibitive save for festive
+occasions. The scarcity of domestic animals in the new land barred their
+being killed save for meat, and thus was lost an opportunity for candle
+making that was seriously felt. Some people, including Governors
+Winthrop and Higginson, in 1620 sent to England for supplies of tallow
+or suet to make their own candles, but the majority had to be content
+with candlewood. These first candles were fashioned without wicks, being
+provided instead with pith taken from the common rush and generally
+known as rush light,--a lighting which possessed disadvantages, inasmuch
+as it burned but dimly and lasted but a short time. Even in 1634 we find
+that candles could not be bought for less than fourpence apiece,--a
+price above the limited purses of the majority. Fortunately, the rivers
+were abundantly stocked with fish, and these were caught and killed, and
+their livers tried out for oil. This oil, which was crude, was
+principally used in lanterns, the wicks being made of loosely spun hemp
+and tow, often dipped in saltpeter.
+
+[Illustration: PLATE XLIX.--Whale Oil Lamps with Wicks; Mantel Lamps,
+1815; Paul and Virginia Candelabra.]
+
+The earliest lamp was a saucer filled with oil, and having in the center
+a twisted rag. This rude form of wick was used for over a century. Then
+came the Betty lamp, a shallow receptacle, in form either circular,
+oval, or triangular, and made of pewter, iron, or brass. Filled with
+oil, it had for a wick the twisted rag, which was stuck into the oil and
+left protruding at one side. This type came into use before the
+invention of matches, and was lighted by flint and steel, or by a live
+coal.
+
+A most unique specimen of the early lamp is seen in a Salem home. It
+stands about six inches high, with a circumference of about twelve
+inches, and is an inch thick. It is made of iron, showing a liplike
+pitcher, while at the back is a curved handle. It is arranged to be
+filled with oil, and the wick is the twisted rag, which rests on the
+nose. Tradition relates that this lamp was used at the time of the
+witchcraft delusion, to light the unfortunate prisoners to jail.
+
+When whale-fishing became the pursuit of the colonists, an addition to
+the lighting requisites was discovered in the form of sperm secured from
+the head of the whale. This proved very valuable in the manufacture of
+candles, which gave a much brighter light than the older type. So
+popular did this oil become that in 1762 a factory was established at
+Germantown, at that time a part of Quincy, to manufacture sperm oil from
+its crude state; and candles made from this oil were later sold in Salem
+by one John Appleton.
+
+At this period, candle making was a home industry, being included in the
+fall work of every good housewife. At candle season, two large kettles,
+half filled with water, were hung on the long iron crane over the
+roaring fire in the kitchen, and in this the tallow was melted, having
+to be scalded twice before it was ready for use. Across large poles
+placed on the back of two chairs, smaller ones, known as candle rods,
+were laid, and to each one of these was attached a wick. Each wick in
+turn was dipped into the boiling tallow and then set away to cool. This
+way of making candles was slow and tedious, and it required skill to
+cool them without cracking, though an experienced candle-maker could
+easily fashion two hundred a day.
+
+Bayberry candles, so much in favor to-day, were also made in early
+times. The berries were gathered in the fall, and thrown into boiling
+water, the scum carefully removed as it formed. At first a dirty green
+color was secured, but as the wax refined, the coloring changed to a
+delicate, soft green. Candles of this type were not so plentiful as
+those of tallow, for the berries emitted but little fat, and they were
+therefore carefully treasured by their makers. To-day these candles are
+the most popular of all makes, emitting a pungent odor as they burn, but
+their cost sometimes makes them prohibitive. Instead of the housewife
+always attending to this tedious task, it was sometimes performed by a
+person who went from house to house, making the winter's supply of
+bayberry candles. It was customary for every housekeeper in those
+days to have quantities of these in her storeroom, often as many as a
+thousand.
+
+With the increase in sheep, many were killed, and the tallow obtained
+used for candle making. Such candles were provided with wicks made from
+loosely spun hemp, four or five inch lengths being suspended from each
+candle rod. The number of wicks used depended largely on the size of the
+kettle of boiling water and tallow. First the wicks were very carefully
+straightened, and then dipped into the tallow, and when cold this
+process was repeated until the candle had attained the right shape.
+Great care had to be exercised in this respect, and also that the tallow
+was kept hot, the wicks straight, and that the wicks were not dipped too
+deep in the boiling tallow. In drying, care was taken lest they dry too
+quickly or too slowly, and also that a board was placed underneath to
+catch the drippings. These drippings, when cool, were scratched from the
+board and used over.
+
+The introduction of candle molds lessened the task of candle making to a
+great extent, and, in addition, secured a better-shaped candle, and one
+that burned longer than the old dip type. With their advent came into
+vogue professional candle-makers, men who traveled all over the country,
+taking with them large molds. In two days' time, so rapidly did they
+work, they could make the entire stock for a family's winter supply.
+These candles, when complete, were very carefully packed away in wooden
+boxes to insure safety from mice. They were a jolly set of men, these
+candle-makers, who pursued the work for love of the roving life it
+afforded, as well as for the money it netted. They came equipped with
+the latest gossip, and their presence was a boon to the tired house
+mother, whose duties did not allow of much social intercourse.
+
+Ordinarily, candles were very sparingly used, but on festive occasions
+they were often burned in great quantities. At Hamilton Hall, in Salem,
+built at a cost of twenty-two thousand dollars, this mode of lighting
+was a feature, and in the early part of the nineteenth century, when the
+hall was the scene of the old assemblies, it was lighted by innumerable
+candles and whale-oil lamps, so many being required to properly illumine
+it that it took John Remond, Salem's noted caterer of that period,
+several days to prepare them for use. In those days, informal parties
+were much in vogue, commencing promptly at six and closing promptly at
+twelve, even if in the midst of a dance. The dances then enjoyed were of
+the contra type, waltzes and polkas being at that day unknown. The
+gentlemen at these gay assemblies came dressed in Roger de Coverley
+coats, small-clothes, and silken stockings, while the ladies were
+arrayed in picturesque velvets and satins, the popular fabrics of the
+period.
+
+[Illustration: PLATE L.--Astral Lamps, 1778; English brass branching
+Candlestick, showing Lions.]
+
+Candlesticks seem always to have been considered a part of the house
+furnishings in America, for we find accounts of them in the earliest
+records of the colonies. Many of these were brought from England, and in
+colonial dwellings still standing we find excellent specimens still
+preserved. The first candlesticks extensively used here were rudely
+fashioned of iron and tin, being among the first articles of purely
+domestic manufacture found in New England. Later, with the building of
+more pretentious homes, candlesticks made of brass, pewter, and silver
+came into vogue, the brass ones being the most commonly used, as well as
+candelabra, and in the homes of the wealthier class were found brass
+wall sconces that were imported from London and France.
+
+[Illustration: PLATE LI.--Colonial Mantel Lamp; Single bedroom brass
+Candlestick; Sheffield Plate Candlesticks.]
+
+A particularly fine pair of these sconces is found in the Osgood house
+on Chestnut Street, Salem. Here the brass filigree work is in the form
+of a lyre encircled with a laurel wreath, and surmounted by the head of
+Apollo. The tree branches curve gracefully outward from the wreath and
+below the lyre.
+
+In the early part of the eighteenth century, snuffers and snuffer boats,
+as the trays in which the candlesticks rested were known, came into use.
+These were sometimes of plain design, and sometimes fanciful, made
+either of brass or silver. Pewter was also used for this purpose, and
+later it became a favorite metal for the manufacture of hall lamps and
+candlesticks.
+
+[Illustration: PLATE LII.--Pierced, or Paul Revere Lantern; Old Hand
+Lantern; English Silver Candlesticks; Brass Branching Candlesticks,
+Chippendale, 1760.]
+
+Lanterns next came into style and were a prominent feature of the
+hallway furnishing. Many of these were gilded and many were painted, and
+their greatest period of popularity was during the first part of the
+eighteenth century. About 1750 the first glass lamps came into favor.
+These were not like those of a later period, being very simple in form,
+and not particularly graceful.
+
+In 1782 a Frenchman, named Argand, introduced the lamp which still bears
+his name. This marked the beginning of the lamp era, and while at first
+these lamps were so high in price that they could only be afforded by
+the wealthier classes, later they were produced at a more reasonable
+figure, when they came into general use.
+
+The last half of the eighteenth century marked the adoption of
+magnificent chandeliers, many of which are still preserved. One such is
+found in the Warner house at Portsmouth, in the parlor at the right of
+the wide old hall, a room wherein have assembled many notable
+gatherings, for the Hon. Jonathan Warner was a generous host. This
+specimen is among the finest in the country, and is in keeping with the
+other fine old-time fittings.
+
+About the beginning of the nineteenth century, candelabra and lamps with
+glass prisms were much used, some of them very simple in design, being
+little more than a plain stick with a few prisms attached, while others
+were very elaborate. Many of these candlesticks and candelabra are still
+preserved, together with the other old-time lights. In a Jamaica Plain
+home are some very valuable specimens of lighting fixtures that once
+stood on the mantel in the Sprague House on Essex Street, Salem, having
+been brought to this country by the first owner at the time the dwelling
+was being furnished for his bride.
+
+With Fashion's decree that lamps and candelabra should be hung with
+cut-glass prisms, they attained great popularity, and sets of three came
+to be regular ornaments of the carved mantelpieces. These sets consisted
+of a three-pronged candelabrum for the middle, and a single stick on
+either side. The stand was of marble, while the standards were of gilt.
+At the base of each candle a brass ornament, like an inverted crown,
+supported the sparkling prisms, which jingled and caught rainbow
+reflections at every slight quiver. In the lamps, frequently the side
+portions were of bronze, the lamp for holding the oil being surrounded
+by prisms which depended from the central standard. The flaring chimneys
+of ground glass softened and shaded the light, while they also kept it
+from flickering in case of sudden draughts.
+
+Up to the year 1837, flint and steel were the only mode of ignition, and
+their long association with old-time lights makes them an intimate part
+of them. At first both flint and steel were very crudely made, but later
+on, some of the steels were very ornamental. With them was used a tinder
+box, with its store of charred linen to catch the tiny flame as it
+leaped toward the steel, and this, too, must be considered in the review
+of old-time lights.
+
+Examples of these and the old forms of lighting are found in every part
+of New England and throughout the South, though perhaps the largest
+collection in any single section is found in Salem, the home of
+excellent examples of all things colonial. As one views them, he cannot
+but be impressed with their quaintness, and while no doubt he is
+thankful for the strides in science that have made possible the
+brilliant illumination of the present, yet in his heart he must
+acknowledge that the present lights, though in many instances undeniably
+beautiful, lack the charm of the old-time types.
+
+
+
+
+CHAPTER XIV
+
+OLD CHINA
+
+
+China constituted an important part of the household equipment in
+colonial days, and while not as antique as pewter and wooden ware, it
+outrivaled both in beauty and popular favor. Its daintiness of coloring,
+variety of make, and exquisiteness of texture afforded a welcome change
+from the somber-colored and little varied ware hitherto used; and its
+fragility proved of wondrous interest to the careful housewife, causing
+her to bestow upon it her tenderest care and to zealously guard it
+against harm, since it was her delight to boast that her sets were
+intact. To-day it is equally appreciated, and it is displayed on the
+shelves of built-in cupboards, with all the pride of possession
+exhibited by its original owners.
+
+[Illustration: PLATE LIII.--Peacock Plate of Delft, very rare; Decorated
+Salt Glaze Plate, about 1780.]
+
+Old cupboards are somehow always associated with old china in this
+country, and in most instances they are worthy of the admiration in
+which they are held. In colonial times, cupboards formed a decorative
+feature of the house furnishings, and they were fashioned with as much
+regard for shape and finish as the rooms in which they were to be
+placed. In time they came to be considered almost indispensable
+adjuncts, and with their increase in favor, their development became
+marked. Perhaps the finest type is that with the shell top, some
+excellent examples of which are still preserved, notably in the Brown
+Inn at Hamilton and in the Dummer house at Byfield, Massachusetts.
+
+[Illustration: PLATE LIV.--Liverpool Pitcher, showing Salem Ship; Old
+Chelsea Ware; Canton China Teapot; Wedgwood, with Rose decoration. Very
+rare.]
+
+[Illustration: PLATE LV.--Gold Luster Pitcher; Staffordshire Pitcher
+with Rose decoration; Peacock Delft Pitcher; Jasper Ware Wedgwood
+Pitcher. Blue and White.]
+
+Of all the old wares used here, salt glaze is most rarely found, most
+collections including not even a single specimen. This is probably due
+in a great measure to its fragility; it is not owing to its scarcity of
+import, as large quantities of this ware were brought here in early
+times. Examples now found are principally of Staffordshire manufacture,
+made between 1760 and 1780, though much of the ware that was made about
+1720, belonging to the so-called second period, was shipped here.
+
+A study of all forms of salt glaze is of interest, but that of English
+manufacture is of most importance to American collectors, for it is that
+type that the colonists imported, and with which American collections
+are most closely associated.
+
+The process of salt glaze manufacture was known in England as early as
+1660, and a familiar legend as to its origin was that it was
+accidentally discovered through the boiling over of a kettle of brine,
+the salt running down the outside of the earthen pot, and, when cold,
+hardening upon it, forming a glaze. This theory has been discredited by
+later scientists, and it is not unlikely that it was the invention of
+some imaginary individual, but however that may be, the ware in itself
+is of unusual attractiveness, and records show that upon its
+introduction into Staffordshire, it superseded in favor the dull lead
+glaze.
+
+The first ware finished by this method was coarse and brown, a type that
+remained in vogue until the early years of the eighteenth century, when
+a gray ware was produced. Some of this latter found its way to America,
+but the type most familiar here is that manufactured in the closing
+years of the eighteenth century,--a ware with a white or nearly white
+body, thin and graceful in contour, and characterized by a very hard
+saline glaze.
+
+Pepper pots, soup tureens, plates, and pitchers were among the most
+common pieces manufactured, though teapots in various shapes, bottles,
+vases, etc., were also made. Some of these pieces have a plain center
+and decorated border, while others show an entirely decorated surface.
+
+[Illustration: PLATE LVI.--The Shepherd Toby, one of the rarest Tobies;
+English Toby. Very old; Very old Toby, showing Cocked Hat.]
+
+Another output of the Staffordshire factories, now much valued here, are
+the old toby jugs, many excellent examples of which were brought here
+and have been carefully preserved. In their way they are as interesting
+as the finest china bits, their gay coloring and quaint shape affording
+a striking contrast to the delicately tinted and daintily shaped
+Lowestoft and like wares.
+
+The first tobies were in reality scarcely more than hollow figures to
+which a handle had been attached, but as time went on they grew more and
+more like mugs, and while at first the cap or hat lifted off, forming a
+cover, the succeeding style had the hat incorporated into the mug.
+
+Tobies are broadly classed as Staffordshire, and while this is probably
+true of a large portion, Dutch and German tobies as well as French ones
+are not uncommon. A supposed example of the last named is included in
+the Page collection at Lynn, and is known as the Napoleon toby. It is
+thought to be French from the fact that the likeness of the little
+corporal is not a caricature. English potters delighted to depict
+Bonaparte, but they seldom gave him the attractive countenance of this
+jug. They made him tall and thin, or short and abnormally fat, and they
+decked him in queer clothes, and labeled him "Boney." This jug depicts
+Napoleon in a very pleasant guise, suave of countenance and very well
+dressed. There is a smoothness of texture and finish about the work
+which marks it as distinct from the English tobies, which unfortunately
+frequently lacked these desirable qualities.
+
+English tobies are sometimes classified as young and old tobies. The
+terms are expressive, for the young toby is a figure standing, as if
+full of vigor and life, with a jovial, happy-go-lucky expression, while
+the old toby is represented seated, with a worldly-wise face that has
+the appearance of having experienced life to the fullest. Both types
+always carry a mug in one hand, or both hands, from which a foaming
+liquid is about to issue. The coloring of the old toby is principally
+yellow, while the young toby is a combination of brown and yellow. Of
+course, both these colorings are varied with others.
+
+Tobies show considerable variety in modeling and decoration. Some are
+jovial in appearance, others placid, and still others leering. In fact,
+every kind of a toby is represented, except a dry one. In addition to
+depicting the figures of human beings, some tobies represented animals,
+and not a few were in the form of teapots. The latter were generally
+finished in blue, with a band of green and a bit of copper luster, and
+in height they varied from twelve to eighteen inches.
+
+Although these drinking mugs were made in many factories, none bear
+hallmarks, save those made at Bennington, and, in consequence, those are
+more highly prized by connoisseurs. A unique specimen among the output
+of this factory has no mug in the hand, the arms being arranged close to
+the body, which has the appearance of having no arms at all.
+
+Delft ware, which is at the present time enjoying great favor among
+collectors, made the country where it originated famous, and its history
+is in reality the history of Holland's commercial rise.
+
+Besides its age, old Delft has the charm of individuality. As the
+designs were handworked, the ware lacks the precision in drawing that
+later stamped pieces have, and shows softened outlines instead of
+sharply defined pictures. Nor is old Delft ware so intense in coloring
+as its descendants of to-day. Comparing them side by side on a plate
+rail, or hanging on the wall, old Delft is told by its soft, beautiful
+blue. Then there is the charm of association. Coming from a nation of
+thrift and exemplary housekeeping, Delft, much more than fragile glass,
+aristocratic china, or curious foreign objects, appeals to the collector
+as a cheerful, comfortable, homelike thing to collect.
+
+There are undoubtedly many good specimens in this country to-day, but
+many more are inaccessible. Connecticut, as well as New England
+generally, has considerable, for the merchant princes who brought so
+many other treasures to Eastern ports brought also Delft. How much more
+of this charming old ware is hidden under peaked roofs of
+story-and-a-half farmhouses in some of the old Dutch settlements along
+the Hudson and on Long Island, is unknown, but perhaps we shall know in
+another generation or so.
+
+Among our specimens we find more of the English than the Dutch Delft.
+The latter, which is the original ware, took its name from the town of
+Delft, where the ware was first produced, and which, for several
+centuries, continued to be the chief center of the Delft industry.
+Although it was probably made as early as the latter part of the
+fifteenth century, but little is known of it until about one hundred
+years later. Its origin was an attempt on the part of Dutch potters to
+imitate, in a cheaper form, Chinese and Japanese wares. At that time
+were made large importations of Eastern wares, and Holland, as the only
+European power allowed a port by Japan, had a great variety of types to
+copy. The first potteries were established at Delft about the year 1600,
+and almost from its inception the industry was protected by a trust. For
+nearly one hundred and fifty years, the protection of this trust or
+"Guild of St. Luke" made Delft an important manufacturing center, giving
+employment to nearly one twelfth of its inhabitants. The best examples
+of this old Dutch Delft are beautiful copies of Chinese and Japanese
+porcelain, which are hardly distinguishable from the Oriental.
+
+A fact worth noting in connection with the rapid rise and great
+popularity of Delft is that the combination or Guild which was
+instrumental in the prosperity of the industry was also at least partly
+responsible for its downfall. In Holland, an independent maker could not
+flourish, but the progressive English made it very well worth while for
+workmen to emigrate.
+
+There was another and perhaps more potent factor in the decline of the
+Dutch Delft industry; the very success of Delft potters became their
+ruin. The market was glutted with their products, and there ceased to be
+the same demand for it as formerly. Gradually, the English ware, made
+of better clay, although cheaper in price, supplanted the Dutch ware,
+even in Holland, and as early as 1760 the struggle for existence began
+among the Dutch potteries. Of the thirty establishments existing in the
+beginning of the century, only eight were working in 1808, and most of
+these soon after stopped.
+
+The most common pieces made, in point of numbers, were the Delft plates.
+Some excellent examples of these are found in the Page collection at
+Newburyport, one, a peacock plate, being a good example of Dutch Delft
+in one of its most popular patterns. Another shows the design of a
+basket of flowers, and this same adornment is on an old English platter,
+a piece that deserves not only a compliment to its beauty, but also a
+tribute to its Dutch-English durability, since within a few years it has
+been used to hold all of a New England boiled dinner.
+
+Delft tile was produced almost as commonly as plates, although at first
+it was used to illustrate many designs essentially Dutch, and also
+religious subjects. It is on record that the _Boston News Letter_ of
+1716 advertised the first sale of "Fine Holland Tile" in America, and in
+that same paper, three years later, is a notice of "Dutch Tile for
+Chimney." From that date on, all through the century, one may find
+recurring advertisements of chimney tiles, on the arrival of every
+foreign ship. They must have been imported in vast numbers in the
+aggregate, and they were not expensive, yet they are rare in New
+England.
+
+Americans have always been patrons of Delft ware, and as a result a
+representative lot of the very best types is found here, and while it is
+to be regretted that the old tiles are not included in any great numbers
+in this list, yet those preserved are eminently satisfactory.
+
+An English writer has said that controversy always makes a subject
+interesting. Lowestoft was already so enchanting a topic that the
+searchlight of exposition was scarcely needed to reveal additional
+charms.
+
+Of the several wares that have been labeled Lowestoft, there seem to be
+four distinct varieties. There is the Simon-pure, soft-paste, Lowestoft
+china, made and decorated in the town of Lowestoft; there is the
+so-called Lowestoft, which is purely Oriental, being both made and
+decorated in China; there is probably ware made in China and decorated
+in Lowestoft; and there is probably ware made in Holland and decorated
+in Lowestoft. All of these may bear the printed name of the town, since
+members of the company which traded in them resided at that place. Doubt
+has been cast upon every one of these four wares, but the first two, at
+least, seem to be cleared of all uncertainty.
+
+For the last half of the eighteenth century, a factory existed at
+Lowestoft. This is true, beyond the shadow of a doubt. It was, however,
+a small factory, employing at its best but seventy hands, and having but
+one oven and one kiln. It is simply impossible that great quantities of
+hard-glaze porcelain should have been brought from overseas, to be
+decorated, and then fired in this one small kiln. If the whole output
+charged up to Lowestoft had been really hers, the factory must needs
+have been the largest in England, which it certainly was not.
+
+The first ware produced was of a dingy white, coarse, and semi-opaque.
+The glaze was slightly "blued" with cobalt, and speckled with bubbles
+and minute black spots, which seemed to show careless firing. When
+viewed by transmitted light, the pieces had a distinctly yellowish
+tinge. There was never any distinctive mark, as in the case of Crown
+Derby.
+
+About 1790 a change for the better took place in the character of the
+ware. Certain French refugees, driven from their own country by the
+lawlessness of the great Revolution, began to come into England. One of
+these men, who was named Rose, obtained employment at the Lowestoft
+works, where he soon became head decorator, and introduced taste as well
+as delicacy of touch into the product. Underneath many Lowestoft handles
+will be found a small rose, which denotes that the work was done by him.
+The rose is his mark, but before this was known, people supposed that it
+merely represented the coat of arms for Lowestoft borough, which was the
+Tudor rose.
+
+Roses set back to back appear on the highest grade of Lowestoft china;
+and at its best the ware was finer than any sent out by Bow and Chelsea.
+The Lowestoft red is of a peculiar quality, varying from carmine to
+ashes of roses, and often approaching a plum color. Roses and garlands
+of roses in these lovely hues of pink and purple distinguish this china.
+Dainty and familiar are the flowers and sprigs in natural colors, with
+delicate borders in color and gold.
+
+A familiar style of decoration was that of the dark blue bands, or dots,
+or other figures, heavily overlaid with gold and often with coats of
+arms. This ware is a hard-paste porcelain, and was doubtless made and
+decorated in China. The fact that some of it bears the mark of "Allen
+Lowestoft," and that Mr. Allen was manager of the Lowestoft works at
+this time, proves nothing beyond the fact that when the dealer sent his
+order to China to be filled, he ordered his name marked on the bottom.
+Small quantities of undecorated ware may have been brought from China
+and Holland to be painted, but we have no record of any such
+transactions; the duty was heavy, and the amount of such ware imported
+must have been inconsiderable. China was doing this same work for other
+countries, and it is only reasonable to suppose that the managers of the
+Lowestoft factory sent the greater part of their orders to China to be
+filled by Chinese workmen upon Chinese material.
+
+This also explains the failure of the company. It is recorded upon good
+authority that the ruin resulted partly from the sharp competition with
+the Staffordshire wares, but was precipitated in 1803 by the wreck of
+one of the vessels carrying a cargo of porcelain, and by the burning of
+the Rotterdam warehouse by the French army.
+
+Rotterdam, where Lowestoft ware was stored, was the seat of an immense
+commerce between Holland and China. It seems but natural that their
+trade in common Delft wares should lead the Lowestoft company into
+communication with wholesale importers of Chinese porcelain, from whom
+they could purchase large supplies; and should also lead them into the
+establishment, in England, of a more highly remunerative branch of their
+business, through underselling the Dutch East India Company.
+
+It was customary for the Dutch firms to send over to their foreign
+settlements shapes and designs obtained from European sources, to be
+reproduced by native hands. The Lowestoft people did what all other
+merchants had done before them, and through the same channel forwarded
+to China the designs of coats of arms, English mottoes, and initials
+that were to be printed upon the porcelain which they had undertaken to
+supply.
+
+And so the great conflagration of the Lowestoft controversy was
+furnished with fuel, and there is no knowing where it will end, because
+conclusive proof is so slight in each case and the partisans so eager
+and aggressive. Meantime, our grandmother's sprigged china remains a joy
+and a delight, whether or no we dare to call it genuine Lowestoft.
+
+There is no mystification about Crown Derby, but the old ware, which
+along with Lowestoft was beloved of the colonists, is as distinctive as
+any, and fortunate indeed is the individual who can boast of having in
+his possession a specimen. The works of Derby were established by a
+French refugee, named Planche, who had been sojourning in Saxony until
+the death of his father, when he came to Derby in 1745, bringing with
+him the secret of china manufacture, as he had learned it in Saxony. We
+have reason to suppose that he made in Derby many china figures of cats,
+dogs, shepherdesses, Falstaffs, Minervas, and the like, which William
+Duesbury, who was an expert enameler in London, colored for him.
+Unfortunately, none of this early output of the factory was marked, and
+in consequence it has become sadly confused, not only with the work of
+Bow and Chelsea, but with that of Lowestoft as well. After 1770, a mark
+was adopted, and the ware after that date is easily distinguishable.
+
+William Duesbury bought out Planche's interest in the Derby works,
+though he did not dispense with Planche's services. Keenly artistic,
+with a taste at once discriminating and appreciative, Duesbury combined
+a winning personality with his intellectual gifts. He possessed the
+faculty of securing the services of potters of unusual worth, and
+throughout his management, which continued until his death in 1796, he
+maintained in his output a standard of pure English art work of the
+highest order.
+
+Prominent in the group of potters in his employ stands the name of
+William Billingsley, who was connected with the factory from 1774 to
+1796. At Derby he established his reputation as a painter of exquisite
+flowers, and his work is characterized by a singularly true perception
+of intrinsic beauty and decorative value, being original and unhampered
+by traditional technique. The rose was his favorite flower; he
+invariably painted the back of a rose in his groups, and his justly
+famed "Billingsley Roses" are exceedingly soft in their treatment.
+Another favorite of his is the double-flowered stock, either yellow or
+white, and always shaded in gray.
+
+In 1785 Duesbury associated with himself his son, the second William
+Duesbury, and then followed the most successful period of the work,
+being in reality the Crown Derby epoch _par excellence_. After the death
+of the elder Duesbury, the second William Duesbury became sole owner of
+the Derby works, but failing health compelled him to take Michael Kean
+into the firm as partner. After the death of the younger Duesbury, Kean
+assumed control of the whole works, but his mismanagement soon resulted
+in the sale of the factory to Robert Bloor in 1810.
+
+This marked the commencement of a new dispensation, and after this date
+the trademark became "Bloor-Derby." For a time things went on in the old
+way, but soon Bloor, in his eagerness to amass a fortune, yielded to
+temptation and began to put on the market ware that had been
+accumulating in the storehouse for sixty years, and which Planche and
+the Duesburys had considered of inferior quality and discarded. This
+ware he decorated with so-called Japan patterns, to hide defects and, to
+make a bad matter worse, he used for coloring the flowing under-glaze
+blue, which was wholly unsuited to the soft glaze of the Delft ware, and
+was sure to "run" in the glost oven.
+
+The train of ruin was now well laid, and by 1822 Bloor was forced to
+resort to auction sales in the factory, in order to dispose of his
+output. The result was an utter loss of reputation for factory and
+product, and before the manufacture had reached the century mark of its
+existence, Derby china was relegated to the past.
+
+Many beautiful specimens of Crown Derby were imported to this country,
+one of the finest being in Mrs. William C. West's collection at Salem,
+showing the head of Bacchus with grapevine and wreath decoration, the
+whole beautifully colored.
+
+Expressive of the greatest heights which English pottery reached, is the
+ware of Wedgwood, and a review of his achievements forms the most
+interesting chapter in the history of England's ceramic art. Of a family
+of potters, Josiah Wedgwood early exhibited the traits which later made
+him so justly famous, and a review of his life from the age of eleven
+years, when he was put to work in the potworks, as a thrower, until his
+death in 1795, covering a period of fifty-four years, is a review of the
+most remarkable story of progressiveness in a chosen profession ever
+recorded.
+
+During the early days of his pottery making, about five years after his
+apprenticeship had expired, Wedgwood became associated with Thomas
+Whieldon, a potter who had attained considerable success in the
+manufacture of combed and agate wares, and the period of their
+partnership, which ended in 1759, was of benefit to both. One of
+Wedgwood's first successes was made at this time, in the invention of a
+green glaze which Whieldon used with excellent effect on his
+cauliflower ware.
+
+With the expiration of this partnership, Wedgwood returned to Burslem,
+where he soon purchased an interest in the Ivy Works, where he worked
+independently, and laid the foundation for many of his future successes.
+Among other things he experimented in perfecting the coarse cream wares
+then on the market, and six years after his coming to the Ivy Works he
+succeeded in producing his first real achievement, "Queen's Ware."
+
+The success of this ware was most pronounced, and its popularity caused
+Wedgwood to realize that a division of labor which would allow him to
+look after the creative part and supply some one else to care for the
+commercial side of the undertaking was most important. In 1768, Thomas
+Bentley was taken on for this purpose, and at the new works, to which
+Wedgwood had previously removed, and known as the Bell House or Brick
+House, the new régime went into effect. The popularity of Queen's Ware
+had netted him enough to allow him to make finer productions, and after
+the finish of several schemes, in 1769, he removed to the famous factory
+known as Etruria, where his finest work was accomplished, and at
+which place he remained until his death.
+
+The several wares he manufactured are as varied as they are beautiful,
+and, in addition, he possessed the power to reproduce in a remarkable
+degree. This is best exemplified in his replica of the famous Portland
+Vase, which is so perfect that it has often deceived even connoisseurs.
+An amusing incident is related in connection with one of his
+reproductions, a Delft piece of a dinner set, which had become broken,
+and which he fashioned and sent to the owner by a messenger. The
+messenger started for his destination, which was but a short distance,
+but he did not appear again for a week. Upon his return, Wedgwood
+questioned him, and learned that the family was so delighted with the
+reproduction that they had kept the messenger, feasting him the entire
+time.
+
+While old Wedgwood in all its forms is appreciated in this country, for
+some reason or other cream ware and jasper ware are especially favored
+among American collectors. Fine pieces of both are included in the
+Rogers collection at Danvers, the jasper piece being an especially fine
+specimen.
+
+A review of old china would not seem complete without including the
+luster wares, several excellent examples of which are in American
+collections. Silver-tinted comes first in point of rarity, though the
+rose-spotted Sunderland luster is a close second in this respect, and
+really commands a higher price. Originally, silver luster was a cheap
+imitation of silver, and first specimens were lustered inside as well as
+out, to further increase the deception. When the ware became common, and
+the deception was well known, silver luster was used only on the
+exterior of vessels in decorations, and occasionally in conjunction with
+gold luster. After 1838, which year marked the introduction of
+electroplating, silver luster declined in favor, and shortly after the
+completion of the first half of the nineteenth century ceased to be
+manufactured. Numberless beautiful articles were made of this ware,
+including quaint candlesticks, teapots, cream jugs, bowls, salt cellars,
+and vases.
+
+Copper and gold luster are likewise shown in a variety of attractive
+forms, and these, unlike silver luster, were never made as shams.
+Wedgwood is credited with having first made the copper-and gold-lustered
+wares, but authentic proof of this is lacking. Jugs were often lustered
+with gold and copper, the latter usually characterized by bands of
+brilliant yellow or colored flowers, sometimes printed and sometimes
+painted. The gold luster was especially fine, and it is this type,
+together with copper luster, that is most commonly found. Excellent
+specimens of gold-lustered ware are found in a collection at Lynn, one
+piece of exceptional interest having been secured at the time of the
+Civil War by a party of Northern soldiers while devastating a Southern
+plantation.
+
+
+
+
+CHAPTER XV
+
+OLD GLASS
+
+
+Of all the old-time wares, glass, until recently, has been most rarely
+collected, and in consequence, whereas specimens of silver and pewter
+are comparatively abundant, examples of glass are scarce. There are
+several reasons for this, the principal being its fragility; and then,
+too, the date of its manufacture is very uncertain. To be sure, the
+shape and finish of a glass piece determines in a measure the period of
+its make, but it is not proof positive, any more than are the traditions
+handed down in families as to the time of purchase of certain specimens.
+Yet, notwithstanding all this, the price of old glass is constantly
+increasing, and within the last few years has almost doubled.
+
+The first glass made was of a coarse type, crude in shape, and of
+greenish coloring, with sand and bubbles showing on its surface,
+detracting from its finish. Examples of this type are very scarce
+to-day, bringing prices wholly at variance with their attractiveness. Up
+to the eighteenth century, all glass was very expensive, making it
+prohibitive to all but the wealthy classes, but since that time its cost
+has been greatly reduced, and beautiful specimens, of exquisite design,
+can now be purchased at prices within the means of almost every one. Of
+course, these later specimens do not possess the quaintness of old-time
+pieces, and to the collector they are of no interest whatever. The fad
+of collecting has brought into favor the old types, and throughout the
+country the regard for old glassware is constantly increasing, although
+it will be some time before it comes into prominence here in the same
+measure that it has in England.
+
+[Illustration: PLATE LVII.--Venetian and English Decanters; Toddy
+glasses, about 1800; English Glass with Silver Coasters. Very old.]
+
+While the origin of glass is not definitely certain, yet specimens are
+in existence which are known to have been made before the coming of
+Christ, such as the celebrated Portland Vase, a Roman product, now seen
+in the British Museum. After the decline of glass making in Rome, the
+craft was gradually taken up in Venice and Bohemia, the output of the
+former country ranking among the finest made, and including, among other
+things, the exquisite Venetian drinking cups, which are unrivaled in
+beauty.
+
+[Illustration: PLATE LVIII.--Russian Glass Decanter and Tumblers; Note
+the exquisite cutting on this Decanter.]
+
+So important was the craft considered in these early times that
+manufacturers received great attention from the government, were dubbed
+"Gentlemen," and were looked upon with awe by the common people.
+Naturally, great secrecy surrounded the plying of the craft, and this
+secrecy led to the circulation of mysterious tales. One legend was that
+the furnace fire created a monster called the salamander, and it was
+firmly believed that at stated intervals he came out of the furnace, and
+carried back with him any chance visitor. People who glanced fearfully
+into the furnace declared that they saw him curled up at one side of his
+fiery bed, and the absence of any workmen was at once attributed to this
+monster's having captured him.
+
+The early green glass of the Rhine and Holland, while made by
+German-speaking people, cannot be considered as characteristic of German
+glass. These people lived on either side of the mountains which gird
+Bohemia on three sides, and divide that kingdom from Silesia, Saxony,
+and Bavaria respectively, and the glass they made was painted in
+beautiful colors, the finer kind being engraved in the upland countries,
+where water was abundant. Gilding was also much employed by them, and we
+learn that in the seventeenth and eighteenth centuries this decoration
+was fixed by a cold process; that is, by simply attaching the gold leaf
+by means of varnish. This form of decoration was only lasting when
+applied to the sunken parts of the glass.
+
+Very little of this glass was used in the section where it was
+manufactured, nearly the whole product being exported to Austria,
+Germany, Italy, the East, and even to America. The industry was popular
+in Bohemia, for it furnished labor to a part of the population, helping
+to keep them from want, and it procured for the rich landowners a
+revenue from the use of their woods.
+
+The factories, which were rudely built, were located in the center of
+forest tracts, and they produced, in addition to ordinary glass pieces,
+articles that were intended to be highly worked or richly engraved, also
+colored glass, decorated with gilding and painting. Long experience in
+the manufacture of colored glass had made these workmen expert in this
+branch, and any advice they needed, they obtained from men of
+information who made their living by seeking out and selling secrets
+concerning processes and improvements in glass manufacture. All capital
+required was advanced by rich lords, who were eager to insure the
+success of industries established upon their premises.
+
+Glass cutting and luster making were regarded as special trades, being
+carried on in huts beside small streams; and engraving, gilding, and
+painting likewise formed separate branches, all paid by the very lowest
+wages. Products of all the factories were collected by agents from
+commercial houses, and by them distributed among the various markets.
+
+Comparison between the Bohemian product and the older glass upon the
+market resulted strongly in favor of the former. It was clear, white,
+light, and of agreeable delicacy to the touch, and no other glass as
+purely colorless was made until the modern discovery of flint glass,
+made by the use of lead.
+
+Through the invention of one Gasper Lehmann, improved engraving on
+Bohemian glass became possible, opening a field for decorative art that
+hitherto had been undreamed of. With his pupil George Schwanhard, he
+improved designs, and the world went engraved-glass mad. Nothing but
+this type would sell, and as material became scarce, Venetian pieces,
+already a hundred years old, were brought into requisition and engraved.
+
+At the commencement of the seventeenth century, some of the Bohemian
+manufacturers were producing vases of various shapes enriched with
+engraved ornaments, representing scenes, and frequently portraits. Some
+of the former type are shown in the wonderful collection owned by Mr.
+W. J. Mitchell at Manchester, Massachusetts. With the pronounced
+popularity of the Bohemian engraved vases, artists in other countries
+began decorating their ware in like fashion, those of France employing
+interlaced flowers. These were etched on, rather than engraved, however,
+and cheapened the ware; in other countries the results obtained were no
+better, all failing to compare with the Bohemian specimens, for the art
+of engraving here had been learned from long experience by workmen who
+were experts in their line.
+
+Many Bohemian pieces showed an original decoration in the way of
+ornamentations in relief on the outside, while the art of cameo
+incrustation was also first used by Bohemian workers, who sometimes
+varied it to obtain odd and pleasing effects by engraving through an
+outer casing of colored glass into an interior of white, transparent, or
+enameled glass. One such specimen, a salt cellar, is shown in the
+Mitchell collection.
+
+[Illustration: PLATE LIX.--English Cut Class Decanter, about 1800;
+Typical Red Bohemian Glass Decanter; American Glass Bottle, Jenny Lind,
+about 1850.]
+
+Ruby coloring was a characteristic of many fine Bohemian pieces, and its
+acquirement was a source of despair to any number of workers, it being
+hard to hit on just the right combination to produce the desired shade.
+So important did this feature become that we learn of one Kunckel, an
+artist, being given sixteen hundred ducats by the elector of Brandenburg
+to assist in attaining perfection in this shade of coloring. The ware of
+this type was made in the last half of the seventeenth century, and
+specimens were the admiration of all beholders.
+
+[Illustration: PLATE LX.--Bohemian Glass. The center one is rare,
+showing figure of Peacock in Red and White; English Cut Glass
+Wineglasses, 1790; English Glass Decanters. Very fine and rare.]
+
+It is a ware that possesses a strange attraction. No other type of glass
+is more a favorite with collectors than this, and no other encourages
+the amateur to greater endeavor in its pursuit, no matter how
+discouraging it may be at first. Then, too, no matter how large the
+collection may be, it is never monotonous, for the various specimens
+show a great diversity of form and ornamentation.
+
+The collection of Bohemian glass shown at the Mitchell house at
+Manchester, contains some wonderful examples of the art, including
+decanters with long and slender stems, odd salt cellars in frames of
+silver, bonbon dishes, and numerous other pieces, some in the rare ruby
+coloring, and others in white and gilt.
+
+Other fine pieces are found at the Nichols house on Federal Street,
+Salem, and in the Atkinson collection, also at Salem, while at Andover,
+at the old Kittredge house, many rare bits are to be seen. All of
+these specimens are heirlooms, those in the Kittredge house having been
+in the family since the home was erected, in the latter part of the
+eighteenth century.
+
+While examples of all types of glass are to be found in America, perhaps
+the most common specimens are of English make, brought to the new
+country after business had become firmly established, along with the
+other fine household equipments. Among these are many fine decanters and
+tumblers of various designs, particularly interesting from the part they
+shared in the long accepted belief that glass drinking vessels of every
+kind, made under certain astronomical influences, would fly to pieces if
+any poisonous liquid was placed in them; and also that drinking glasses
+of colored ware added flavor to wine, and detracted materially from its
+intoxicating quality. Some of these drinking glasses, known in England
+as toddy glasses, were the forerunners of our present tumblers.
+
+English collections, of course, include much earlier specimens of the
+ware than do American, for it was not until the latter part of the
+eighteenth century, when the seaport towns of New England were at the
+height of their prosperity, that sea captains brought here from England
+and other ports all kinds of glass. Some of the finest of this found its
+way to Salem, and in the Waters house, on Washington Square, are stored
+some of the rarest of these specimens. These have all been collected by
+Mr. Fitz Waters, who has devoted years in research of old-time things,
+and they represent not only the different periods of manufacture, but
+the output of the different countries as well. Included are many
+engraved pieces, decanters which cannot be duplicated, and rare and
+wonderful bits, such as toddy glasses and numberless other glasses of
+varying kinds, many of them beautifully engraved with delicate tracery
+and the tulip of Holland.
+
+Many beautiful wine glasses and tumblers can be classified by their
+name, such as the white twist stem, made between 1745 and 1757,--the
+twisted appearance of the stem being the result of a peculiar
+process,--the baluster stem, and the air twist stem, some of the latter
+showing domed feet.
+
+Several of the best types of glasses are shown in the West collection in
+Salem. The cutting of the stems of several of these fix the date of
+manufacture at about 1800, while others of unusual shapes show bird and
+shield designs, also the wreath and flower. It is by the design more
+than anything else that the date of manufacture is fixed, determining
+the choiceness of the piece, and the money it should bring.
+
+While England has furnished most of the pieces shown here to-day, yet in
+the Northend collection in Salem are several fine Russian specimens.
+These are deeply cut, and were brought to this country from Russia by
+one John Harrod about the year 1800. For many years they were stored in
+the old Harrod house at Newburyport, finding their way to their present
+abode when the Harrod dwelling was dismantled, the owner being a
+descendant of this family. One piece, which is most unusual, is a deep
+punch bowl with a cover.
+
+Curiously enough, the first industrial enterprise undertaken in America
+was a factory for the manufacture of glass bottles. It was built very
+early in the history of the Virginia colony, and stood about a mile from
+Jamestown, in the midst of a woodland tract. Later, other factories were
+erected, many of them manufacturing glass beads to be used in trading
+with the Indians. The oldest glass plant still doing business, which has
+been continuous since its beginning, is located at Kensington in
+Philadelphia, having been established in 1711.
+
+To many it may be still unknown that Bohemian glassware has been
+manufactured in this country, and at a very early period. From Mannheim,
+in Germany, in the year 1750, came a certain Baron Steigel, whose
+parents had dubbed him William Henry. He laid out, in Pennsylvania, the
+village which bears the name of his native place, and there he
+established ironworks and glassworks, and deeded a plot of ground to the
+Lutheran congregation, in consideration of their annual payment,
+forever, of one red rose. The glasshouse was dome-shaped, and so large
+that a coach-and-six could enter at the doorway, turn around inside, and
+drive out again. He brought skilled workmen from the best factories in
+Europe, and made richly colored bowls and goblets, which have the true
+Bohemian ring, and which are now in the possession of local collectors.
+
+His works did not continue for any length of time, as he failed in
+business about five years after he started, but the old Steigel house is
+still standing in the heart of the town, distinguished by the red and
+black bricks of which it is built. And there still, in the month of
+June, is often celebrated the Feast of Roses, one feature of which is
+the payment of a great red rose by a church officer to the baron's
+descendants.
+
+But of all the old glass made here, perhaps the bottles form the most
+interesting portion. For the first seventy years of the nineteenth
+century, fancy pocket flasks and bottles were manufactured in the United
+States. The idea of the decorations probably came, in the first place,
+from the fact that English potters were decorating crockery with local
+subjects, in order to catch the American trade. This glassware, however,
+was wholly the result of our own enterprise. The objects here shown were
+blown in engraved metal molds, which had been prepared by professional
+mold cutters.
+
+Colors and sizes vary too much to be a test of age. The scarred base and
+the sheared neck are the surest sign of age. In all the older forms, the
+neck was sheared with scissors, leaving it irregular and without
+finishing band; also, the base always showed a rough, circular scar,
+left by breaking the bottle away from the rod which held it while the
+workman was finishing the neck.
+
+Smooth and hollow bases were made between 1850 and 1860 by means of an
+improvement called a "snap" or case, which held the bottle. At the same
+time, a rim was added to the mouth. The designs were worked out in
+transparent white, pale blue, sapphire blue, light green, emerald green,
+olive, brown, opalescent, or claret color. Twenty-nine of these historic
+flasks bear for ornament some form of the American eagle; nineteen
+different designs display the head of Washington, and twelve the head of
+Taylor.
+
+Their shapes varied with the passing of time. The very earliest were
+slender and arched in form, with edges horizontally corrugated; then
+came in vogue oval shapes, with edges ribbed vertically. The next
+pattern was almost circular in form, with plain, rounded edges; and at
+this time some specimens show a color at the mouth. Then appeared the
+calabash, or decanter form, no longer flattened and shallow, as the
+others had been, but almost spherical, with edges that showed vertical
+corrugation, ribbing, or fluting; with long, slender neck, finished with
+a cap at the top; with smoothly hollowed or hollowed and scarred base.
+
+These were superseded by bottles arched in form, deep and flattened,
+having vertically corrugated edges, a short and broad neck, finished
+with a round and narrow heading, and a base either scarred or flat. Last
+of all appeared the modern flask shape, also arched in form, with a
+broad shoulder, a narrow base, plainly rounded edges, and a return to
+the flattened and shallow type of the earliest manufactures. The neck
+had a single or double beading at the top, and the base was either flat
+or smoothly hollowed.
+
+All the Kossuth and Jenny Lind bottles were made about 1850. The Taylor
+or Taylor and Bragg bottles belong to the period of the Mexican War, and
+were probably blown in 1848. One of these bears Taylor's historic
+command, "A little more grape, Captain Bragg," as delivered at the
+battle of Buena Vista. Another has a portrait of Washington upon one
+side, and that of Taylor upon the other, with the motto, "Gen. Taylor
+never surrenders." This shows the circular, canteen shape.
+
+One of the very oldest forms known to have been decorated in this
+country is the one which bears in relief a design of the first railroad,
+represented by a horse drawing along rails a four-wheeled car heaped
+with cotton bales and lumps of coal. This picture runs lengthwise of the
+bottle and bears the legend "Success to the Railroads" about the margin
+of the panel. This could not have been produced earlier than 1825. Some
+of the Washington designs belong to earlier periods, as do the eagle
+and United States flag. Most of the Masonic decorations belong between
+1840 and 1850.
+
+The log cabin designs are connected with the notable Harrison "hard
+cider" campaign of 1840, as are the inkstands made in the form of log
+cabins, cider barrels, and beehives. The dark brown whisky bottles in
+the shape of a log cabin are souvenirs of the same period of political
+excitement, and were made by a New Jersey glass firm for a certain
+liquor merchant in Philadelphia.
+
+The Jackson bottles belong to the period of the stormy thirties. The
+"Hero of New Orleans" is represented in uniform, wearing a
+throat-cutting collar which entirely obscures his ear.
+
+A Connecticut firm, in the late sixties, sent out a bottle of modern
+shape, decorated with a double-headed sheaf of wheat, with rake and
+pitchfork, having a star below. At about the same time a firm in
+Pittsburg put upon the market a highly decorated flask, similarly modern
+in outline, having upon one side an eagle, monument, and flag; upon the
+reverse, an Indian with bow and arrow, shooting a bird in the
+foreground, with a dog and a tree in the background.
+
+Some bottles of unknown origin were decorated with horns of plenty,
+vases of flowers, panels of fruit, sheaves of wheat, a Masonic arch and
+emblems, ship and eight-pointed star, and a bold Pikes Peak pilgrim with
+staff and bundle to celebrate the passage of the Rocky Mountains.
+
+Among the early curio bottles shown are numerous fancy designs in the
+form of animals, fishes, eggs, pickles, canteens, cigars, shells,
+pistols, violins, lanterns, and the like. To this class belongs the
+Moses bottle, which also goes by the name of Santa Claus. It is of clear
+and colorless glass, with a string fastened about the neck and attached
+to each end of a stick which crosses the top.
+
+Should the collector enlarge his fad so as to take in bottles from
+foreign lands, he would find that his collection would gain much in
+beauty. In the Metropolitan Museum of New York there is a very
+comprehensive exhibit of rare Venetian glass bottles and vials, which
+was the gift of James Jackson Jarves. These are the most brilliant and
+elegant types of their kind, graceful and refined, dainty and ethereal.
+
+
+
+
+CHAPTER XVI
+
+OLD PEWTER
+
+
+There is a charm about old pewter that is well-nigh irresistible to the
+collector of antiques, its odd shapes, mellow tints, and, above all, its
+rarity, luring one in its pursuit. In the days when it was in general
+use,--after the decline in favor of the wooden trencher,--it was but
+little valued, and our forbears quaffed their foaming, home-made ale
+from pewter tankards, and ate their meals from pewter dishes with little
+thought of the prominence this ware would one day attain, or the prices
+it would command. To-day pewter represents a lost art, and the tankards
+and plates and chargers which our ancestors used so carelessly are now
+pursued with untiring energy, and, if secured, are treasured as prizes
+of priceless worth.
+
+Intrinsically, the metal is of little value, being nothing more than an
+alloy of tin and lead, with sometimes a sprinkling of copper, antimony,
+or bismuth, but historically it is hugely interesting. Like many other
+old-time features, records of its early history are scanty, affording
+but little knowledge of its origin, though proving beyond a doubt that
+it was in use in very early times. When it was first used in China and
+Japan,--those countries to which we are forced to turn for the origin of
+so many of the old industries,--it is impossible to ascertain, but it is
+certain that pewter ware was made in China two thousand years ago, and
+there are to-day specimens of Japanese pewter in England, known to be
+all of eleven hundred years old, these latter pieces being very like
+some shown in the Museum of Fine Arts in Boston. Some old chroniclers
+claim that the ware was used by the Phoenicians and early Hebrews, and
+all agree that it was manufactured, in certain forms, in ancient Rome.
+Proof positive of this fact was gleaned some years ago, when quantities
+of old pewter seals of all shapes and sizes were discovered in the
+county of Westmoreland, in England, where they had evidently been left
+by the Roman legions centuries before. It is indeed deplorable that,
+owing to their making excellent solder, all these seals should have been
+destroyed by enterprising tinkers in the neighborhood.
+
+As early as the fourteenth and fifteenth centuries, pewter was produced
+in quantities, in France, Germany, Holland, and Switzerland, and a very
+little in Italy and Spain. The year 1550 marked the period of the most
+showy development in the first-named country, of which Francis Briot was
+the most celebrated worker. His most noted productions were a flagon and
+salver, with figures, emblems, marks, and strapwork. These exquisite
+pieces were cast in sections, joined together, and then finished in the
+most careful manner, in delicate relief. Briot was followed by Gasper
+Enderlein, Swiss, and by the year 1600 the Nuremberg workers entered the
+field with richly wrought plates and platters. France continued to hold
+high rank in pewter manufacture until 1750, after which time the quality
+of her output considerably deteriorated.
+
+In the sixteenth century the trade sprang up in Scotland, many excellent
+pieces of the ware being produced here, and during the seventeenth
+century Dutch and German pewter came to the fore, being considered,
+during this period, the best made. Nuremberg and Ausberg were the
+centers of the industry in Germany, while in Scotland, Edinburgh and
+Glasgow appear to have been the chief trade centers. The ware made in
+Spain never seems to have attained any great degree of perfection, and
+records of its progress in this country are extremely scarce. Barcelona
+seems to have been the center of the industry, but just when or where
+the craft had its inception, research has been unable to disclose.
+Certain it is that no trace of any corporation or guild has been found
+prior to the fifteenth century.
+
+English pewter dates back as far as the tenth century, though few pieces
+are now in existence that antedate the seventeenth century. Here, as in
+other European countries, the ware was at first made solely for
+ecclesiastical purposes, its manufacture for household use not becoming
+popular until many years later. From the twelfth to the fifteenth
+centuries, the ware gradually grew in importance through northern
+Europe, though domestic pewter was used only by the clergy and nobility
+up to the fourteenth century. Just when it became popular for table and
+kitchen use is not definitely known, though it is certain that it
+supplanted wooden ware some time in the fifteenth century.
+
+Pewter reached the height of its popularity during the sixteenth and
+seventeenth centuries, though its use for household purposes continued
+throughout the eighteenth and the first part of the nineteenth
+centuries. In the sixteenth century the artistic quality of the ware was
+greatly improved, for by an act of James VI the ware was divided into
+two grades, the best to be marked with a crown and hammer, and the
+second with the maker's name. Specimens of this century are to-day
+extremely scarce, those few examples that do remain being for the most
+part found in museums or in old English castles, where they have
+remained in the same family from generation to generation. No doubt,
+specimens would have been more plentiful had not the greater part of the
+church plate in England and Scotland been destroyed during the
+Reformation.
+
+After 1780 pewter was but little used among the wealthy classes, except
+in their kitchens and servants' quarters, where it held sway for a
+considerable length of time. In fact, in some of the larger
+establishments, it continued to be used regularly until within the last
+thirty-five years, and even now it is used in the servants' hall in two
+or three of the large old country houses. It lingered longest in the
+taverns and inns, and in the London chop-houses, being used in the last
+named until they were forced out of business through the introduction of
+coffee palace and tea rooms.
+
+English pewter differs materially from that made in other countries, the
+workmen employing designs characterized by a sturdiness and sedate
+dignity that raised the ware above that made in other lands. Almost
+every conceivable domestic utensil was made of pewter as well as garden
+ornaments, and it is interesting to note, in connection with the latter,
+that several urns were designed by the brothers Adam.
+
+The history of pewter making in England might almost be said to be that
+of the London Guild or Worshipful Company of Pewterers, so closely is
+the ware allied with it. For a long time this company or guild
+controlled the manufacture and sale of the ware in England, and during
+the days of its greatest influence it did much to improve the quality.
+At one time it attempted to make general the employment and recording or
+marks, but the rule was not enforced, and an excellent opportunity of
+insuring the exact date of manufacture of a certain piece was thus lost.
+
+Several private touch marks were registered at Pewterers' Hall, but
+these, together with important records that the company had compiled,
+were destroyed in the great London fire of 1666. Very few pieces now in
+existence bear any of these touch marks, though occasionally a piece
+will be found that shows the regulation London Guild quality mark, a
+rose with a crown. The touch mark was the mark of the maker. This was
+generally his name alone, though sometimes his name was combined with
+some device, like an animal or flower.
+
+Scotland boasted a guild at Edinburgh that at one time enjoyed a fame
+second only to that of the celebrated London Company. Touch plates of
+the pewterers that were registered here are no longer in existence, and,
+indeed, much of the pewter made in this country bears no mark at all.
+The usual hallmark was a thistle and a crown, though there were several
+local marks that were frequently used, which are sometimes found on
+Scotch pieces.
+
+France, too, had its guilds, but they were abolished by Turgot on the
+ground that the free right to labor was a sacred privilege of humanity.
+Gradually the influence of all the guilds was less keenly felt, and in
+time the majority were abolished. After this the quality and use of
+pewter steadily declined, and with the coming into favor of china and
+other ware, pewter grew to be considered old-fashioned, and its use was
+discontinued during the first years of the nineteenth century.
+
+[Illustration: PLATE LXI.--Pewter half-pint, pint and quart Measures,
+one hundred years old; Three unusual-shaped Pewter Cream Jugs; German
+Pewter, Whorl pattern.]
+
+The old-time metal played a prominent part in the first colonial
+households in America, it being in many cases the only available ware,
+but after a time, as the population and strength of the young colonies
+increased, it had to give way, as in England, to the introduction and
+steadily increasing popularity of china. During the seventeenth century
+several English pewterers came to America to find employment, settling
+principally in Boston, Salem, and Plymouth County, and during the
+eighteenth century the manufacture of the ware here became quite common.
+It is interesting to note that the greater part of the American-made
+pieces bear the name of the maker.
+
+English and Continental pewter was also extensively used here, and, in
+consequence, American collections of the present include specimens from
+these countries. Most of the pieces now preserved belong to the
+eighteenth and early nineteenth centuries, though there are some few
+pieces which are of earlier manufacture.
+
+The value of pewter, like all other antiques, varies, and a piece is
+really worth what one can obtain for it. In England, the highest prices
+are paid for sixteenth-century pewter, while in our own country the
+product of the eighteenth century is that most sought after, and the
+best prices are paid for pieces of this period. Ecclesiastical pewter is
+rare here, and therefore is valuable, but it does not hold such high
+favor in the collector's regard as do the simple pieces that once graced
+the quaint dressers in colonial homes.
+
+The fad for pewter has been productive of much imitation ware. This is
+especially true of certain types which are particularly popular, and,
+indeed, were it not for this demand, it would hardly pay to imitate the
+old metal, even at the prices now paid for the same. It costs
+considerable to make up spurious bits that are almost entirely like the
+old-time pieces, in composition, and, besides, they must be put through
+several processes to make them look old. Consequently, it is safe to
+assume that at the present time the number of imitation pieces on the
+market is comparatively small, and in this country there are really few
+pieces that are entirely counterfeit. To be sure, plain pieces of the
+genuine metal are sometimes ornamented to increase their value, but
+lately collectors seem to regard plain pieces with the greatest favor,
+and this form of counterfeiting will no doubt soon disappear.
+
+To-day, in America, there is one manufacturer, and perhaps more, who is
+reviving some of the original forms and producing pewter reproductions
+which are being put on the market as such. For the modern colonial
+dining-room these are especially attractive, serving in every particular
+the purpose of decoration, but to the collector they are of no interest.
+
+America boasts of several fine collections of this ware, especially in
+the New England states, where the chief ports for the trade were
+located. The Bigelow collection at Boston includes, besides plates and
+platters, rare bits of odd design, many of them characterized by
+markings. One such piece is a hot-water receptacle, showing a shield
+decoration on which are marked the initials "H. H. D." and the date
+"1796." The lid is ornamented with two lines and the initials "R. G."
+Several quaint lamps are other prized possessions in this collection,
+some of them made about 1712, and most of them of American manufacture.
+One of them, the smallest of the group, is marked "N. Y. Molineux."
+Tankards of the "tappit hen" type are also preserved here, though they
+are not precisely the same shape as the measures of Scotch make which
+went by that name; other pieces included in the collection are cream
+jugs, milk pitchers, spoons, forks, a water urn, and several odd
+tankards.
+
+Equally as interesting is the Caliga collection at Salem. Here are to be
+seen quantities of this rare old ware, worked up into almost every
+conceivable device, and several of the pieces are numbered among the
+choicest in the country. A squatty little teapot with wooden handle is
+among the most interesting specimens, and its history is in keeping with
+its quaintness. It was secured by Mr. Caliga in a little German town
+during his residence abroad, and soon after it came into his possession,
+it was much sought after by a collector, who offered a large sum of
+money for its acquirement. Mr. Caliga refused to part with it, and later
+he learned that it was indeed a very rare piece, being a part of a set
+which the collector was endeavoring to obtain for the Duke of Baden, who
+owned one of the three pieces, the would-be purchaser having the second.
+This teapot has for a hallmark an angel; a quaint sugar bowl of like
+design, also in this collection, shows a crown and bird.
+
+An odd pewter lamp, known as a Jewish or Seven Days' lamp, is included
+in this collection, the receptacle for oil being in the lower portion.
+There are two large pewter plates, also, one of which has the royal coat
+of arms in the center, and is surrounded by the whorl pattern. These
+plates measure about twenty inches across, and one has the hallmark of
+three angels on the back.
+
+Perhaps the rarest bit of pewter in existence to-day is that owned by a
+Massachusetts lady. It is of Japanese manufacture, and is a family
+heirloom, through generations back. It first came into possession of the
+owner's ancestors in 1450; even at that date it had a history, and,
+indeed, its battered sides speak eloquently and forcibly of a past. It
+is said to have been the possession of a French nobleman, who, for some
+cause or other, was compelled to flee from his native land, and who
+sought refuge in England, where he met and married an English girl. The
+precious bit remained with his descendants until the year above
+mentioned, when the last of his race, dying without issue, bequeathed
+the old relic to his dearest friend, of whom its present owner is a
+direct descendant.
+
+But whatever its type and origin, the old ware is always interesting. To
+be sure, even at its best it is plain, relying on its form for its
+pleasing appearance, but no other metal better repays its owner for the
+care expended upon it. No doubt it costs an effort or two to keep it
+bright and shining, but who does not feel repaid for the time and energy
+expended, when the slow gleams of silver-like hue that gradually appear
+on the surface greet one in appreciation, like the smile of an old
+friend!
+
+
+
+
+CHAPTER XVII
+
+OLD SILVER
+
+
+There is a widespread and growing interest in all old silver, especially
+in such pieces as can be traced back to colonial origin. Salem, whose
+commercial prosperity was well established by the middle of the
+seventeenth century, has some wonderfully good pieces of colonial
+silver, many of which are family heirlooms.
+
+The early American silverware, like our early furniture and
+architecture, is thoroughly characteristic of the tastes and mode of
+life peculiar to that period in America. It is simple in design and
+substantial in weight, thus reflecting the mental attitude of the
+people. Social conditions here would not warrant any imitation of the
+magnificent baronial silver which was then being made and used in
+England. Many of the pieces in these collections come to us hallowed by
+a hundred associations and by traditions recalling the lives of our
+forefathers in all their manifold phases. The sight of the silver
+communion service recalls the early history of our New England
+churches, and reminds us of the devotion of the people to the
+institutions about which revolved both the social and political life.
+
+Only the identity of the maker is revealed by the hallmark on American
+silver. There is no trace of the date letter, so prevalent upon English
+pieces of the same period, although various emblems appear, which were
+used as trademarks, peculiar to the owner. In cases where the crown
+appears above the initials, it was merely a passing fad to copy the mark
+of certain English silversmiths who enjoyed royal patronage.
+
+The business of making silverware in the colonies seems to have been
+profitable from the first. The earliest silversmith of whom we have any
+record is John Hull, born in 1624 and dying in 1683, who amassed much
+wealth through his appointment as mintmaster for Massachusetts in the
+old days of the pine-tree shillings. His name, together with that of his
+daughter Betsey, has been immortalized by Hawthorne.
+
+That Captain Hull did not have a monopoly of his trade is proved by the
+fact that a beaker, which was presented to the Dorchester church in
+1672, was made by one David Jesse. Also, a certain Jeremiah Dummer,
+brother of Governor William Dummer, was apprenticed to John Hull, to
+learn the silversmith's trade, in 1659, and sent out much work stamped
+with his own name. He also taught his trade to his brother-in-law, John
+Cony, who engraved the plates for the first paper money that was ever
+made in America.
+
+Most famous of all New England silversmiths was Paul Revere. Besides the
+historic associations connected with his name, his works are most
+attractive in themselves, showing an exquisite finish and great beauty
+of workmanship; there are no certain marks to distinguish his work from
+that of his father, as each used the stamp "P. Revere."
+
+Of the many silversmiths of New York, none are so early in point of time
+as these New England men whom I have mentioned. Not until the middle of
+the eighteenth century did a certain George Ridout come over from
+London, and set up business "near the Ferry stairs." He has left us
+beautiful candlesticks, marked with his name, and by these he is
+remembered. At about the same time Richard Van Dyck, tracing his lineage
+to the Knickerbockers, made very handsome flat-chased bowls, and Myer
+Myers, seemingly of similar origin, set his stamp upon finely
+proportioned pint cans, having an ear-shaped handle and a pine-cone
+finial.
+
+At a later date, shortly subsequent to the Revolution, a silversmith
+named Tragees made beautiful sugar bowls with urn-shaped finials; and
+Cary Dunn, who held a position in the custom house, designed exquisitely
+engraved teapots, having the cover surmounted by a pineapple as the
+emblem of hospitality. These early makers stamped their names plainly
+upon their work, so that the task of approximating their age is thus
+rendered easy.
+
+In most families silver spoons of various patterns have been preserved
+for generations. Some of these were brought from England with other
+treasures of family silver, and are excellent examples of
+seventeenth-century ware. Up to that time, teaspoons had been made with
+very deep round or pear-shaped bowls and very short handles. Toward the
+middle of the seventeenth century, they assumed more nearly their
+present form, having handles twice as long as they had previously
+possessed, and bowls oval or elliptical. The new style was sometimes
+dubbed the "rat-tail spoon," in derisive comment upon its long and
+slender handle. It will be observed that many of our earliest teaspoons
+were no larger than the present after-dinner coffee spoons.
+
+It is probable that no other type of spoon possesses the interest, not
+to say the money value, of the old Apostle spoons, which came into
+fashion in the sixteenth century. At that time it was an English custom
+for the sponsors to present these spoons, as baptismal gifts, to the
+children for whom they made themselves responsible. A wealthy godparent
+would give a complete set of thirteen, but a poor man generally
+contented himself with giving simply the one spoon which bore the figure
+of the child's patron saint.
+
+The complete set consisted of the "Master" spoon and twelve others. The
+"Master" spoon has upon the handle a figure of Christ, holding in one
+hand the sphere and cross, while the other hand is extended in blessing.
+A nimbus surrounds the head, in all these spoons. Each apostle is
+distinguished by some emblem. Saint Paul has a sword, Saint Thomas a
+spear, and Saint Andrew a cross. Saint Matthias carries an ax or
+halberd, Saint Jude a club, Saint Bartholomew a butcher's knife, and
+Saint Philip a long staff with a cross in the T. Saint Peter appears
+with a key, Saint James the Greater with a pilgrim's staff, Saint James
+the Less with a fuller's hat, and Saint Matthew with a wallet. Saint
+John has one hand raised in blessing, while the other holds the cup of
+sorrow.
+
+Whole sets of these spoons are very rare. In fact, there are said to be
+but two whole sets in existence, with another set of eleven. One of
+these sets sold in 1903 for twenty-four thousand five hundred dollars,
+while another set of less ancient date brought five thousand three
+hundred dollars. A single Apostle spoon, bearing upon its handle a
+figure of Saint Nicholas, and upon its stem the inscription, "Saint
+Nicholas, pray for us," sold in London for three thousand four hundred
+and fifty dollars, a few years ago. This is said to be the highest price
+ever paid for one single spoon.
+
+The oldest hallmarked Apostle spoon is dated 1493, while the most modern
+of which we have any record bears the date of 1665. It is probable that
+the custom of giving these baptismal presents began to go out of fashion
+at that period.
+
+Other spoons of great interest, although not so old as the earliest
+Apostle spoons, are the curious little "caddy spoons," which came into
+vogue with the first popularity of tea drinking more than two centuries
+ago. The tea was at first kept in canisters, whose lids served as a
+measure. Then came into use the quaint and dainty tea caddy, with its
+two-lidded and metal-lined end compartments, and a central cavity to be
+used as a sugar bowl. A favorite and poetic custom of the old sea
+captains, upon visiting China, was to have their ships painted upon
+China caddies by Chinese artists, as gifts for wives or sweethearts at
+home.
+
+Now since the sugar bowl was a part of the tea caddy, the use of the
+caddy spoon or scoop became immediately popular. All of these spoons
+have very short stems and handles, with bowls of fanciful design,
+perforated, or shell-shaped, or fluted. A few were made like miniature
+scoops, with handles of ebony; while others were perfect imitations of
+leaves, the leaf stem curling around into a ring, to make the handle.
+
+In this country, caddy spoons came into use after the Revolution. Until
+very recently, they have been neglected by collectors, and were to be
+bought at a low figure; but all that is changed, and the price is from
+fifteen dollars upward in most cases, besides which the purchaser must
+take his chances as to the genuine worth of his bargain, as many
+imitations are being put upon the market. It is no proof of genuine
+worth that the spoon may be bought in an antique shop on a quiet street
+of some sleepy old seaport town. This is just the spot likely to be
+chosen for perpetrating a fraud. The most common counterfeit is made by
+joining a perfectly new bowl to the handle of a genuine Georgian
+teaspoon that bears an irreproachable hallmark. The unusual length of
+handle betrays the cheat, which can be further proved by the presence of
+a flattened spot similar to a thumb print, where the bowl joins the
+handle.
+
+Still another fraudulent specimen has a false hallmark. These
+counterfeits were probably made outside of this country, perhaps not
+even in England. The hallmark is the stamp of a head that bears no
+particular resemblance to George III, for whom it is possibly intended;
+a lion that may, perhaps, be near enough in design to pass for the royal
+British brute; and signs and letters, half-effaced, which, in
+conjunction with the king's head and the lion, make up an imitation of
+the Birmingham hallmark. Of course it would not deceive, for an instant,
+the experienced buyer in a good clear light; but the shops are often
+darkened to a kind of twilight, and the inexperienced amateur detects
+nothing wrong about the spoon, which is usually made after some uncommon
+and attractive style.
+
+As this fraud is of recent date, no examination would be necessary for
+spoons known to have been in a certain family for some years. These
+spoons were made of Wedgwood ware, china, glass, agate, or
+tortoise-shell, as well as of silver. There are beautiful silver ones in
+the shape of a hand or of a flower. In two cases, I have seen the spoon
+made to match the caddy. One of these sets was of decorated china, and
+the other of tortoise-shell set in silver.
+
+Another spoon, which passed out of date with the caddy ladle, was the
+so-called caudle spoon. It might be well to explain to the present
+generation that caudle was a preparation of wine, eggs, and spices which
+was commonly fed to invalids, in the latter part of the eighteenth
+century. The caudle spoon, perforated or entire, but with a longer
+handle and smaller bowl than the caddy spoon, was employed to stir the
+mixture. It is now obsolete, as is the snuff spoon, another relic of the
+whimsical customs of yore. There was a season when it was stylish to
+carry a snuffbox, and to take a pinch one's self, now and then, or to
+offer it to a friend. The snuff spoon was used to avoid dipping the
+fingers into the powder, which would of course stain both finger nails
+and cuticle.
+
+As the caddy was the companion piece of the caddy spoon, so the caudle
+bowl is associated with the caudle spoon. A Salem specimen stands six
+inches high, and has a capacity of three pints. It has two handles, and
+is embellished by a broad chasing at the base, and by fluted chasing
+about the body. The caudle cup used with it is severely plain, but has a
+good outline.
+
+Tankards both with and without covers were in common use, toward the
+close of the seventeenth century. In size, they varied from a capacity
+of one quart to three. They were often fitted with a whistle, by the
+blowing of which the butler's attention could be called to the fact that
+the tankard needed filling. From this custom arose the old saying, "Let
+him whistle for it." The singular expression, "A plate of ale" comes
+from the fact that in old inventories, tankards are listed as "ale
+plates."
+
+The largest Salem specimen has a capacity of one quart only, and is
+beautifully chased around the body and upon the cover in a
+rose-and-pineapple design. This chasing is much worn, not only by the
+passage of time, but also by the pitiless polishing of the methodical
+New England housekeeper. This is a straight-sided tankard, with a
+well-curved top, which necessitates a long and tapering thumb piece. The
+handle is large and well-tapered, extending well above the rim. All
+these specimens belong to the Revolutionary epoch.
+
+[Illustration: PLATE LXII.--Old Silver Coffee Urn with Pineapple finial;
+Sheffield Plate Teapot, formerly owned by Thomas Jefferson; Tall Silver
+Pitcher, of flagon influence.]
+
+The style of silver made and used in this country during the first half
+of the nineteenth century is well typified by the sugar, creamer, and
+teapot contained in an old-time collection. The teapot and sugar bowl
+are adorned with a pineapple finial. This style was originated by Cary
+Dunn of New York at the close of the Revolution, and won immense
+popularity. The pineapple, which is its most notable decoration, has
+always been accepted as the emblem of hospitality; while the primrose
+pattern about base and body is neat and tasteful. The lines in these
+designs are less severely simple than in some, but are excellent,
+nevertheless.
+
+[Illustration: PLATE LXIII.--Several old Silver pieces; Collection of
+Salem Silver, almost all inherited; Wonderfully fine Silver Bowl.]
+
+Another favorite style of this same period is shown in a graceful little
+pitcher in another collection, having for sole ornament a rosette where
+the handle joins the body. Rosettes were high in favor in the early part
+of the nineteenth century, and were shown in the furniture of that day
+as well as in the silverware.
+
+Another charming pitcher which stands upon three legs is a veritable
+prize, literally as well as figuratively. During the War of 1812, our
+Salem privateers seized many a valuable cargo. Among the confiscated
+treasures was this dainty little silver pitcher, handsomely engraved,
+and bearing the coat of arms of a prominent English family. In the
+division of the confiscated goods, this article fell to an ancestor of
+the owner, who received it by inheritance.
+
+Another interesting bit of silver, belonging to the same period as the
+pitcher, is a cruet stand. Fifty years ago these were in common use upon
+the tables of our ancestors. Fashion has relegated them to the sideboard
+or to the top shelf, where the old-fashioned, high silver cake basket
+keeps them company in exile. To the same period belongs the teapot
+showing a rosette bowl, and mushroom-shaped finial, which was among the
+bride's presents at a wedding in 1804, while the sugar and creamer
+included in the same collection belong to a later date, as they were
+bridal presents received in 1867. The beauty of the lines in these two
+specimens falls far short of the standard set by American manufacturers
+of colonial times.
+
+Still in use and highly prized is the wonderful old bowl which is in
+another collection. For many years this bowl was lost, and though
+diligent search was made for it, it was not discovered until one day the
+owner and some friends, riding through a rural district, stopped at a
+well in a farmhouse yard for a drink. Close at hand a pig was eating
+from a peculiar-looking receptacle, which, though blackened and
+mud-stained, yet showed an interesting contour. Negotiations were
+entered into with the house owner for the purchase of this receptacle,
+and it was secured for twenty-five cents. When polished, it was found to
+be the long-missing bowl, which has since then been called the hog bowl.
+
+Other specimens still preserved include a tall sugar bowl, mounted upon
+a standard, which is more than a hundred years old, as are the tongs
+used with it, with their delicate acorn-cup pattern. In the larger
+piece, the rings which form the handles pass through the mouth of a
+dog's head, upon each side. The feet which support the standard suggest
+the work done in the furniture of that day by Chippendale, Sheraton, and
+their followers. To the latter days of the eighteenth century belong an
+endless yet interesting variety of patterns of porringers, salvers,
+sugar bowls, perforated baskets for loaf sugar, tea and coffee pots, and
+innumerable table utensils.
+
+Another article which is now found but rarely is the nutmeg holder or
+spice box. The interior of the lid was roughed for use as a grater, and
+few were the "night caps" but had a final touch added through its use.
+While the usefulness of the spice box and the snuffbox has long since
+passed away, yet they are treasured because of the pictures they bring
+to the mind's eye of the old days of the Georges. No product of the
+present can outvie the charms of such old silver.
+
+All things colonial, whether house or accessory, are distinctive, and to
+the designers and craftsmen of that period the world owes a debt that no
+amount of tribute can ever wholly repay. Colonial is synonymous of the
+best, and objects created during its influence are always of a higher
+degree of perfection than the best of other periods. Looking about for a
+reason for this, we are confronted with the realization that the work
+of that time was carefully planned and carefully finished, craftsmen
+giving to their output the best their brains could devise, and allowing
+no reason, however urgent, to interfere with the completion of a certain
+object as they had originally planned it to be. Therein lies the real
+reason of the superiority of things colonial. Later-day artisans
+sacrificed quality to quantity; they complied with the demand of public
+opinion, and as that demand became more urgent, carelessness of detail
+became more marked. The simplicity of the colonial era gave way to the
+highly decorative and often ugly ornamentation characteristic of late
+nineteenth-century manufacture, and it was not until a few craftsmen
+found courage to revive colonial features that the beauty of that type
+of construction was truly appreciated. To-day, colonial influence is
+again dominant, and it is a relief to note that in modern homes it is
+usurping in favor its hitherto prized successors. It is only to be hoped
+that its influence will be lasting, for surely of all types it is the
+most worthy of emulation.
+
+
+
+
+INDEX
+
+
+  Abbot, General, 25.
+    house, 78, 109, 153.
+  Adam brothers, 98, 103, 128, 140, 215.
+  Adams, Abraham, 95, 138.
+    family, 95, 138.
+    John, 88.
+    the decorator, 69.
+  Albree, John, 152.
+  Alden, John, 111.
+  Allen, John Fiske, 51.
+    house, 51, 52.
+    of Lowestoft, 182.
+  Amesbury, Mass., 37.
+  Andirons, 67-69.
+  Andrews, John, 21, 101.
+    house, 13, 21, 84, 85.
+  "Angel Gabriel" (ship), 102.
+  Appleton, John, 163.
+  Architects, English, 8.
+  Architecture, Dutch, 2.
+    Gothic, 4.
+  Architrave, decoration of, 18.
+  Argand, Mons., 168.
+  Assembly house, 18, 24.
+  Atkinson collection, 200.
+  Ausberg, Germany, 212.
+  Austria, 197.
+
+  Bagnall, Benjamin, 147.
+    Samuel, 148.
+  Barcelona, Spain, 213.
+  Barnard, Dr. Thomas, 81.
+  Bartol, Dr. Cyrus, 81.
+  Bavaria, 196.
+  Bay of Biscay, 135.
+  Bedrooms, 122, 125.
+  Beds, accessories of, 124.
+    Adam, 128.
+    antique, 120.
+    bunk, 126, 127.
+    carved, 27.
+    Chippendale, 127, 128.
+    cupboard, 122, 126.
+    Egyptian, 121.
+    Field, 131.
+    Flemish, 121.
+    folding, 127.
+    four-poster, 123-131.
+    "Great Bed of Ware," 122, 123.
+    Greek, 121.
+    hangings, 124.
+    Hepplewhite, 128, 130.
+    inlaid, 128.
+    mahogany, 127.
+    oak, 122.
+    paneled, 127.
+    "Presse," 126, 127.
+    primeval, 121.
+    Queen Anne, 126.
+    Roman, 121.
+    Sheraton, 128.
+    "slaw-back," 127.
+    "Wild Bill" or one-poster, 126.
+  Benson house, 109.
+  Bigelow collection, 219.
+  Billingsley, William, 187.
+    roses, 187.
+  Bishop, Bridget, 26.
+  Black Point, Maine, 43.
+  Blankets, home-made, 124.
+  Bloor, Robert, 188.
+  Bohemia, 196, 197.
+  Boston, Mass., 5, 43, 71, 74, 147, 148, 149, 217, 219.
+  Bottles, 203, 205-209.
+    arched, 206.
+    bases of, 205.
+    calabash, 206.
+    canteen, 207.
+    circular, 206.
+    curio, 209.
+    decorated, 207-209.
+    designs on, 206.
+    flask, 207.
+    Jackson, 208.
+    Jenny Lind, 207.
+    Kossuth, 207.
+    liquor, 208.
+    Moses, 209.
+    oldest American, 207.
+    oval, 206.
+    rim of, 206.
+    Santa Claus, 209.
+    signs of age in, 205.
+    spherical, 206.
+    Taylor and Bragg, 207.
+    Venetian, 209.
+  Bow, England, 183, 186.
+  Bradford, Governor, quoted, 42.
+  Bricks, Dutch, 9.
+    gray-faced, 13, 14.
+  Briot, Francis, 212.
+  Bristol, R. I., 12, 60, 101, 131.
+  Brown Inn, 173.
+  Bumstead, 6, 80.
+  Byfield, Mass., 95, 126, 138, 173.
+
+  Cabins, log, 2.
+  Cabot, Mr., 141.
+    house, 7, 22, 53.
+    Joseph, 7, 22.
+  Caliga collection, 220.
+  Cambridge, Mass., 37.
+  Candelabra, 167, 169, 170.
+  Candle, 231.
+    bowl, 232.
+    cup, 232.
+    spoon, 231.
+  Candles, 159, 160-165.
+    bayberry, 164.
+    dip, 165.
+    makers, 166.
+    making, 163, 164, 165.
+    molds, 165.
+    sperm, 163.
+    suet, 161.
+    tallow, 161, 165.
+    wickless, 161.
+  Candlesticks, 159, 167.
+    brass, 167.
+    iron, 167.
+    pewter, 167.
+    silver, 167.
+    tin, 167.
+  Cape Cod, 42.
+  Capen house, 55.
+  Carving, art of, 18.
+  Ceilings, low, 3.
+    raftered, 66.
+  Cellar, large, 10.
+  Chairs, arm, 94, 98.
+    banister-back, 94.
+    brass mounted, 101.
+    carved, 95, 98, 99, 100.
+    Chinese type, 98, 99.
+    Chippendale, 97, 98.
+    comb back, 97.
+    Dutch, 95, 98.
+    early colonial, 93.
+    Empire type, 101, 102.
+    fan back, 97.
+    forms, 93.
+    French types, 98, 100.
+    heart-back, 100.
+    Hepplewhite, 97, 99, 100.
+    inlaid, 100.
+    japanned, 100.
+    Louis the Fifteenth type, 98.
+    Martha Washington, 101
+    painted, 95, 97, 102.
+    ribbon-back, 98.
+    rocking, 94.
+    rush seated, 95.
+    settles, 93.
+    Sheraton, 97, 100, 101.
+    shield-back, 100.
+    slat-back, 94.
+    stuffed easy, 96.
+    turned, 93.
+    Windsor, 96, 97.
+  Chandeliers, 169.
+  Chelsea, England, 183, 186.
+  Chests, 105-110.
+    drop handle, 109.
+    hand-carved, 107.
+    highboys, 109, 110.
+    imported, 106, 107.
+    legs of, 108.
+    linen, 108.
+    lowboys, 109, 110.
+    "magic," 107.
+    mahogany, 106.
+    on frames, 108.
+    "owld pine," 106, 107.
+    size of, 106.
+    use of, 106.
+    with drawers, 107.
+  Chimney pots, 19.
+  Chimneys, catted, 2.
+    central, 7.
+  China, Empire of, 80, 181, 184, 185, 211, 229.
+  China, 172, 216.
+    caddies, 229.
+    cream ware, 191.
+    Crown Derby, 182, 186-188.
+    Delft, 177-180, 185.
+    jasper, 191.
+    Lowestoft, 175, 181-185.
+    luster, 191.
+    salt glaze, 173, 174.
+    Staffordshire, 173-176.
+    toby jugs, 175-177.
+    Wedgwood, 189-191.
+  Chippendale (designer), 92, 97, 98, 99, 112, 114, 127, 128, 136, 140,
+      146, 236.
+  Choate, Joseph, 22.
+  "Christmas Carol," 22.
+  Claudius, Emperor, 145.
+  Clocks, American, 146, 148, 150, 151, 153-157.
+    Bagnall, 147.
+    banjo, 149.
+    "birdcage," 153.
+    cases, 151.
+    Chippendale, 146.
+    construction of, 149, 150, 152, 154, 155, 156.
+    Doolittle, 148.
+    first, 145.
+    grandfather's, 151, 153.
+    hangings, 150.
+    "lantern," 153.
+    Makers' union, 146.
+    making in Salem, 150.
+    musical, 148.
+    of Europe, 146.
+    one-day, 157.
+    patent shelf, 153, 154.
+    pillar scroll top case, 155.
+    Sheraton, 146.
+    striking, 148.
+    table, 151.
+    Terry, 150, 153.
+    "wag-at-the-wall," 153.
+    wall and bracket, 151, 153.
+    water, 145.
+    weaver's, 152.
+    wick, 145.
+    Willard, 148, 149.
+  Coal, discovery of, 75.
+    first use of, 74.
+  Cogswell house, 125.
+  Collections, Atkinson, 200.
+    Bigelow, 219.
+    Caliga, 220.
+    Hosmer, 147.
+    Mansfield, Nathaniel B., 109.
+    Metropolitan Museum, 209.
+    Middleton, 11, 131.
+    Mitchell, 199-200.
+    Page, 175, 180.
+    Rogers, 191.
+    Waters, 93, 102, 108, 202.
+    West, 189, 202.
+  Colonial products, superiority of, 236, 237.
+  Columns, Corinthian, 12.
+    Grecian, 17.
+    plain, 21, 122.
+  Common, Salem, 21, 25.
+  Cook, Captain Samuel, 77.
+    Dr. Elisha, 15.
+  Cony, John, 225.
+  Counterpane, homespun, 125.
+  Craigie house, 37.
+  Crowell, Rev. Robert, 125.
+  Crown Derby, 182.
+    "Bloor-Derby," 188.
+    decline of, 188.
+    early output of, 186.
+    epoch par excellence, 187.
+    factory, 186, 187, 188.
+  Crowninshield house, 38, 71.
+  Cupboards, colonial, 1, 72.
+    shell-top, 173.
+  Cupola, 9.
+
+  Danvers, Mass., 5, 10, 19, 44, 46, 49, 60.
+  Delft, Holland, 178, 179.
+  Delft ware, best examples of, 179.
+    decline of Dutch, 179, 180.
+    Dutch, 177, 178, 179, 180.
+    English, 178, 180.
+    first potteries, 179.
+    old, 177.
+    origin of, 178.
+    plates, 180.
+    tiles, 180.
+  Derby, Elias Hasket, farm, 47, 49, 50.
+    Elias Hersey, 50.
+    house, 77, 78.
+  Desks, bookcase, 112.
+    bureau, 111.
+    Chippendale secretary, 112.
+    French Empire, 113.
+    Hepplewhite secretary, 112.
+    "scrutoir," 110, 111.
+    Sheraton secretary, 112.
+  Devereux, Humphrey, house, 52.
+  Dexter, "Lord" Timothy, house, 99.
+  Dickens, Charles, quoted, 39.
+  Doolittle, Enos, 148.
+  Doorways, narrow, 22, 25.
+    pineapple, 27.
+  Downing, Emanuel, 4.
+    George, 4.
+  "Dr. Grimshawe's Secret," 24.
+  Dressing tables, 109.
+  Duesbury, William and son, 186, 187, 188.
+  Duke of Baden, 220.
+  Duke of Devonshire's house, 39.
+  Dummer, Governor William, 225.
+    house, 173.
+    Jeremiah, 225.
+  Dunbarton, N. H., 8, 130, 151.
+  Dunn, Cary, 226, 233.
+  Dutch architecture, 2.
+    East India Company, 185.
+    ware, 177, 178, 179, 180.
+
+  East Windsor, Conn., 150.
+  Edinburgh, Scotland, 212, 216.
+  Elector of Brandenburg, 200.
+  Elizabethan period, 4.
+  Embargo, the, 11.
+  Enderlein, Gasper, 212.
+  Endicott, Governor John, 2, 4, 44, 105.
+    farm, 44.
+    house, 10.
+  England, 2, 3, 8, 9, 35, 39, 41, 43, 64, 80, 82, 86, 128, 134, 135,
+      136, 139, 142, 147, 152, 157, 161, 167, 174, 183, 185, 201, 202,
+      203, 211, 214, 215, 217, 221, 223, 226, 230.
+  Etruria factory, 190.
+  Exeter, England, 146.
+
+  Fabens, Mr., 71.
+  Faulkner, Dr. G., 149.
+  "Feast of Roses," 205.
+  Fell, Judge Jesse, 75.
+  Felt, Captain Jonathan P., 49.
+  Felt's Annals, quoted, 150.
+  Fenders, 75, 76, 77.
+  Fireback, 71-72.
+  Firedogs, 66.
+  Fire frames, 73-74.
+  Fireplace, accessories, 65, 66, 67.
+    brass, 77.
+    colonial, 64, 65.
+    construction of, 65.
+    Elizabethan, 64.
+    Gove, 70.
+    inglenook, 64.
+    Louis Sixteenth, 64.
+    modern, 63, 64.
+    of Middle Ages, 63.
+    of Renaissance, 63, 64.
+    Queen Anne, 64.
+    Robinson, 71.
+    soapstone, 78.
+    tiled, 76.
+  Fire sets, 66, 67.
+  Flint and steel, 170.
+  Floor, sanded, 66.
+  Forrester house, 21.
+  France, 80, 86, 135, 167, 212.
+  Franklin, Benjamin, 94.
+    stores, 73, 74, 75, 76.
+
+  Gardens, 11, 13, 41.
+    Allen, 51, 52.
+    at Indian Hill, 48.
+    at Oak Knoll, 47.
+    Cabot, 53.
+    Captain Peabody's, 46.
+    Derby, 50.
+    features of old-fashioned, 44, 45.
+    Humphrey Devereux, 52.
+    location of, 45, 46, 51.
+    Mrs. Perry's, 48.
+    nucleus of, 43.
+    of George Heussler, 49, 50.
+    Salem, 49.
+  Gardiner house, 21.
+  George house, 141.
+  George II, 96.
+  George III, 69, 100, 230.
+  Georgetown, Mass., 83, 107.
+  Georgian period, 127.
+  Gerard, quoted, 44.
+  Germantown, Mass., 163.
+  Germany, 197, 212.
+  Gibbon (designer), 143.
+  Glasgow, Scotland, 212.
+  Glass, baluster stem, 202.
+    beads, 203.
+    blown, 205.
+    Bohemian, 195, 197-199, 204.
+    bonbon dishes, 200.
+    bottles, 203, 205-209.
+    bowls, 203, 204.
+    cameo incrusted, 199.
+    choiceness determined, 103.
+    colored, 197, 201.
+    cutting of, 198.
+    decanters, 200, 201, 202.
+    drinking, 201.
+    English, 201.
+    engraved, 196, 197, 198, 202.
+    etched, 199.
+    factories, 197, 198, 204.
+    first made, 194.
+    French, 199.
+    gilded, 196, 197.
+    goblets, 204.
+    green German, 196.
+    historic flasks, 206.
+    legend of, 196.
+    making in Rome, 195.
+    origin of, 195.
+    painted, 196, 197.
+    Portland Vase, 192, 195.
+    ruby colored, 199-200.
+    Russian, 203.
+    salt cellar, 199, 200.
+    toddy, 201, 202.
+    tumblers, 201-202.
+    vases, 198, 199.
+    Venetian, 195, 198.
+    white twist stem, 202.
+    wine, 202.
+  Glastonbury Abbey, 146.
+  Gothic architecture, 4.
+  Gove house, 70.
+  Governor's Field, 4.
+    Island, 42.
+  Grafton, Mass., 148.
+  "Guild of St. Luke," 179.
+
+  Hallway, Capen house, 55.
+    colonial, 54.
+    eighteenth and nineteenth century, 56, 57.
+    entry, 61.
+    finish of, 59.
+    "Hey Bonnie Hall," 60, 61.
+    Lee, 58, 60.
+    Old English, 55, 58.
+    paneled, 56, 57, 59.
+    papered, 59.
+    spacious, 57, 58.
+    Stark, 56.
+    Warner, 56, 57, 90-91.
+    Wentworth, 58, 59.
+  Hamilton, Mass., 71.
+  Hamilton Hall, 141, 166.
+  Hangings, bed, chintz, 124.
+    linen, 124.
+    patch, 124, 130.
+  Harland, Thomas, 150.
+  Harris, Mrs. Walter L., 136.
+  Harrod house, 138, 203.
+  Hartford, Conn., 147, 148.
+  Harvard College, 4.
+  Haverhill, Mass., 76, 129.
+  Hawthorne, Nathaniel, 24, 26, 37, 102, 224.
+  Heard house, 93.
+  Hearth accessories, 66, 67.
+  Hepplewhite (designer), 92, 97, 99, 100, 110, 112, 114, 115, 128.
+  "Hermitage," 87.
+  Heussler, George, 49.
+  "Hey Bonnie Hall," 11, 60, 61, 101.
+  Higginson, Governor, 161.
+    Rev. Francis, quoted, 41.
+  "Highfield," 95, 126, 138.
+  High Rock, Mass., 95.
+  Hillsboro, N. H., 89, 90, 115, 151.
+  Hinges, wrought-iron, 9.
+  Hingham, Mass., 93.
+  "History of Essex," 125.
+  Hoadley, Silas, 155.
+  Hoffman, Captain, 52.
+  Holland, 2, 9, 41, 43, 80, 96, 135, 177, 179, 180, 182, 184, 185, 196,
+      212.
+  Holmes, Oliver Wendell, 130.
+  Hosmer collection, 147.
+  "House of Seven Gables," 37.
+  Houses, Abbot, General, 78, 109, 153.
+    Albree, 152.
+    Allen, 52.
+    Andrews, 13, 21, 84, 85.
+    Assembly, 18, 24.
+    Bell or Brick, 190.
+    Benson, 109.
+    brick, 3, 13, 14, 19, 56.
+    Brown Inn, 173.
+    Cabot, 7, 22, 53.
+    Capen, 55.
+    Cogswell, 125.
+    colonial, 7.
+    Craigie, 37.
+    Crowninshield, 38, 71.
+    Derby, 77, 78.
+    Devereux, Humphrey, 52.
+    Devonshire's, Duke of, 39.
+    Dexter, 99.
+    Dummer, 173.
+    Endicott, 10.
+    finest, 8.
+    Forrester, 21.
+    frame, 2, 55.
+    gambrel-roofed, 3, 10, 19, 55.
+    Gardiner, 21.
+    George, 141.
+    Gove, 70.
+    Hamilton Hall, 141, 166.
+    Harrod, 138, 203.
+    Heard, 93.
+    "Hermitage," 87.
+    "Hey Bonnie Hall," 11, 60, 61, 101.
+    "Highfield," 95, 126, 138.
+    historic, 5, 6, 8, 12.
+    Howe, 111, 115, 129.
+    "Indian Hill," 12, 48.
+    Johnson's, Dr., 39.
+    Kimball, 18, 83.
+    Kittredge, 142, 201.
+    Knapp, 87.
+    Lee, 8, 58, 60, 87, 89.
+    Lindall-Andrews, 80, 81.
+    Little, 70.
+    log cabin, 2.
+    Long, 93.
+    Lord, 22, 138, 139, 142.
+    Mansfield, 71.
+    mansion, 3, 8, 10, 19, 56.
+    Maryland Manor, 11.
+    May, 37.
+    Meyer, 71.
+    Middleton, 131.
+    Mount Vernon, 131.
+    Nichols, 200.
+    Noyes, 113.
+    Oak Knoll, 47, 60.
+    of 52 rooms, 10.
+    Oliver, 77.
+    Osgood, 109, 143, 168.
+    Page, 5, 6.
+    Pickering, 4, 5, 72, 76, 109.
+    Pierce, 89, 115, 151.
+    Pierce-Jahonnot, 25.
+    Pierce-Nichols, 139.
+    Robinson, 71.
+    Ropes, 111.
+    Salem Club, 70.
+    Saltonstall-Howe, 76.
+    Sanders, 70.
+    Silsbee, 21.
+    Southern, 12.
+    Sprague, 169.
+    Stark, 8, 56, 115, 130, 151.
+    Stearns, 6.
+    Steigel, 204.
+    Warner, 9, 56, 90, 109, 169.
+    Waters, 38, 77, 202.
+    Wentworth, 10, 58.
+    Wheelright, 88.
+    Whipple, 7, 25, 87.
+    White House, 11.
+    Whittier, 37, 47, 60.
+  Howe, Mrs. Guerdon, 111.
+    house, 111, 115, 129.
+  Hull, Betsey, 224.
+    John, 224.
+
+  Ince (designer), 98.
+  "Indian Hill," 12, 48.
+  Indians, 203.
+  Ipswich, Mass., 5, 7, 93.
+  Ironworks, American, 204.
+  Italy, 135, 197, 212.
+  Ivy Works, Burslem, 190.
+
+  Jackson, Andrew, 87.
+    of Battersea, 81.
+  Jacobean period, 127.
+  Jamaica Plain, Mass., 169.
+  James VI, 214.
+  Jamestown, Va., 203.
+  Japan, 80, 179, 211.
+  Jarves, James Jackson, 209.
+  Jerome, Chauncey, 157.
+  Jesse, David, 224.
+  Johnson's, Dr., house, 39.
+  Josslyn, John, quoted, 43.
+
+  Kean, Michael, 188.
+  Kensington, Philadelphia, 203.
+  Kimball house, 18, 83.
+  King Philip's War, 116.
+  Kitchen, colonial, 66.
+  Kittredge house, 142, 201.
+  Knapp house, 87.
+  Knockers, antique, 35.
+    brass, 22, 30, 33, 34.
+    disappearance of, 31.
+    eagle, 35, 36, 37.
+    English, 9.
+    fifteenth and sixteenth centuries, 30.
+    garland, 35.
+    Georgian urn, 35, 36.
+    Gothic, 33.
+    historic, 37.
+    horseshoe, 36.
+    invention of, 29.
+    iron, 7, 30, 33, 36.
+    lion and ring, 35.
+    London, 38-39.
+    May house, 37, 38.
+    medieval, 33.
+    Mexican, 36.
+    plate or escutcheon, 33, 34.
+    price of, 34.
+    Renaissance, 33, 37.
+    reproductions of, 34.
+    thumb latch, 8, 22, 35, 38.
+    types of, 29.
+  Knox, General, 25.
+    Henry, 138.
+  Kunckel (artist), 200.
+
+  Lafayette, General, 24.
+  Lamps, Betty, 162.
+    glass, 168.
+    unique specimen, 162.
+    whale-oil, 166.
+    wick, 162.
+    with glass prisms, 169, 170.
+  Lanterns, 162.
+    gilded, 168.
+    painted, 168.
+  Larcom, Lucy, 6.
+  Latches, thumb, 8, 22, 35, 38.
+  Lean-to, 3, 7.
+  Lee, Colonel Jeremiah, house, 8, 58, 60, 87, 89.
+  Leghorn, Italy, 131.
+  Lehmann, Gasper, 198.
+  Leslie's Retreat, 7, 81.
+  Leverett, Governor John, 115.
+    Thomas, 15.
+  Lightfoot, Peter, 146.
+  Lights, candelabra, 167, 169.
+    candle, 159, 160, 161, 163-166.
+    candlewood, 159, 160, 161.
+    chandeliers, 169.
+    electric, 159.
+    fire, 159, 160.
+    from flint and steel, 170.
+    gas, 159.
+    lamp, 162, 169.
+    lantern, 162, 168.
+    pine torch, 159, 160.
+    rush, 162.
+  Lindall, Judge, 80.
+  Lindall-Andrews house, 80, 81.
+  Little, Hon. David M., house, 70.
+  Little Harbor, N. H., 10, 58.
+  London, 167, 214, 215, 225.
+  London Guild or Worshipful Company of Pewterers, 215.
+  Long, Hon. John D., 93.
+    house, 93.
+  Longfellow, Anne Sewall, 95.
+  Lord, Nathaniel, 23.
+    house, 22, 138, 139, 142.
+  Lowestoft, 181, 186.
+    coat-of-arms, 183.
+    controversy, 185.
+    decoration of, 183, 184.
+    factory, 182, 184, 185.
+    first ware, 182.
+    Holland, 182.
+    Oriental, 181.
+    red, 183.
+  Luster ware, 191.
+    copper, 192, 193.
+    gold, 192, 193.
+    jugs, 192.
+    silver-tinted, 192.
+    Sunderland, 192.
+  Lynn, Mass., 72, 95, 175, 193.
+
+  Macpheadris, Captain, 9.
+    Mary, 9.
+  McIntyre, Samuel, 18, 47, 69, 70, 71, 77, 140.
+  Manchester, Mass., 56, 199, 200.
+  Mannheim, Germany, 204.
+    Pa., 204.
+  Mansfield, Mrs. Nathaniel B., 71.
+    collection, 109.
+  Mantlepieces, 63, 64, 70.
+    in Little house, 70.
+    marble, 70.
+    narrow, 64.
+    Oliver house, 77.
+    Renaissance, 64.
+    Salem Club, 70.
+    Sanders house, 70.
+  Manwaring (designer), 98.
+  Marblehead, Mass., 8, 60, 81, 87, 135.
+    Historical Society, 89.
+  Marseilles, France, 146.
+  Maryland Manor, 11.
+  "Mayflower," the, 111.
+  Mayhew (designer), 98.
+  May house, 37.
+  Merchant princes, 19.
+  Metropolitan Museum, 209.
+  Mexican War, 207.
+  Meyer, Hon. George von L., 71.
+  Middleton, Moses, 11.
+    collection, 11, 131.
+    house, 131.
+  Militia, first company of, 7.
+  Mills, Henry, 153.
+  Mirrors, Adam, 140.
+    Bilboa, 135.
+    bull's-eye, 140.
+    Chippendale, 136, 140.
+    Constitution, 137.
+    "Courtney," 143.
+    frames, 134.
+    girandole, 140, 141.
+    glass, 134.
+    knobs, 137.
+    Lafayette, 143.
+    late colonial, 141, 142.
+    mantel, 139-140.
+    metal, 133, 134.
+    origin of, 133.
+    paneled, 141, 142, 143.
+    Queen Anne, 136.
+    Venetian, 134, 142.
+    with cornice overhanging, 138, 141.
+  Mitchell collection, 199-200.
+  Money, first paper, 225.
+  Mount Vernon, 131.
+  Mullikin, Samuel, 150.
+  Museum of Fine Arts, Boston, 211.
+  Myers, Myer, 225.
+
+  Nashville, Tenn., 87.
+  Newburyport, Mass., 48, 49, 73, 87, 88, 99, 113, 138, 180, 203.
+  New England Historical Genealogical Society of Boston, 147.
+  Newton, Mass., 37, 138, 139, 142.
+  Nichols house, 200.
+  North Andover, Mass., 142.
+  Noyes house, 113.
+  Nuremberg, Germany, 212.
+
+  Oak Knoll, 47, 60.
+  "Old Christmas," 65.
+  Old Tom, Indian chieftain, 12.
+  Oliver, Henry K., house, 77.
+  Osgood house, 109, 143, 168.
+
+  Page, Colonel Jeremiah, 6.
+    collection, 175, 180.
+    house, 5, 6.
+    Mistress, 6.
+  Panels, hand-made, 9.
+  Parties at Salem, 167.
+  Peabody, Captain Joseph, 11, 46, 70.
+    Elizabeth, 24.
+    Joseph Augustus, 46.
+    Sophia, 24.
+  Peacock Inn, 4.
+  Pearson, Ebenezer, 73.
+  Perkins, Dr. George, 74.
+  Perry, Mrs. Charles, 48.
+  Pewter, 71, 162, 167, 168, 194, 210.
+    American, 217.
+    chargers, 210, 219.
+    collections of, 219, 220.
+    composition of, 210.
+    development in France, 212.
+    Dutch, 212.
+    ecclesiastical, 213, 218.
+    English, 213, 215, 217.
+    flagon, 212.
+    French, 216.
+    German, 212.
+    guilds, 215, 216.
+    historic teapot, 220.
+    household, 213, 214, 219.
+    imitation, 218-219.
+    in Rome, 211.
+    in sixteenth century, 214.
+    Japanese, 211, 221.
+    lamps, 219, 220.
+    marks on, 214-221.
+    old, 211.
+    origin of, 211, 213.
+    plates, 210, 219, 221.
+    rarest in existence, 221.
+    salver, 212.
+    Scotch, 212, 216.
+    seals, 211.
+    Spanish, 213.
+    tankards, 210, 219.
+    use discontinued, 216.
+    value of, 217.
+    where used, 213-214.
+  Pewterer's Hall, London, 215.
+  Philadelphia, Pa., 28, 51, 75, 208.
+  Phipps, Governor, 90.
+  Pickering, Alice, 72.
+    house, 4, 5, 72, 76, 109.
+    John, 4, 5, 72.
+    Rev. Theophilus, 76.
+    Timothy, 5, 109.
+  Pierce, Franklin, 89.
+    Governor, 89.
+    house, 89, 115, 151.
+    Mr., 25.
+  Pierce-Jahonnot house, 25.
+  Pierce-Nichols house, 139.
+  Pilasters, fluted, 22.
+  Pilgrim Hall, 93.
+  Pillars, carved, 8.
+    packed with salt, 14.
+  Pitcher, Moll, 95.
+  Planche, Mons., 186, 188.
+  Plants and flowers, 41, 42.
+    azaleas, 52.
+    camellias, 52.
+    night-blooming cereus, 50.
+    oxeye daisy, 44.
+    peonies, 53.
+    pitcher plant, 43.
+    tulips, 53.
+    _Victoria Regia_, 51.
+    whiteweed, 44.
+    wild, 42.
+    woadwaxen, 44.
+  Plymouth, Conn., 155.
+    County, 217.
+    Mass., 93.
+  Poore, Major Benjamin Perky, 48.
+  Porcelain, Chinese, 179, 185.
+    Japanese, 179.
+    Lowestoft, 184.
+  Porch, Andrews, 21.
+    Assembly House, 24.
+    circular, 13, 17, 21.
+    construction of, 17.
+    contour, 17.
+    Dutch, 25.
+    Gardiner, 21.
+    hand-carved, 17, 18, 24.
+    historic, 20, 24.
+    inclosed, 23, 54.
+    Lord, 22.
+    Middle States, 9.
+    New England, 17, 19, 28.
+    oblong, 17.
+    Philadelphia, 28.
+    Pickman, 27.
+    Pierce-Jahonnot, 25-26.
+    Robinson, 14.
+    side, 14, 22, 23.
+    Southern, 17, 19.
+    square, 17.
+    three-cornered, 17.
+    types of, 19, 20.
+  Portland Vase, 195.
+    replica of, 192.
+  Portsmouth, N. H., 9, 10, 90, 109, 169.
+  Poynton, Captain Thomas, 27.
+  Putnam, General Israel, 111.
+
+  Quincy, Mass., 163.
+
+  Redmond, John, 166.
+  Reformation, the, 214.
+  Revere, Paul, 225.
+  Revolution, the, 3, 4, 7, 9, 10, 19, 35, 69, 89, 94, 97, 113, 135,
+      143, 226, 229, 233.
+  Rhode Island, 11.
+  Ridout, George, 225.
+  Robinson, Nathan, 14.
+    house, 71.
+  Rogers collection, 191.
+  Rome, Italy, 211.
+  Roof, flat, 20.
+    gambrel, 8, 9.
+    pitched, 7.
+    thatched, 2.
+  Ropes, Caleb, 51.
+    house, 111.
+  Rose (potter), 183.
+    mark, 183.
+  Rotterdam, china warehouse at, 184.
+  Rouseley, England, 4.
+  Rowley, Mass., 141.
+  Roxbury, Mass., 148.
+
+  Salem, Mass., 4, 6, 7, 11, 13, 18, 20, 23, 24, 25, 28, 36, 38, 46, 49,
+      60, 69, 70, 71, 72, 74, 77, 80, 84, 93, 95, 101, 102, 108, 109,
+      130, 132, 138, 139, 141, 143, 150, 153, 162, 164, 166, 168, 169,
+      189, 200, 202, 203, 217, 220, 223, 232.
+  Salem Club, 70.
+  Saltonstall, Dr. Nathaniel, 76, 130.
+    family, 141.
+    Sir Richard, 130.
+  Saltonstall-Howe house, 76.
+  Sanders, Thomas, house, 70.
+  Saugus, Mass., 72, 153.
+  Saxony, 186, 196.
+  Schwanhard, George, 198.
+  Sconces, in Osgood house, 168.
+    wall, 167.
+  Scotland, 9, 212, 214.
+  Sharp, William, 52.
+  Shearer (designer), 114.
+  Sheraton (designer), 92, 97, 100-102, 112, 128, 146, 236.
+  Shoemaker, Colonel George, 75.
+  Sideboards, 113, 114.
+    Chippendale, 114.
+    Empire, 116.
+    Hepplewhite, 114.
+    inlaid, 115.
+    Shearer, 114.
+    Sheraton, 115.
+  Silesia, 196.
+  Silsbee house, 21.
+  Silver, American, 223, 224.
+    baronial, 223.
+    beaker, 224.
+    bowls, 225, 226, 232, 233, 234, 235.
+    caddy, 229, 232.
+    cake basket, 234.
+    candle bowl, 232.
+    candlesticks, 225.
+    cans, 226.
+    chased, 232, 233.
+    communion service, 223.
+    creamer, 234.
+    cruet stand, 234.
+    English, 224.
+    engraved, 226, 232.
+    hallmarks on, 224, 226, 230, 231.
+    "hog" bowl, 235.
+    of Paul Revere, 225.
+    pitcher, 233.
+    plates, 225.
+    snuffbox, 232, 236.
+    spice box, 236.
+    spoons, 226-232.
+    table utensils, 236.
+    tankards, 232, 233.
+    teapots, 226, 233, 234.
+    tongs, 235.
+  Simpson, Dr. James E., 52.
+  Snuffer boats, 168.
+  Snuffers, 168.
+  Sofas, 97, 102.
+    Adam, 103.
+    Chippendale, 103.
+    Cornucopia, 103.
+    Darby and Joan, 103.
+    Empire, 104.
+    haircloth, 103.
+    Louis XV, 103.
+    Sheraton, 103.
+  Spain, 135, 212, 213.
+  Spofford, Harriet Prescott, 73.
+  Spoons, "Apostle," 227, 228.
+    "caddy," 228, 229, 231, 232.
+    candle, 231.
+    imitations, 230, 231.
+    "rat-tail," 226.
+    snuff, 231.
+    teaspoons, 226.
+  Sprague, Joseph, 6
+    house, 169.
+  Staffordshire factories, 173, 175, 184.
+  Staircase, 55, 59.
+    balusters, 59.
+    "Hey Bonnie Hall," 61.
+    "Oak Knoll," 60.
+    spiral, 60.
+    winder, 60.
+  Stark, Charles Morris, 9.
+    Major Caleb, 8.
+    house, 8, 56, 115, 130, 151.
+  State House, Boston, 15.
+  Stearns house, 6.
+  Steigel Baron, 204.
+    house, 204.
+  Stogumber Church, Somerset, 39.
+  Stoves, "Cat Stone," 75.
+    Franklin, 73, 74, 75, 76.
+    hub grate, 75, 76, 77.
+  Summer house, 44.
+    on Peabody estate, 46-47.
+  Susquehanna Valley, 75.
+  Sutton Mills, Andover, 47.
+  Swampscott, Mass., 152.
+  Switzerland, 212.
+
+  Tables, butterfly, 116.
+    card, 118.
+    chair, 117.
+    dining, 117, 118.
+    dish-top, 117.
+    Dutch, 117, 118.
+    Empire, 118.
+    hundred-legged, 117.
+    Kidney, 117.
+    Pembroke, 118.
+    pie-crust, 118.
+    Pied, 118.
+    pouch, 117.
+    Sheraton, 117.
+    table-top, 117.
+    tea, 117.
+    telescopic, 118.
+    writing, 117.
+  Terry, Eli, 150, 153, 154, 155.
+    family, 150.
+  Thomas, Seth, 155, 156.
+  Tiles, 76, 180, 181.
+  Tobies, Bennington, 177.
+    Dutch, 175.
+    French, 175.
+    German, 175.
+    Napoleon, 175, 176.
+    old, 176.
+    Staffordshire, 175.
+    teapot, 177.
+    young, 176.
+  Topsfield, Mass., 55.
+  Tracy, John, 49.
+  Tragees (silversmith), 226.
+  Trees, on Derby farm, 50.
+    on Indian Hill, 48.
+    on Peabody estate, 46.
+  Turgot, Mons., 216.
+
+  Van Dyck, Richard, 225.
+  Vineyard and orchard, 42.
+
+  Wall papers, "Adventures of Telemachus," 87.
+    "Bay of Naples," 88.
+    block printing of, 80, 81.
+    chariot race, 88.
+    "Cupid and Psyche," 85.
+    "Don Quixote," 84.
+    English, 86, 87.
+    English hunt, 84.
+    foreign scenes, 86, 88.
+    French, 86, 87.
+    importation of, 82.
+    landscape, 88, 89.
+    made to order, 83, 89.
+    origin of, 80.
+    panels of, 81.
+    Parisian views, 88.
+    picture, 79, 81.
+    roll, 81.
+    Roman ruins, 89.
+    squares of, 81.
+    Venetian scenes, 88.
+  Walls, painted, 81-83, 90, 91.
+    thick, 9.
+    unplastered, 66.
+  Ware, Isaac, quoted, 72.
+  Ware, wooden, 213.
+  Warner, Hon. Jonathan, 10, 169.
+    house, 9, 56, 90, 109, 169.
+  War of 1812, 143, 234.
+  Warren, Russell, 11.
+  Washington, George, 10, 25, 88, 130, 138.
+    quoted, 25.
+  Washingtonian period, 19.
+  Waterbury, Conn., 155.
+  Waters, Fitz, 202.
+    collection, 93, 102, 108, 202.
+    house, 38, 77, 202.
+  Wayland, Mass., 35.
+  Webster, Daniel, 23, 111.
+    Fletcher, 23.
+  Wedgwood ware, 189.
+    cream, 191.
+    jasper, 191.
+    Portland Vase, 192, 195.
+    Queen's ware, 190.
+  Wedgwood, Josiah, 189, 190, 191, 192.
+  Well room, the, 12.
+  Wentworth, Governor Benning, 10, 115.
+    house, 10, 58.
+    Sir John, 12.
+  West, Mrs. William C., 189.
+    collection, 189, 202.
+  Westminster Abbey, 146.
+  Westmoreland County, England, 211.
+  West Newbury, Mass., 12, 48.
+  Wheelwright, William, 88.
+    house, 88.
+  Whieldon, Thomas, 189.
+  Whipple, Major George, 87.
+    house, 7, 23, 87.
+  White, Captain Joseph, 22.
+    Stephen, 23.
+  White House, Washington, 11.
+  Whittier, John Greenleaf, 47, 73.
+    garden, 47.
+    house, 37, 47, 160.
+  Wilkes-barre, Pa., 75.
+  William and Mary, 127.
+  Willard, Aaron, 148.
+    Benjamin, 148.
+    Simon, 149.
+  Windows, bull's-eye, 57.
+    diamond paned, 13.
+    dormer, 9.
+    fanlight, 61.
+    leaded, 5.
+    Lutheran, 9.
+  Windsor, England, 96.
+  Winthrop, Governor, 42, 161.
+  Wise, Rev. John, 76.
+  Witchcraft days, 26.
+  Woods used, apple, 101, 112.
+    cherry, 108, 111, 112, 148.
+    forest trees, 106.
+    hard, 59, 95.
+    harewood, 129.
+    holly, 114.
+    mahogany, 59, 61, 99, 100, 101, 102, 106, 108, 112, 114, 115, 127.
+    maple, 109, 114.
+    oak, 108, 147.
+    pine, 147.
+    rosewood, 101, 102.
+    satinwood, 100, 101, 114, 129.
+    soft, 59, 95.
+    sycamore, 129.
+    tulip, 101, 114.
+    walnut, 60, 108, 111, 112, 129, 147.
+    white, 2, 129.
+
+  Yule log, 64.
+
+
+
+
+
+End of the Project Gutenberg EBook of Colonial Homes and Their Furnishings, by 
+Mary H. Northend
+
+*** END OF THIS PROJECT GUTENBERG EBOOK COLONIAL HOMES ***
+
+***** This file should be named 34897-8.txt or 34897-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/4/8/9/34897/
+
+Produced by Annie McGuire. This book was produced from
+scanned images of public domain material from the Internet
+Archive.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/34897-8.zip b/34897-8.zip
new file mode 100644
index 0000000..a55d175
--- /dev/null
+++ b/34897-8.zip
diff --git a/34897-h.zip b/34897-h.zip
new file mode 100644
index 0000000..a45df00
--- /dev/null
+++ b/34897-h.zip
diff --git a/34897-h/34897-h.htm b/34897-h/34897-h.htm
new file mode 100644
index 0000000..8cb32cc
--- /dev/null
+++ b/34897-h/34897-h.htm
@@ -0,0 +1,6875 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+
+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Colonial Homes and their Furnishings, by Mary H. Northend.
+    </title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+    hr { width: 33%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+
+    .pagenum  { /* uncomment the next line for invisible page numbers */
+            /*  visibility: hidden;  */
+                position: absolute;
+                left: 92%;
+                font-size: smaller;
+                text-align: right;
+              } /* page numbers */
+
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+
+    .caption  {font-weight: bold;}
+
+    .figcenter   {margin: auto; text-align: center;}
+
+    .figleft     {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top:
+                 1em; margin-right: 1em; padding: 0; text-align: center;}
+
+    .figright    {float: right; clear: right; margin-left: 1em; margin-bottom: 1em;
+                 margin-top: 1em; margin-right: 0; padding: 0; text-align: center;}
+
+    /* XML end  ]]>*/
+    </style>
+  </head>
+<body>
+
+
+<pre>
+
+Project Gutenberg's Colonial Homes and Their Furnishings, by Mary H. Northend
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Colonial Homes and Their Furnishings
+
+Author: Mary H. Northend
+
+Release Date: January 9, 2011 [EBook #34897]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK COLONIAL HOMES ***
+
+
+
+
+Produced by Annie McGuire. This book was produced from
+scanned images of public domain material from the Internet
+Archive.
+
+
+
+
+
+
+</pre>
+
+
+<h1>COLONIAL HOMES</h1>
+
+<h1>AND THEIR FURNISHINGS</h1>
+
+<hr style="width: 65%;" />
+<div class="figcenter" style="width: 341px;"><a name="ILL_001" id="ILL_001"></a>
+<img src="images/ill_001.jpg" width="341" height="500" alt="Plate I.&mdash;Dodge-Shreves Doorway. Built in 1816." title="" />
+<span class="caption">Plate I.&mdash;Dodge-Shreves Doorway. Built in 1816.</span>
+</div>
+
+<hr style="width: 65%;" />
+<h2>COLONIAL HOMES</h2>
+
+<h2>AND</h2>
+
+<h2>THEIR FURNISHINGS</h2>
+
+<h3>BY</h3>
+
+<h2>MARY H. NORTHEND</h2>
+
+<h3><i>WITH NUMEROUS ILLUSTRATIONS</i></h3>
+
+<h4>BOSTON</h4>
+
+<h4>LITTLE, BROWN, AND COMPANY</h4>
+
+<h4>1917</h4>
+
+<hr style="width: 65%;" />
+<p class="center"><i>Copyright, 1912,</i></p>
+
+<p class="center"><span class="smcap">By Little, Brown, and Company</span>.</p>
+
+<hr style="width: 65%;" />
+<h4>THIS BOOK</h4>
+
+<h4>IS DEDICATED TO</h4>
+
+<h4>ONE THROUGH WHOSE CONSTANT ENCOURAGEMENT</h4>
+
+<h4>AND WISE ADVICE I OWE MY SUCCESS</h4>
+
+<h4>IN THE FIELD OF LITERATURE</h4>
+
+<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
+
+<p>The wonderfully good collection of antiques for which Salem is noted was
+of great interest to me, being owned by personal friends who kindly
+consented to allow me for the first time to go through their homes and
+pick out the cream of their inheritance. If the readers are half as
+interested in these objects as I have become,&mdash;growing enthusiastic in
+the work through the valuable pieces found,&mdash;they will enjoy the
+pictures of colonial furnishings, many of which cannot be duplicated in
+any other collection of antiques. Family bits, wonderful old Lowestoft,
+and other treasures are included, all brought over in the holds of
+cumbersome ships, at the time when the commerce of Salem was at high
+tide.</p>
+
+<p>To Mr. Charles R. Waters, Mrs. Nathan C. Osgood, Mrs. Henry P. Benson,
+Mrs. William C. West, Mrs. Nathaniel B. Mansfield, Miss A. Grace
+Atkinson, Mrs. Walter C. Harris, Dr. Hardy Phippen, Mrs. McDonald White,
+and Mr. Horatio P. Peirson, as well as many others in my native city, I
+owe acknowledgment for their kindness in opening their houses and
+letting me in, as well as to<span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> Mrs. George Rogers of Danvers, Mrs. D.&nbsp;P.
+Page, Dr. Ernest H. Noyes, and Mrs. Charles H. Perry of Newburyport,
+Mrs. Walter J. Mitchell of Manchester, Mrs. Prescott Bigelow and Mrs.
+William O. Kimball of Boston, Mrs. A.&nbsp;A. Lord of Newton, Mrs. Charles M.
+Stark of Dunbarton, N.H., and the late Mr. Daniel Low.</p>
+
+<p>The work was commenced at first through ill health and the desire for
+occupation, and has met with such good results through an interest in
+the story of antiques, that I have to-day one of the most valuable
+collections of photographs to be found in New England.</p>
+
+<p>
+<span style="margin-left: 34em;">MARY H. NORTHEND.</span><br />
+<span style="margin-left: 5em;"><span class="smcap">August</span> 1, 1912.</span><br />
+</p>
+
+<hr style="width: 65%;" />
+<h2>CONTENTS</h2>
+
+<div class='center'>
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align='right'></td><td align='left'><a href="#PREFACE"><b><span class="smcap">Preface</span></b></a></td></tr>
+<tr><td align='right'>I.</td><td align='left'><a href="#CHAPTER_I"><b><span class="smcap">Old Houses</span></b></a></td></tr>
+<tr><td align='right'>II.</td><td align='left'><a href="#CHAPTER_II"><b><span class="smcap">Colonial Doorways</span></b></a></td></tr>
+<tr><td align='right'>III.</td><td align='left'><a href="#CHAPTER_III"><b><span class="smcap">Door Knockers</span></b></a></td></tr>
+<tr><td align='right'>IV.</td><td align='left'><a href="#CHAPTER_IV"><b><span class="smcap">Old-Time Gardens</span></b></a></td></tr>
+<tr><td align='right'>V.</td><td align='left'><a href="#CHAPTER_V"><b><span class="smcap">Halls and Stairways</span></b></a></td></tr>
+<tr><td align='right'>VI.</td><td align='left'><a href="#CHAPTER_VI"><b><span class="smcap">Fireplaces and Mantelpieces</span></b></a></td></tr>
+<tr><td align='right'>VII.</td><td align='left'><a href="#CHAPTER_VII"><b><span class="smcap">Old-Time Wall Papers</span></b></a></td></tr>
+<tr><td align='right'>VIII.</td><td align='left'><a href="#CHAPTER_VIII"><b><span class="smcap">Old Chairs and Sofas</span></b></a></td></tr>
+<tr><td align='right'>IX.</td><td align='left'><a href="#CHAPTER_IX"><b><span class="smcap">Sideboards, Bureaus, Tables, etc</span>.</b></a></td></tr>
+<tr><td align='right'>X.</td><td align='left'><a href="#CHAPTER_X"><b><span class="smcap">Four-Posters</span></b></a></td></tr>
+<tr><td align='right'>XI.</td><td align='left'><a href="#CHAPTER_XI"><b><span class="smcap">Mirrors</span></b></a></td></tr>
+<tr><td align='right'>XII.</td><td align='left'><a href="#CHAPTER_XII"><b><span class="smcap">Old-Time Clocks</span></b></a></td></tr>
+<tr><td align='right'>XIII.</td><td align='left'><a href="#CHAPTER_XIII"><b><span class="smcap">Old-Time Lights</span></b></a></td></tr>
+<tr><td align='right'>XIV.</td><td align='left'><a href="#CHAPTER_XIV"><b><span class="smcap">Old China</span></b></a></td></tr>
+<tr><td align='right'>XV.</td><td align='left'><a href="#CHAPTER_XV"><b><span class="smcap">Old Glass</span></b></a></td></tr>
+<tr><td align='right'>XVI.</td><td align='left'><a href="#CHAPTER_XVI"><b><span class="smcap">Old Pewter</span></b></a></td></tr>
+<tr><td align='right'>XVII.</td><td align='left'><a href="#CHAPTER_XVII"><b><span class="smcap">Old Silver</span></b></a></td></tr>
+</table></div>
+
+<hr style="width: 65%;" />
+<h2>LIST OF PLATES</h2>
+
+<div class='center'>
+<table border="0" cellpadding="2" cellspacing="0" summary="">
+<tr><td align='right'>I.</td><td align='left'><a href="#ILL_001"><b>Dodge-Shreves Doorway. Built in 1816</b></a></td></tr>
+<tr><td align='right'>II.</td><td align='left'><a href="#ILL_002"><b>The Warner House, Portsmouth, N.&nbsp;H. Built in 1718</b></a></td></tr>
+<tr><td align='right'>III.</td><td align='left'><a href="#ILL_003"><b>Middleton House, Bristol, R.&nbsp;I. Built about 1808</b></a></td></tr>
+<tr><td align='right'>IV.</td><td align='left'><a href="#ILL_004"><b>Indian Hill Farm, West Newbury, Mass. Begun soon after 1650</b></a></td></tr>
+<tr><td align='right'>V.</td><td align='left'><a href="#ILL_005"><b>Andrew House Doorway, 1818</b></a></td></tr>
+<tr><td align='right'>VI.</td><td align='left'><a href="#ILL_006"><b>Gardner House Doorway, 1804</b></a></td></tr>
+<tr><td align='right'>VII.</td><td align='left'><a href="#ILL_007"><b>Doorway of Nathan Robinson House, 1804</b></a></td></tr>
+<tr><td align='right'>VIII.</td><td align='left'><a href="#ILL_008"><b>Sixteenth Century Knocker, Lion type. Striker, of first type; Georgian Urn type, in use on modern houses; Mexican Knocker of the Hammer type; Hammer type Knocker, Eighteenth Century, Charles P. Waters House</b></a></td></tr>
+<tr><td align='right'>IX.</td><td align='left'><a href="#ILL_009"><b>Eagle Knocker; Eagle Knocker, Rogers House, Danvers, Mass.; Medusa Head, elaborate early type; Garland type of Knocker</b></a></td></tr>
+<tr><td align='right'>X.</td><td align='left'><a href="#ILL_010"><b>Whittier Garden, Danvers, Mass.</b></a></td></tr>
+<tr><td align='right'>XI.</td><td align='left'><a href="#ILL_011"><b>Peabody Garden, Danvers, Mass.</b></a></td></tr>
+<tr><td align='right'>XII.</td><td align='left'><a href="#ILL_012"><b>Saltonstall Hallway, about 1800</b></a></td></tr>
+<tr><td align='right'>XIII.</td><td align='left'><a href="#ILL_013"><b>Hallway, Lee House, 1800</b></a></td></tr>
+<tr><td align='right'>XIV.</td><td align='left'><a href="#ILL_014"><b>Hallway, Tucker House, about 1800</b></a></td></tr>
+<tr><td align='right'>XV.</td><td align='left'><a href="#ILL_015"><b>Hallway of Wentworth House, 1750</b></a></td></tr>
+<tr><td align='right'>XVI.</td><td align='left'><a href="#ILL_016"><b>Historic Fireplace at Ipswich, Mass.</b></a></td></tr>
+<tr><td align='right'>XVII.</td><td align='left'><a href="#ILL_017"><b>Old Fireplace in Wentworth House, Portsmouth, N.&nbsp;H.</b></a></td></tr>
+<tr><td align='right'>XVIII.</td><td align='left'><a href="#ILL_018"><b>First Hob Grate in New England, Waters House; Mantel Glass and Fireplace, showing decoration of floral basket</b></a></td></tr>
+<tr><td align='right'>XIX.</td><td align='left'><a href="#ILL_019"><b>Middleton House Steeple Top Andirons, and Bellows; Southern Andirons, Atkinson Collection</b></a></td></tr>
+<tr><td align='right'>XX.</td><td align='left'><a href="#ILL_020"><b>Cupid and Psyche paper, Safford House</b></a></td></tr>
+<tr><td align='right'>XXI.</td><td align='left'><a href="#ILL_021"><b>Venetian paper in Wheelwright House, Newburyport</b></a></td></tr>
+<tr><td align='right'>XXII.</td><td align='left'><a href="#ILL_022"><b>Roman Ruins paper, Lee Mansion, Marblehead</b></a></td></tr>
+<tr><td align='right'>XXIII.</td><td align='left'><a href="#ILL_023"><b>Adventures of Telemachus paper, Nymphs Swinging</b></a></td></tr>
+<tr><td align='right'>XXIV.</td><td align='left'><a href="#ILL_024"><b>Queen Anne Fiddle Back; Queen Anne, Stuffed Chair; Dutch Chair, carved; Empire Lyre-backed Roundabout, on Chippendale lines, 1825</b></a></td></tr>
+<tr><td align='right'>XXV.</td><td align='left'><a href="#ILL_025"><b>Chippendale, Lord Timothy Dexter's Collection, H.&nbsp;P. Benson; French Chair, showing Empire influence; Flemish Chair; Banister-back Chair</b></a></td></tr>
+<tr><td align='right'>XXVI.</td><td align='left'><a href="#ILL_026"><b>Chippendale Armchair, showing straight, square legs; Chippendale Chair; Chippendale, one of a set of six, showing Rosette design; Chippendale Armchair with Cabriole legs, Ball and Claw feet</b></a></td></tr>
+<tr><td align='right'>XXVII.</td><td align='left'><a href="#ILL_027"><b>Empire Sofa; Cornucopia Sofa; Sofa in Adams style, about 1800</b></a></td></tr>
+<tr><td align='right'>XXVIII.</td><td align='left'><a href="#ILL_028"><b>Sheraton, mahogany frame, about 1800; Sheraton, with solid arms, and straight, slender legs; Sheraton, about 1790. Note the graceful curve of the arms</b></a></td></tr>
+<tr><td align='right'>XXIX.</td><td align='left'><a href="#ILL_029"><b>Sheraton, about 1800; Sofa, about 1820; Sofa, about 1820, with winged legs</b></a></td></tr>
+<tr><td align='right'>XXX.</td><td align='left'><a href="#ILL_030"><b>Sheraton Night Table; Block Front Bureau Desk, owned by Dr. Ernest H. Noyes, Newburyport, Mass.; Cellarette, 1790, owned originally by Robert Morris</b></a></td></tr>
+<tr><td align='right'>XXXI.</td><td align='left'><a href="#ILL_031"><b>Dressing Glass, with Petticoat legs; Empire Bureau, 1816</b></a></td></tr>
+<tr><td align='right'>XXXII.</td><td align='left'><a href="#ILL_032"><b>Chest of Drawers, 1710; Six-legged High Chest of Drawers, about 1705</b></a></td></tr>
+<tr><td align='right'>XXXIII.</td><td align='left'><a href="#ILL_033"><b>Dressing Table, with brass feet; Bureau and Dressing Glass</b></a></td></tr>
+<tr><td align='right'>XXXIV.</td><td align='left'><a href="#ILL_034"><b>Block Front Bureau Desk, owned by Nathan C. Osgood. One of the best specimens in New England; oak paneled Chest, about 1675</b></a></td></tr>
+<tr><td align='right'>XXXV.</td><td align='left'><a href="#ILL_035"><b>Secretary, showing Shell ornamentation; Highboy with Shell ornamentation and Ball and Claw feet, 1760; Highboy with Shell ornamentation</b></a></td></tr>
+<tr><td align='right'>XXXVI.</td><td align='left'><a href="#ILL_036"><b>Dressing Table, 1760; Mahogany Commode, collection of Nathan C. Osgood</b></a></td></tr>
+<tr><td align='right'>XXXVII.</td><td align='left'><a href="#ILL_037"><b>Sheraton Sideboard; Simple form of Sheraton Sideboard, with line Inlay around Drawers and Doors. Date, 1800</b></a></td></tr>
+<tr><td align='right'>XXXVIII.</td><td align='left'><a href="#ILL_038"><b>Bedstead in Middleton House, 1798</b></a></td></tr>
+<tr><td align='right'>XXXIX.</td><td align='left'><a href="#ILL_039"><b>Sheraton type in Kittredge House; Four-poster, about 1825</b></a></td></tr>
+<tr><td align='right'>XL.</td><td align='left'><a href="#ILL_040"><b>Field Bedstead, slept in by Lafayette, in Stark Mansion. Owned by Mrs. Charles Stark, Dunbarton, N.&nbsp;.</b></a></td></tr>
+<tr><td align='right'>XLI.</td><td align='left'><a href="#ILL_041"><b>Sheraton Four-poster; Four-poster showing decided English characteristics</b></a></td></tr>
+<tr><td align='right'>XLII.</td><td align='left'><a href="#ILL_042"><b>Girandole in George Ropes House, 1800; Girandole, 1800; Constitution Mirror, 1780</b></a></td></tr>
+<tr><td align='right'>XLIII.</td><td align='left'><a href="#ILL_043"><b>Picture Mirror, showing Dawn, in Adams House, 1703; English Georgian Mirror, 1750; Two-piece Looking Glass, 1750</b></a></td></tr>
+<tr><td align='right'>XLIV.</td><td align='left'><a href="#ILL_044"><b>Oval Mirror, showing Acanthus Leaves. Once on Cleopatra's Barge. The first pleasure yacht built in America. Mirror, 1710, resting on ornamental knobs; Mirror, 1810, in Dudley L. Pickman House</b></a></td></tr>
+<tr><td align='right'>XLV.</td><td align='left'><a href="#ILL_045"><b>Mirror, 1770; Lafayette Courting Mirror, Osgood Collection; Empire Mirror, 1810</b></a></td></tr>
+<tr><td align='right'>XLVI.</td><td align='left'><a href="#ILL_046"><b>Willard Banjo Clock, 1802; Banjo Clock, 1804; Willard Banjo Clock, 1802</b></a></td></tr>
+<tr><td align='right'>XLVII.</td><td align='left'><a href="#ILL_047"><b>English Grandfather's Clock, William Dean Howells; Collection of Old Clocks, property of Mr. Mills, Saugus, Mass.; Grandfather's Clock, formerly owned by President Franklin Pierce. Property of Mrs. Charles Stark</b></a></td></tr>
+<tr><td align='right'>XLVIII.</td><td align='left'><a href="#ILL_048"><b>General Stephen Abbot Clock; Terry Shelf Clock, 1824; English Clock, with Ball ornamentation</b></a></td></tr>
+<tr><td align='right'>XLIX.</td><td align='left'><a href="#ILL_049"><b>Whale Oil Lamps with Wicks; Mantel Lamps, 1815; Paul and Virginia Candelabra</b></a></td></tr>
+<tr><td align='right'>L.</td><td align='left'><a href="#ILL_050"><b>Astral Lamps, 1778; English Brass Branching Candlestick, showing Lions</b></a></td></tr>
+<tr><td align='right'>LI.</td><td align='left'><a href="#ILL_051"><b>Colonial Mantel Lamp; Single Bedroom Brass Candlestick; Sheffield Plate Candlesticks</b></a></td></tr>
+<tr><td align='right'>LII.</td><td align='left'><a href="#ILL_052"><b>Pierced, or Paul Revere, Lantern; Old Hand Lantern; English Silver Candlestick; Brass Branching Candlestick, Chippendale, 1760</b></a></td></tr>
+<tr><td align='right'>LIII.</td><td align='left'><a href="#ILL_053"><b>Peacock Plate of Delft, very rare; Decorated Salt Glaze Plate, about 1780</b></a></td></tr>
+<tr><td align='right'>LIV.</td><td align='left'><a href="#ILL_054"><b>Liverpool Pitcher, showing Salem ship; Old Chelsea Ware; Canton China Teapot; Wedgewood, with Rose decoration. Very rare</b></a></td></tr>
+<tr><td align='right'>LV.</td><td align='left'><a href="#ILL_055"><b>Gold Luster Pitcher; Staffordshire Pitcher, with Rose decoration; Peacock Delft Pitcher; Jasper Ware Wedgewood Pitcher, Blue and White</b></a></td></tr>
+<tr><td align='right'>LVI.</td><td align='left'><a href="#ILL_056"><b>The Shepherd Toby. One of the rarest Tobies; English Toby, very old; very old Toby showing Cocked Hat</b></a></td></tr>
+<tr><td align='right'>LVII.</td><td align='left'><a href="#ILL_057"><b>Venetian and English Decanters; Toddy Glasses, about 1800; English Glass with Silver Coasters. Very old</b></a></td></tr>
+<tr><td align='right'>LVIII.</td><td align='left'><a href="#ILL_058"><b>Russian Glass Decanter and Tumblers. Note the exquisite cutting on this Decanter</b></a></td></tr>
+<tr><td align='right'>LIX.</td><td align='left'><a href="#ILL_059"><b>English Cut Glass Decanter, about 1800; Typical Red Bohemian Glass Decanter; American Glass Bottle, Jenny Lind, about 1850</b></a></td></tr>
+<tr><td align='right'>LX.</td><td align='left'><a href="#ILL_060"><b>Bohemian Glass. The center one is rare, showing figure of Peacock, in Red and White; English Cut Glass Wineglasses, 1790; English Glass Decanters. Very fine and rare</b></a></td></tr>
+<tr><td align='right'>LXI.</td><td align='left'><a href="#ILL_061"><b>Pewter half-pint, pint, and quart Measures. One hundred years old; Three unusual shaped Pewter Cream Jugs; German Pewter, Whorl pattern</b></a></td></tr>
+<tr><td align='right'>LXII.</td><td align='left'><a href="#ILL_062"><b>Old Silver Coffee Urn with Pineapple finial; Sheffield Plate Teapot, formerly owned by President Thomas Jefferson; Tall Silver Pitcher, of Flagon influence</b></a></td></tr>
+<tr><td align='right'>LXIII.</td><td align='left'><a href="#ILL_063"><b>Several old silver pieces; collection of Salem silver, almost all inherited; wonderfully fine Silver Bowl with chasing</b></a></td></tr>
+</table></div>
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_I" id="CHAPTER_I"></a>CHAPTER I</h2>
+
+<h3>OLD HOUSES</h3>
+
+<p>There is an indescribable charm surrounding colonial houses, especially
+if historic traditions are associated with them. Many of an early date
+of erection are still to be found throughout New England towns, where
+the Puritan and the Pilgrim first settled, and not a few have remained
+in the same families since their construction. Some are still in an
+excellent state of preservation, though the majority show weather-beaten
+exteriors, guiltless of paint, with broken windows and sagging sills,
+speaking forcibly of a past prosperity, and mutely appealing through
+their forlornness for recognition.</p>
+
+<p>These are not, however, the first homes built by the colonists, and,
+indeed, it is doubtful if any examples of the earliest type are still
+standing.<span class='pagenum'><a name="Page_2" id="Page_2">[Pg 2]</a></span> These were rude cabins built of logs, kept together by
+daubings of clay thrust into their chinks, and showing roofs finished
+with thatch. Great chimneys were characteristic of all these cabins,
+built of stone, lengthened at the top with wood, and best known by the
+name Catted Chimneys. In the rude interiors of the old-time fireplaces
+hung soot-blackened cranes, while on cold, cheerless nights the blaze of
+logs on the hearths</p>
+
+<p>
+<span style="margin-left: 24em;">"Made the rude, bare, raftered room</span><br />
+<span style="margin-left: 24em;">Burst, flowerlike, into rosy bloom."</span><br />
+</p>
+
+<p>The next type was the frame house, built large or small according to the
+means of the owner, and constructed through the influence of Governor
+John Endicott, who sent to England for skilled workmen. Generally, these
+dwellings were two stories in height, the more pretentious ones showing
+peaks on either side to accommodate chambers, and their marked
+superiority over the first type soon resulted in their adoption
+throughout New England. In design they bore some resemblance to the
+Dutch architecture of the period, the outcome doubtless of many of the
+early settlers' long sojourn in Holland. Many of the frames were of
+white wood brought from the mother country in the incoming<span class='pagenum'><a name="Page_3" id="Page_3">[Pg 3]</a></span> ships, and
+the low ceilings invariably present were crossed with the heavy beams of
+the floors above, projecting through the timbers.</p>
+
+<p>The lean-to, characteristic of some houses of this type, did not come
+into vogue until about the middle of the seventeenth century, and its
+adoption is generally believed to have been for the use of the eldest
+son of the family, who, according to the law of England, would inherit
+the homestead, and until such inheritance, could remain, with his
+family, beneath the ancestral roof.</p>
+
+<p>The third type, the gambrel-roofed house, was at the height of its
+popularity about the time of the Revolutionary War, and continued in
+favor until the tide of commercial prosperity sweeping through the land
+brought in its wake the desire for more pretentious dwellings. Then came
+into fashion the large, square, wooden mansion, later followed by that
+of stately brick, excellent examples of both types being still extant.</p>
+
+<p>Like the Egyptian Isis who went forth to gather up the scattered
+fragments of her husband Osiris, fondly hoping that she might be able to
+bring back his former beauty, so we of to-day are endeavoring in New
+England to gather and bring into unison portions of the early homes,
+that we may eventually<span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span> restore them to their original charm and
+dignity. Outwardly these dwellings appear much as they did when built,
+more than a century ago, but inwardly sad changes have been wrought,
+leaving scarcely a trace of their old-time beauty. Yet beneath this
+devastation one versed in house lore can read many a tale of interest,
+for old houses, like old books, secrete between their covers many a
+story that is well worth while.</p>
+
+<p>Among the carefully preserved specimens, none of the earlier type is
+more interesting than the Pickering house at Salem, Massachusetts, built
+in 1660, more than a hundred years before the Revolution. The land on
+which it stands is part of the twenty acres' grant which was a portion
+of Governor's Field, originally owned by Governor Endicott, and conveyed
+by him to Emanuel Downing, who, in order to pay for his son George's
+commencement dinner at Harvard, disposed of it to John Pickering, the
+builder of the home, in 1642.</p>
+
+<p>In design, the dwelling is Gothic, a popular type in the Elizabethan
+period, and closely resembles the Peacock Inn at Rouseley, England. The
+timbers used in its construction were taken from a near-by swamp, and
+when it was first built it showed on the northern side a sloping roof
+affording<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> but a single story at that end. In 1770, the then owner,
+Timothy Pickering, decided to raise this end to make room for three
+chambers, and the new portion was built to conform exactly with the old
+part, the windows equipped with the same quaint panes, set in leaded
+strips, which were finely grooved to receive the glass, on which the
+lead was pressed down and soldered together. It was found when the
+weatherboards were ripped off that the sills were sound, and it was
+decided to continue to use them, feeling they would last longer than
+those that could then be obtained. Two of the peaks found to be leaky
+were removed at this time, and they were not replaced until 1840, when
+Colonel Timothy Pickering's son, John, had reproductions set in place.
+The house has never been out of the Pickering family, and, with one
+exception, has descended to a John Pickering ever since its erection.</p>
+
+<p>Distinctly a New England landmark is the Colonel Jeremiah Page house at
+Danvers, Massachusetts, erected in the year 1750. It occupies a site
+that at the time of its construction was on the highway between Ipswich
+and Boston, now broadened at this point and known as Danvers Square.
+Originally, it consisted of four rooms, but these were<span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span> later moved back
+and a new front added, the ell being replaced by a larger one.</p>
+
+<p>From a historic point of view, the roof is probably the most interesting
+feature of this old home, for here occurred the famous tea-party that
+Lucy Larcom has forever immortalized. During the troublous times of
+1775, when all good patriots scorned the use of tea, Colonel Page
+demanded that it should not be drunk beneath his roof. Mistress Page had
+acceded to his request, but she did not promise that she would not drink
+it on his roof, so with a few friends she repaired one afternoon to the
+rail-enclosed roof, and here brewed and distributed the much liked
+beverage. The secret of the tea-party did not leak out until after her
+death, when one of the party, visiting at the house, asked to be taken
+to the roof, at the same time relating the, till then unknown,
+experience.</p>
+
+<p>Antedating the Page house some twenty-five years is the home of the
+Stearns family on Essex Street, Salem, erected by Joseph Sprague, a
+prominent old-time merchant, whose warehouse occupied the present site
+at the corner of North and Federal streets. This dwelling is of spacious
+dimensions, excellently proportioned, and it is especially interesting
+from the fact of its unusual interior arrangement,<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span> which provides on
+each floor for three rooms at the back and only two at the front. The
+original owner was captain of the first uniformed company of militia
+organized in Salem, April 22, 1776, and he was also the first American
+to spill his blood in the Revolution, receiving a slight wound at the
+time of Leslie's retreat, while scuttling his gondola so it should not
+fall into the hands of the enemy.</p>
+
+<p>Another fine old home is the Cabot house, also in Salem. This dwelling,
+erected in 1745 by one Joseph Cabot, is considered by experts to be of
+the purest colonial type, and it has proved a subject of unusual
+interest to any number of artists and architects.</p>
+
+<p>No modern touch has been allowed to mar the old-time aspect of the
+Whipple house at Ipswich, Massachusetts, built in 1760, and which
+remains wholly unchanged from its original construction. It stands
+to-day almost alone in its picturesque antiquity, its huge central
+chimney, tiny window-panes, plain front door, guiltless of porch, with
+iron knocker, steep-pitched roof with lean-to at the back nearly
+sweeping the ground,&mdash;all betokening its age. Little wonder it is the
+haunt of tourists, for it presents a picture in its old-time beauty that
+modern architecture can never duplicate.<span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
+
+<p>In the historic town of Marblehead, in Massachusetts, is one of the most
+interesting of old-time homes,&mdash;the Colonel Jeremiah Lee mansion, built
+in 1768, and considered at the time of its erection the finest house in
+the Colonies. It was designed by an English architect at a cost of ten
+thousand pounds, and the timber and finish used in its construction were
+brought from England in one of the colonel's ships. It stands well to
+the front of the lot of which it forms a part, with scarcely any yard
+space separating it from the sidewalk, and it boasts a handsome porch
+supported by finely carved pillars, approached by a flight of steps. The
+broad entrance door, with its brass latch and old-time knob, swings
+easily upon its great hinges into a spacious hall that extends the
+length of the dwelling, affording access to the finely finished interior
+apartments.</p>
+
+<div class="figright" style="width: 406px;"><a name="ILL_002" id="ILL_002"></a>
+<img src="images/ill_002.jpg" width="406" height="500" alt="Plate II.&mdash;The Warner House, Portsmouth, N.&nbsp;H. Built in 1718" title="" />
+<span class="caption">Plate II.&mdash;The Warner House, Portsmouth, N.&nbsp;H. Built in 1718</span>
+</div>
+
+<p>Equally as interesting as these old homes are several houses in New
+Hampshire, one of the most prominent being the Stark mansion at
+Dunbarton. This was built in 1785 by Major Caleb Stark of Revolutionary
+fame, and it is approached to-day through the original tree-lined
+avenue, a mile in length. In construction it is of the mansion type, two
+stories in height, with gambrel roof, twelve<span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span> dormer windows, and a
+large, two-storied ell. Its entrance door is nearly three inches
+through, with handsome, hand-made panels, and it swings on wrought-iron
+hinges two feet either way. It is adorned with a knocker and latch that
+were brought from England by the major. Ever since its erection, this
+house has been occupied by a member of the Stark family, and the present
+owner, Charles Morris Stark, boasts the distinction of being of
+Revolutionary stock on both sides of the family, his mother being a
+lineal descendant of Robert Morris, the great financier of the
+Revolution.</p>
+
+<p>Another interesting colonial home is the Warner house at Portsmouth,
+occupying a corner section on one of the city's main thoroughfares. This
+fine dwelling was erected by Captain Macpheadris, a wealthy merchant who
+came to this country from Scotland, and it is built of Dutch bricks that
+were imported from Holland, with walls eighteen inches thick. It stands
+firmly on its foundation, a magnificent specimen of early construction;
+and its gambrel roof, Lutheran windows, quaint cupola, and broad
+simplicity of entrance door, suggest the old-time hospitality that was
+so freely dispensed here. After the captain's death, the house came to
+his daughter, Mary, who<span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span> had married Hon. Jonathan Warner, a member of
+the King's Council until the outbreak of the Revolution, and it is by
+his name that the fine old home is known.</p>
+
+<p>Two miles from Portsmouth, at Little Harbor, is the old home of Governor
+Benning Wentworth, built in 1750. In general, this dwelling is two
+stories in height, with wings that form three sides of a hollow square,
+though it boasts no particular style of architecture, appearing to be
+rather a group of buildings added to the main structure from time to
+time. It is screened from the roadway by great trees, and on the north
+and east faces the water. Originally it had fifty-two rooms, but some of
+these have been combined, so to-day there are but forty-five. The cellar
+is particularly large, and here in times of danger the governor hid his
+horses. After the governor's death, his widow married John Wentworth,
+and it was during the occupancy of Sir John and his wife that Washington
+was entertained here.</p>
+
+<div class="figleft" style="width: 500px;"><a name="ILL_003" id="ILL_003"></a>
+<img src="images/ill_003.jpg" width="500" height="318" alt="Plate III.&mdash;Middleton House, Bristol, R.&nbsp;I. Built about1808." title="" />
+<span class="caption">Plate III.&mdash;Middleton House, Bristol, R.&nbsp;I. Built about 1808.</span>
+</div>
+
+<p>Typical of the wooden mansion type, that succeeded in favor the
+gambrel-roofed dwellings, is the house now known as the Endicott house,
+at Danvers, Massachusetts. This building, constructed about 1800, was
+purchased about 1812 by Captain Joseph<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span> Peabody, a Salem merchant, and
+grandfather of the present owner, as a place of refuge for himself and
+family during the embargo. In design, it is most imposing, and the front
+now shows a wide veranda, with the entrance dignified by a
+porte-coch&egrave;re, supported by high columns, between each two of which a
+great bay tree is set. Sweeps of smooth lawn afford an attractive
+setting, and great trees, here and there, bestow protecting shade. The
+dwelling is surrounded by beautiful gardens, the most interesting from a
+historic point of view being the old-fashioned posy plot laid out at the
+time of the erection of the house.</p>
+
+<p>Not unlike in type to this fine home is "Hey Bonnie Hall" in Rhode
+Island, the residence of the Misses Middleton. Built in 1808, it stands
+to-day in all its original beauty, the pure white of its exterior
+admirably set off by the great green sweeps of sward, dotted with fine
+trees, that surround it on all sides. It was erected from plans of
+Russell Warren, who designed the White House at Washington, and it is
+renowned not only for its beautiful colonial architecture, but also for
+the wonderful collection of old-time furniture and objects of art that
+it contains.</p>
+
+<div class="figright" style="width: 500px;"><a name="ILL_004" id="ILL_004"></a>
+<img src="images/ill_004.jpg" width="500" height="294" alt="Plate IV.&mdash;Indian Hill Farm, West Newbury, Mass. Begun soon after 1650." title="" />
+<span class="caption">Plate IV.&mdash;Indian Hill Farm, West Newbury, Mass. Begun soon after 1650.</span>
+</div>
+
+<p>In type, it is very similar to a Maryland manor,<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> with projecting wings,
+the service portion in a separate building connected with the main house
+by a covered passage, after the Southern fashion. In this passage is the
+well room, so called from the fact that a well of pure spring water is
+located here. In length the house is one hundred and forty feet, its
+front just enough broken to avoid monotony, and its spaciousness
+affording an air of comfort. Two Corinthian columns, as high as the
+house itself, support the roof over the entrance porch, and on either
+side are well-protected verandas, overlooking beds of old-fashioned
+flowers and smooth stretches of sward. In front lies the harbor, and
+beyond is the picturesque town of Bristol, affording a most pleasing
+prospect.</p>
+
+<p>Unlike these latter-day types, in fact unlike any set design, is the
+low, rambling house at West Newbury, Massachusetts, known as Indian
+Hill, and so called from the location that it occupies. In appearance,
+this dwelling is most picturesque, resembling in design a castle, and it
+is as historic as it is interesting. The site that it occupies is the
+last reservation of the Indians in the neighborhood, the land having
+been sold by Old Tom, the Indian chieftain, to the town, and the deed of
+the sale being still preserved by the present owners.<span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
+
+<div class="figleft" style="width: 327px;"><a name="ILL_005" id="ILL_005"></a>
+<img src="images/ill_005.jpg" width="327" height="500" alt="Plate V.&mdash;Andrew House Doorway, 1818." title="" />
+<span class="caption">Plate V.&mdash;Andrew House Doorway, 1818.</span>
+</div>
+
+<p>Viewed from any angle, the house presents a series of pictures, each
+equally as interesting as the other, and its irregular roof lines,
+gables and bays, quaint, diamond-paned windows, and chimneys adorned
+with chimney pots, are further embellished by the flowering vines of a
+rambler rose, perhaps the finest in the country. While the house can be
+seen from the road, it is only when one drives under the archway into
+the courtyard, bounded on three sides by barn, stables, and house, that
+he can realize its true worth.</p>
+
+<p>Salem, fortunate in specimens of early construction, is also fortunate
+in examples of latter-day types, and here are to be found several of the
+fine brick dwellings, built at the time of her greatest commercial
+prosperity. One of these is the Andrews house, located on Washington
+Square, and one of the three dwellings erected in 1818. Its brick
+exterior gives no hint of its age other than the softening dignity that
+time bequeaths, and it stands to-day, tall and broad, its gray-faced
+bricks brightened by white trimmings, and its beauty emphasized by a
+fine circular porch supported by white columns, topped with a high
+balustrade. At one side is a charming old-fashioned garden, laid out in
+prim, box-bordered beds, and all about its fence<span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span> inclosure flowering
+vines clamber. Complete, the dwelling cost forty thousand dollars,&mdash;a
+large sum for the time of its erection.</p>
+
+<p>Every brick used in its construction was first dipped into boiling oil
+to render it impervious to moisture, and all the framework is of timbers
+seasoned by long exposure to the sun and rain. On one brick is cut the
+date of erection, the work of the master builder under whose supervision
+the dwelling was erected. The great pillars of the side porch,
+overlooking the garden, are packed, so the story goes, with rock
+salt&mdash;not an uncommon process at that time&mdash;to keep out dampness and to
+save the wood from being eaten by worms.</p>
+
+<p>Some years previous to the erection of this dwelling, Mr. Nathan
+Robinson had constructed on Chestnut Street a brick dwelling, considered
+by connoisseurs to be one of the finest specimens to-day extant. The
+porch, at the front, is wonderfully fine, and has attracted the
+attention of any number of students and architects, who have made a
+careful study of it.</p>
+
+<p>And so we might go on and on, singling out particularly good specimens
+here and there, but when all is said and done, it is undeniable that all
+old houses afford interesting study. Architects of<span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span> the present are
+coming to appreciate their worth, and into many modern homes features of
+early construction are being incorporated. Naturally, to the
+antiquarian, nothing can ever take the place of these bygone specimens,
+and as he paces the main thoroughfares of historic cities, now lined
+with stores, he sees in fancy the stately homes with their fragrant
+garden plots, which modern demand has superseded. Pausing on the curbing
+near the old State House in Boston, what an array of bygone dwellings in
+fancy can be conjured, and how many of the old-time dignitaries can be
+recalled. So vivid is the picture that one might almost expect to see
+old Thomas Leverett saunter by, or perchance hear the rattle of wheels
+as the carriage of Dr. Elisha Cook lumbered on its way. It is a pleasant
+picture to contemplate, and the lover of the old breathes a sigh of
+regret at the passing of such picturesqueness.<span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_II" id="CHAPTER_II"></a>CHAPTER II</h2>
+
+<h3>COLONIAL DOORWAYS</h3>
+
+<p>No type of architecture to-day holds such a distinctive place in the
+minds of architects and home builders as does that of the colonial
+period. This is especially true concerning the porch or doorway, for
+this feature, affording as it does entrance to the home, called for most
+careful thought, that it might be made harmonious and artistic, and
+expressive of the sentiment which it embodies. The straight lines and
+ample dimensions which characterized it required skill to arrange
+properly, and, considering the limitations of the period in which it was
+constructed, the results obtained were remarkable.</p>
+
+<p>These porches and doorways were designed at a time when our country was
+young, and the builders were not finished architects like the designers
+of to-day; but they were planned and built by men who were masters in
+their line, and who taxed their skill to the utmost that results might
+be artistic and varied, individualizing each home so that<span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span> the entrance
+porch should express both hospitality and refinement.</p>
+
+<p>In the holds of the cumbersome ships that plied between the new country
+and the motherland were placed as cargoes, pillars, columns, and bits of
+shaped wood, all to be used in the construction of the new home, and
+incidentally in the porch. It was no easy task to devise from these
+fragments a complete and artistic whole, and to the ingenuity of the
+builders great credit is due.</p>
+
+<p>In contour and construction, these porches differ greatly. Those found
+in New England depict a stateliness that savors of Puritanical
+influence, while those in the South convey, through their breadth, an
+impression of the cordiality which is characteristic of that section.
+Some are semicircular, others square; a few are oblong, and some are
+three-cornered, fitting into two sides of the entrance, and in each case
+giving to the dwelling a congruous appearance that is refreshing to
+contemplate in an age like ours, when so many different periods are
+combined in a finished whole.</p>
+
+<p>All these porches show a harmony of form and proportion that gives just
+the right effect, and many are embellished by wonderful wood carving.
+The Grecian column, in its many forms, lends itself<span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span> in a great degree
+to artistic effects, often bestowing an originality of finish that is
+most pleasing, and one that differs in every respect from the modern
+broad veranda, and the stately porte-coch&egrave;re.</p>
+
+<p>The art of hand carving reached its highest state of perfection about
+the year 1811, during which period the best types of porches were
+erected. The results are shown not only in the capitals of the columns
+and on the architrave, but on the pediments and over the entrance door
+as well. A good example of the decoration of the architrave is seen on
+the old Assembly House on Federal Street, in Salem, Massachusetts, where
+the carving takes the form of a grapevine, with bunches of the hanging
+fruit, and also over the door of the Kimball house, in the same city,
+where Samuel McIntyre, one of the most noted wood carvers, lived.</p>
+
+<p>It can be well and correctly said that the colonial porch embodied not
+only the characteristics of the period in which it was built, but the
+personality of the owner as well. Should the unobservant person feel
+that this statement is far-fetched, let him take a stroll through some
+tree-shaded street of an old New England village, and the truth of the
+assertion is readily revealed. Though the house<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span> itself may be old and
+battered, and fast falling into decay, yet the porch greets one with a
+simple welcome that breathes of former hospitality, and, in admiration
+of this feature, the shabbiness of the rest of the exterior sinks into
+oblivion.</p>
+
+<p>Broadly speaking, porches are divided into three types or classes. The
+first belong to the period beginning with the year 1745 and continuing
+until the year 1785, a space of time marked by stirring events,
+culminating in the Revolutionary War, and the birth of the new republic.
+Houses of this period are of the gambrel-roofed type. The second class
+adorn the succeeding type of dwelling,&mdash;the large, square, colonial
+house, built by the merchant prince, whose ships circumnavigated the
+globe, and who filled his home with foreign treasures; while the third
+type is that which ornamented the brick mansion which came into vogue
+about 1818. As many of these were erected during the commercial period,
+they cannot, strictly speaking, be called colonial; they belong rather
+to the Washingtonian time, and reflect in their construction the
+gracious hospitality of that day.</p>
+
+<p>Porches of varied colonial types are found in most of the New England
+cities and towns, in the Middle States, and in the South, and
+particularly<span class='pagenum'><a name="Page_20" id="Page_20">[Pg 20]</a></span> fine examples can be seen in Salem, Massachusetts. There
+is about all of these a dignity and refinement that is unmistakable,
+bespeaking a culture that is felt at once, and a stranger wandering
+through Salem's streets cannot help but be impressed with the fact.</p>
+
+<p>Adorning the three-storied houses with their flat roofs, they give an
+artistic touch to what would otherwise be plain exteriors. From step to
+knocker, from leaded glass to the arched or square roof of the doorway,
+there is a plainness and simplicity which betokens art, but of such a
+quiet, unpretentious type that by the untrained eye it is hardly
+appreciated, though to the architect it brings inspiration and affords
+study for classic detail, the result of which is shown in the modified
+colonial homes of to-day.</p>
+
+<p>Romance and history are strangely intermingled in these old-time porches
+and doorways. Under their stately portals has passed many a colonial
+lover, doffing his cocked hat to his lady fair, who, with silken gown,
+powdered hair and patches, sat at the window awaiting his coming. Those
+were Salem's halcyon days, when the tide of life ebbed and flowed in
+uneventful harmony, free from the disturbing elements of latter-day
+life.<span class='pagenum'><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
+
+<div class="figleft" style="width: 384px;"><a name="ILL_006" id="ILL_006"></a>
+<img src="images/ill_006.jpg" width="384" height="500" alt="Plate VI.&mdash;Gardiner House Doorway, 1804." title="" />
+<span class="caption">Plate VI.&mdash;Gardiner House Doorway, 1804.</span>
+</div>
+
+<p>To attempt even a brief description of each and every doorway would be a
+herculean task. Rather, it is better to depict the different types,
+studying with critical eye the various examples. One is the semicircular
+entrance, with its rounded front, a type shown in many a New England
+home. The Andrew porch, numbered among the finest in the city, belongs
+to this class. Under this doorway passed the late war governor, John
+Andrew, during visits to his uncle, John Andrew, builder of the
+dwelling, that he always coveted for his own. The dwelling was one of
+three built in 1818 on three sides of a training field, which is now the
+Common. The fine elm trees that characterize the Common were planted in
+the same year. The other two houses were the John Forrester dwelling and
+the Nathaniel Silsbee house. The Andrew porch shows straight columns,
+and a roof topped with a balustrade; the simplicity of outline renders
+it most attractive.</p>
+
+<p>Another porch of the same type is that of the John Gardiner house on
+Essex Street, built in 1804. Here is an entrance considered by good
+judges of architecture to be one of the best examples of its type,
+characterized by perfect symmetry of outline. Numbered among its
+features are quaint<span class='pagenum'><a name="Page_22" id="Page_22">[Pg 22]</a></span> indentations in the door head. This dwelling was
+formerly the home of Captain Joseph White, one of the worthy and noted
+Salem merchants. Other porches of similar contour, though differently
+ornamented, are to be found on Chestnut Street.</p>
+
+<p>It is only when one carefully studies doorways such as these,
+contrasting them with latter-day porches, which are often little more
+than holes in the wall, fitted with a cheap framing and entirely out of
+keeping with the exterior, that their worth is viewed in the true light,
+and the opportunity to turn to the old-time types for inspiration is
+appreciated.</p>
+
+<p>Perhaps the most Puritanical of all the doorways are the simple narrow
+ones that generally stand at one side of the house, although sometimes
+they are used as the main entrance. These show either fluted side
+pilasters, or severely plain columns, surmounted by a pediment. The door
+is always dark in coloring, trimmed with a polished brass knocker and
+often with a brass latch.</p>
+
+<div class="figright" style="width: 334px;"><a name="ILL_007" id="ILL_007"></a>
+<img src="images/ill_007.jpg" width="334" height="500" alt="Plate VII.&mdash;Nathan Robinson House Doorway, 1804." title="" />
+<span class="caption">Plate VII.&mdash;Nathan Robinson House Doorway, 1804.</span>
+</div>
+
+<p>One of the most elaborate of these is that of the dwelling known as the
+Cabot house on Essex Street. This house was designed in 1745 by an
+English architect for Joseph Choate, and later came into the possession
+of Joseph Cabot.</p>
+
+<p>Another notable entrance is that of the Lord<span class='pagenum'><a name="Page_23" id="Page_23">[Pg 23]</a></span> house on Washington
+Square. This is a side entrance, and is said to be one of the finest of
+its type in Salem. This house was at one time occupied by Stephen White,
+a man of worth, who was falsely accused of the murder of his uncle, and
+who engaged as counsel Daniel Webster. While this case was in progress,
+Webster brought his son, Fletcher, to the White home, where he met and
+fell in love with the daughter of the house, later making her his bride.
+Thus were romance and law strangely intermingled! The house was
+afterwards the home of Nathaniel Lord, one of the most brilliant jurists
+of his time.</p>
+
+<p>The inclosed porch is another phase of old Salem doorways. There are
+several interesting examples of this type still to be seen here, perhaps
+the most noted being the one on Charter Street, on a three-story, wooden
+building, about a century and a half old, low of stud, with square
+front, standing directly on a shabby little by-street, and cornered in a
+graveyard. This porch, inclosing the entrance door, is lighted by small,
+oval windows, one on either side, affording glimpses up and down the
+street. It has been graphically described by a silent, dark-browed man,
+who, with two women, came to the dwelling in the dusk of an evening<span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span> in
+1838, and, lifting the old-time knocker, announced his arrival. The door
+was opened by Elizabeth Peabody, who graciously admitted Nathaniel
+Hawthorne and his sisters, showed them into the parlor, and then ran
+up-stairs to tell her sister Sophia of the handsome young man&mdash;handsomer
+than Lord Byron&mdash;who had just arrived. As the door closed behind him
+that evening, Hawthorne shut out forever the dreary solitude of his
+life, and we read that he came again and again to the old home, where he
+played the principal part in one of the most idyllic of courtships,
+ending in his marriage two years later with the fair Sophia. This
+dwelling he made the scene of <i>Dr. Grimshawe's Secret</i>, and the old
+porch has taken on a dignity and historic interest that will live
+forever.</p>
+
+<p>But perhaps one loves to dwell longest on the doorway of the Assembly
+House on Federal Street, for it is full of vivid memories. It is an
+oddly shaped porch, beautifully carved, and under its portals the
+daughters of Salem's merchant princes passed, holding in their slender
+hands the skirts of their silken gowns, as they gayly mounted the broad
+stone steps. On the evening of October 29, 1784, Lafayette was
+entertained in this old<span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span> home, and five years later, Washington, who had
+just been inaugurated as the first President of the United States, came
+here. Concerning his visit, he wrote in his diary: "Between 7 and 8 I
+went to an Assembly, where there were at least a hundred handsome young
+ladies." With one of these, the daughter of General Abbot, Washington
+opened the ball, and for her later, as he did not dance, he secured as a
+partner General Knox.</p>
+
+<p>Other types of porches still seen in Salem include the Dutch porch,
+quaint and comely in its construction, an excellent example of which is
+seen on the Whipple house on Andover Street, while surrounding the
+Common on Washington Square are many rare and picturesque porches of
+various dates of erection.</p>
+
+<p>Considered by experts to excel them all is the porch that adorns the
+Pierce-Jahonnot house on Federal Street. This dwelling was erected by
+Mr. Pierce, of Pierce and Waitte, merchants, in the year 1782, and
+beside the main entrance it boasts a fine example of the narrow doorway
+at one side. In the early spring, crocuses clustering about the base of
+the porch add a touch that is decorative and charming, and the
+box-bordered garden beds, just in front, filled with masses of pure
+white<span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span> bloom, complete a wholly delightful setting. There is about this
+particular doorway a touch of sentiment felt by every Salemite. It is a
+piece of architecture of which any one might feel proud, and in its
+beauty and dignity it stands distinctive in the midst of many fine bits.
+It is the Mecca of architects, who delight in the exquisite blending of
+doorway and entrance.</p>
+
+<p>There is a touch of the old Witchcraft Days connected with a doorway at
+Number 23 Summer Street, that resembles in type the one immortalized by
+Hawthorne. More than two hundred years ago, this porch was the site of
+an event that culminated in tragedy. Bridget Bishop, the first victim of
+the terrible delusion of 1692, kept a tavern here, and in her gay
+light-heartedness, she scorned the dictates of the church and insisted
+upon wearing on Sabbath Day a black hat and a red paragon bodice,
+bordered and looped with different colors. Her boldness in defying the
+rigid doctrines made the dignitaries suspicious of her, and at her
+trial, when one witness told of meeting her before the site of the
+present doorway where his horse stopped, and the buggy he was driving
+flew to pieces,&mdash;she of course having bewitched it,&mdash;was condemned to
+death.<span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
+
+<p>Individual types found throughout the city show a variety of
+construction and ornamentation, and many of these are most unique,
+although they do not belong to any special period. Prominent among these
+is the Pineapple doorway on Brown Street Court, an excellently
+proportioned and finely adorned entrance, which, through the remoteness
+of its location, is rarely seen by tourists. The dwelling of which it is
+a part was built in 1750 by Captain Thomas Poynton, and this feature,
+unlike the old Benjamin Pickman porch on Essex Street, which shows a
+codfish, has nothing about it suggestive of New England. The pineapple,
+which is set in a broken pediment, was brought over from England in one
+of the captain's own ships, and in the days of his occupancy it was kept
+brightly gilded, its leaves painted green.</p>
+
+<p>Many of the doorways show an innovation in the presence of the climbing
+vine, which winds its tendrils about the pillar supports, emphasizing
+their beauty. It is not definitely known whether the early owners
+encouraged the vine-covered porch or not, but they probably did, as they
+delighted in the vine-covered summer-house, which was a feature of
+nearly every old-time garden.</p>
+
+<p>While Salem may hold a prominent rank in<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span> attractive porches, many fine
+examples are to be found in Philadelphia, and though these specimens
+differ radically in design, they are most attractive. One is to be seen
+on Independence Hall on Chestnut Street, while others are found on
+churches and houses.</p>
+
+<p>These doorways illustrate a phase of architectural construction totally
+different from the porches of New England and those of the South, yet
+they combine features of the other types, while at the same time
+displaying a certain definite style of their own which gives to them as
+great distinctiveness as characterizes Salem porches.</p>
+
+<p>If the twentieth-century architect desires studies of truly attractive
+doorways, the seaport towns of New England will afford him excellent
+models. There is enough variety here in porches which are still
+preserved to give him any number of models from which to devise an
+entrance that will serve its purpose in every sense of the word.</p>
+
+<p>For the home builder, it will not be amiss to carefully consider the
+best type of porch before he goes to the architect to develop his plans;
+he can be assured that study will develop ideas that will give to his
+home an individuality that will embody his ideas and personality.<span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_III" id="CHAPTER_III"></a>CHAPTER III</h2>
+
+<h3>DOOR KNOCKERS</h3>
+
+<p>There is no more decorative feature of the entrance door than the
+old-time door knocker, especially if in conjunction with it are used a
+latch and hinge. It possesses a dignity and charm that is most
+attractive, and when shown in brass, brightly burnished, it forms a most
+effective foil for the dark or polished surface of the wood.</p>
+
+<p>Door knockers have been in use, save for short periods during the
+seventeenth and nineteenth centuries, since their invention, early in
+the world's history, although they were most freely used during the
+Romanesque, the Gothic, and the Renaissance periods. For easy
+identification they may be divided into three classes, the first
+characterized by a ring, the second by a hammer, and the third by human
+figures and animals' heads. The first two types show a much larger
+surface of plate than the third, and the designs employed are often most
+elaborate.</p>
+
+<p>Door knockers in use during the Medieval<span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span> period were perhaps the most
+carefully designed, while those of the Renaissance period showed the
+most fanciful treatment. It must be remembered, when considering the
+ornamental qualities of both these types of knockers, and comparing them
+with latter-day productions, that they were made at a time when
+designers were practically unknown, artists being employed to draw
+patterns which were worked out by assistants under the supervision of
+master smiths, which method resulted in a greater diversity of
+treatment.</p>
+
+<p>Iron was at first used in the construction of knockers, partly on
+account of its inexpensiveness, and the results secured from this
+seemingly ugly material were both artistic and beautiful. Later, brass
+came into favor for the purpose, and it has since remained the principal
+knocker material, as no better substitute has been found. Brightly
+polished, a brass knocker undeniably adds to the decorative
+attractiveness of any door.</p>
+
+<p>During the fifteenth and sixteenth centuries, knockers were used on all
+classes of houses. These for the most part were very elaborate in
+design, showing a wonderful delicacy of workmanship, and they were in
+many instances larger than those found on modern colonial homes.<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span></p>
+
+<p>Except for the period during the seventeenth century, as above
+mentioned, door knockers remained in favor until the middle of the
+nineteenth century, when a wave of modernity, sweeping the length and
+breadth of the land, brought in its wake an overthrow of colonial ideas
+and furnishings. Modern doors, plain of surface, replaced the finely
+paneled old-time ones, and with their coming disappeared the knocker and
+the latch. Probably the principal cause of this was the demolition of
+many of the old landmarks, and the substitution of dwellings of an
+entirely different architectural type. This innovation for a second time
+consigned the knocker to oblivion, and many there were who, not
+realizing its artistic value, cast it into the scrap heap. Others, with
+a veneration for heirlooms, packed the knockers away in old hair trunks
+under the eaves of the spacious attic, together with other antiques of
+varying character.</p>
+
+<p>No doubt the greatest number were saved by the wise and far-sighted
+collector, who, realizing the artistic beauty of the knocker, felt that
+it would in time come to its own again. Quietly he purchased them and
+stored them away, awaiting the day of their revival, and his foresight
+was amply repaid when the modified colonial house came into vogue,<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+demanding that the knocker should again be the doorway's chief feature.
+Many of those now shown are genuine antiques, while others are
+reproductions, but so carefully copied that only to one who has made a
+study of antiques is the difference discernible.</p>
+
+<div class="figleft" style="width: 355px;"><a name="ILL_008" id="ILL_008"></a>
+<img src="images/ill_008.jpg" width="355" height="600" alt="Plate VIII.&mdash;16th Century Knocker, Lion type, Striker of
+first type; Georgian Urn type, in use on modern house; Mexican Knocker of the Hammer type; Hammer type Knocker, 18th Century, Charles P. Waters House." title="" />
+<span class="caption">Plate VIII.&mdash;16th Century Knocker, Lion type, Striker of first type; Georgian Urn type, in use on modern house; Mexican Knocker of the Hammer type; Hammer type Knocker, 18th Century, Charles P. Waters House.</span>
+</div>
+
+<p>Old door knockers vary as to size according to the date of their
+construction. Many are of odd design, having been made to fit doors of
+unusual shapes, and the ornamentation is as varied as the shapes. The
+most elaborate knockers depict such ideas as Medusa's head, Garlands of
+Roses, and, in many cases, animals' heads, while the simple ones show
+oval or plain shapes, with border decorated with bead or fretwork.</p>
+
+<p>The shape of the knocker is of great assistance in classification, as is
+the metal used. The most common type has the striker round or
+stirrup-shaped. This is either plain or ornamented with twisted forms,
+with wreathing or masks, and the plate is formed of a rosette or lion's
+head.</p>
+
+<p>In the second type, the striker is hammer-shaped, the handle often
+showing a split and straplike formation, while the plate and knob are
+plain. This is an early type, as is shown from the fact that specimens
+still exist that are not unlike Byzantine<span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span> and Saracenic forms. It is
+to this type that the exquisite iron-chiseled knockers of Henry II and
+Louis XIV belong.</p>
+
+<p>The lyre or elongated loop drawn down to form the striker constitute the
+third style. Masks, snakes, dragons, and human figures belong to this
+class, and, on account of the elaborate workmanship employed, these are
+often found in brass and bronze. This type shows ornamentation lavished
+on the striker, while the plate is very plain.</p>
+
+<p>The greatest difference noted in all these classes is that in the third
+type the escutcheon or plate by which the knocker is fastened to the
+door is of little importance, while in the first two types it is the
+leading motive.</p>
+
+<p>During the Gothic period, the design was diamond-shape, richly decorated
+with pierced work, and while this same motif was retained in the making
+of the Renaissance knocker, it was frequently varied by the
+double-headed or some similar style.</p>
+
+<p>What is correct concerning the design of the Medieval knocker holds good
+in that of to-day. No door knocker ever designed was ugly, even at the
+time of the earliest manufacture, when so little was known concerning
+architectural construction. There is a<span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span> fine individuality in the style
+of all knockers, and singularly enough one fails to find duplicates of
+even the most admirable specimens. Another fact that seems strange is
+that reproductions often sell for as much as genuine antiques. It would
+seem that the price of the old knocker would be high, on account of its
+historical value, and yet this type of knockers sells at a lower price
+than present-day specimens. Old brass examples can be purchased as low
+as two dollars and fifty cents, while large and elaborate ones bring
+only ten dollars. This is not on account of their true value not being
+known, but because there is, as yet, comparatively little demand for
+them; and their sale at the best is limited, for where a person could
+use twenty candlesticks, two knockers would suffice for door
+ornamentation.</p>
+
+<p>There is an important phase of the copied specimens that must be taken
+into consideration, and that is that they have no historic value. This
+fact has made reproductions of no appeal to either the collector or the
+antiquarian, unless there is some special interest in the model from
+which they have been copied.</p>
+
+<p>Whether a knocker is a reproduction or a genuine antique can often be
+told by examining the plate<span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span> and noting if it is forged to the ring or
+flat plate. If so, it is a fine piece of workmanship and a genuine
+antique; otherwise, it is spurious.</p>
+
+<div class="figright" style="width: 386px;"><a name="ILL_009" id="ILL_009"></a>
+<img src="images/ill_009.jpg" width="386" height="600" alt="Plate IX.&mdash;Eagle Knocker; Eagle Knocker, Rogers House, Danvers, Mass.; Medusa head, elaborate early type; Garland type of Knocker." title="" />
+<span class="caption">Plate IX.&mdash;Eagle Knocker; Eagle Knocker, Rogers House, Danvers, Mass.; Medusa head, elaborate early type; Garland type of Knocker.</span>
+</div>
+
+<p>The best place to purchase genuine old knockers is in the curio shops,
+where only such things are for sale. Even in this event, it is well to
+know the earmarks, for if one is anxious for a real antique, he should
+be posted on the characteristics, as a spurious specimen is apt to find
+its way even here.</p>
+
+<p>The door knockers in general use to-day are the Georgian urn or vase,
+the thumb latch, and the eagle. Such designs as Medusa's head, and the
+head of Daphne with its wreath of laurel leaves are also sometimes
+found.</p>
+
+<p>The lion with ring has always been more popular in England than in our
+country, and, indeed, during the Revolutionary War and for fifty years
+after, it was not even tolerated here, being superseded by the eagle,
+which came into vogue about 1775.</p>
+
+<p>The garland knocker, which belongs to the early type, is still sometimes
+found to-day. One such specimen is shown on a modern colonial home at
+Wayland, Massachusetts. This originally graced the doorway of one of
+Salem's merchant prince's<span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span> homes, but it was purchased by a dealer in
+antiques at the time of the decline in favor of the knocker, later
+finding its original resting place, from which it has only recently been
+removed.</p>
+
+<p>Another rare and unusual knocker is shown on a house on Lynde Street,
+Salem, Massachusetts. This is of Mexican type, and has been on the house
+since its erection. It was painted over some years ago by an owner who
+cared little for its worth, and it was not until a comparatively short
+time ago that it was discovered to be a fine example of a rare type.</p>
+
+<p>The horseshoe knocker, a specimen of the hammer class, is a prized relic
+of many old homes. Like all true colonial specimens, it is made of
+wrought iron, painfully hammered by hand upon the forge in the absence
+of machinery for working iron, as even nails had to be hammered out in
+those early times. This is one of the quaintest and most original
+knockers, and is after the pattern of the earliest designed. Subsequent
+specimens were more elaborate, colonial craftsmen bestowing upon them
+their greatest skill. Among the most ornate were the purely Greek or
+Georgian vases or urns, eagles in all possible and impossible positions,
+heads of Medusa, Ariadne, and other mythological ladies,<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> and Italian
+Renaissance subjects, such as nymphs, mermaids, and dolphins, with
+ribbons, garlands, and streamers.</p>
+
+<p>Not a few of these knockers have wonderfully interesting histories.
+Scenes have been enacted about them, which, could they be but known,
+would make thrilling tales. Take, for instance, the knocker on the
+Craigie House at Cambridge, Massachusetts. How many men of letters from
+all over the world have lifted the knocker to gain admittance to our
+late loved poet's home, and think what stories such visits could
+furnish!</p>
+
+<p>On the Whittier homestead at Amesbury, Massachusetts, is still to be
+seen the knocker which was on the door during the poet's life. This is
+of eagle design, probably chosen on account of its patriotic
+significance. Another interesting knocker formerly graced the house
+wherein the "Duchess" lived, on Turner Street, in Salem, many times
+lifted by Hawthorne, who was a frequent visitor to this dwelling, and
+who forever immortalized it in his famous romance, <i>The House of Seven
+Gables</i>. This is now replaced by another of different design.</p>
+
+<p>Considered to be one of the oldest knockers in this section is that on
+the door of the May house at Newton, Massachusetts. Be that as it may,
+it is<span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span> certainly unique. The plate shows a ph&oelig;nix rising from the
+plain brass surface, while the knocker has for ornamentation a Medieval
+head. This knocker has attracted the attention of antiquarians
+throughout the country, who have given it much study in attempts to find
+out the period in which it was made.</p>
+
+<p>Thumb latches are not so common as the hammer and ring class. Two of
+these specially unique show wonderful cutting. One is found on the front
+door of the Waters house on Washington Square, Salem, being brought from
+the John Crowninshield dwelling, while the other is seen on the side
+porch of this same residence, having been placed there at the time of
+the building's erection in 1795.</p>
+
+<p>England is the seat of most of the old-time knockers, although they are
+still found in almost every part of the globe. Threading the narrow
+by-streets of London, one finds many historic specimens replaced by
+simple modern affairs. Some have become the prey of avaricious tourists,
+while others, because of their owners' little regard for their value,
+have been relegated to ash heaps and thrown away.</p>
+
+<p>This is true of the knocker made famous by Dickens in the <i>Christmas
+Carol</i>. On the polished<span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span> surface of this, Scrooge was said to have
+thought he saw reflected the face of Marley "like a bad lobster in a
+dark cellar." Later he spoke of it as follows: "I shall love it as long
+as I live. I scarcely ever looked at it before. What an honest
+expression it has in its face. It is a wonderful knocker." Clasped hands
+holding a ring of laurel is the form of the knocker still seen on the
+door of the famous Dr. Johnson house, and, as one gazes at it, he can in
+fancy see David Garrick and Sir Joshua Reynolds ascending the steps, and
+if he pauses a moment longer he can no doubt even hear the metallic ring
+of the knocker, as it responds to the vigorous raps that they give.</p>
+
+<p>The most beautiful knocker left in London is the one shown on the outer
+gate of the Duke of Devonshire's house at Piccadilly. The design here,
+as unique as it is beautiful, shows an angelic head with flowing hair.</p>
+
+<p>Chapels and cathedrals in England have many examples of this type of
+door decoration, one being a knocker handle with pierced tracery seen on
+Stogumber Church in Somerset.</p>
+
+<p>The history of door knockers is practically unwritten, and little is
+known concerning their make. The revival of antiques is responsible for<span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span>
+their present popularity, and gives them an importance in house
+ornamentation little dreamed of a few years ago. To be sure, the coming
+of electric bells has precluded their necessity, but, on account of
+their ornamental value, it is doubtful if they ever become obsolete. The
+variety of design, the many artistic shapes to which they can be
+adapted, and, more than all, their decorative qualities, make them
+particularly valuable.<span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_IV" id="CHAPTER_IV"></a>CHAPTER IV</h2>
+
+<h3>OLD-TIME GARDENS</h3>
+
+<p>There was a restful charm and dignity surrounding the garden of olden
+times that is lacking in the formal ones of to-day. This effect was
+gained partly from the prim box borders and the straight, central path,
+and partly from the stateliness of the old-fashioned flowers. Gardens
+formed a distinctive feature in the colonists' home grounds, from the
+time of their landing on unknown soil. At first they were very small,
+and consisted mostly of wild flowers and plants that had been brought
+from their homes in England and Holland. The early settlers brought with
+them to this new land a deep love for floriculture, and the earliest
+garden plots filled with flowering plants, though rude in construction,
+saved the house mother many a heartache, reminding her as they did of
+the beautiful gardens in the motherland left behind.</p>
+
+<p>We find in the earliest records of the new settlers allusions to
+flowers, and Reverend Francis Higginson speaks of the wild flowers which
+he<span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span> saw blossoming near the shore. He considered them of enough
+importance to record in his diary on June 24, 1629, writing "that wild
+flowers of yellow coloring resembling Gilliflowers were seen near the
+shore as they sighted land, and that as they came closer they saw many
+of these flowers scattered here and there, some of the plots being from
+nine to ten feet in size."</p>
+
+<p>Four of the men who went ashore on the twenty-seventh of that month
+found on the headlands of Cape Cod single wild roses. Later on he tells
+again of the number of plants found growing, giving their names. These
+facts have enabled people in later years to locate the same flowers
+growing near the same places as when they were first discovered.</p>
+
+<p>Governor Bradford also considered the flowers of importance, and in his
+historical account of the Colonies of New England, he tells us that
+"here grow many fine flowers, among them the fair lily and the fragrant
+rose."</p>
+
+<p>On Governors Island in Boston Harbor were rich vineyards and orchards,
+as well as many varieties of flowers. Governor Winthrop, inserting a
+clause in the grant, said that vineyards and orchards should be planted
+here; that this was complied<span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span> with is shown from the fact that the rent
+in 1634 was paid with a hogshead of wine.</p>
+
+<p>Following the growth of colonist gardens, we find that John Josslyn
+arrived in Boston four years later, in 1638, and that soon after his
+arrival he visited his brother's plantation in Black Point, Maine. He
+made a careful list of plants that he found here, each one of which he
+carefully described and sent in part to England, and it is interesting
+to note that in those days, the colonists in the spring gathered
+hepaticas, bloodroot, and numerous other wild flowers.</p>
+
+<p>His description of the pitcher plant is graphic: "Hollow leaved lavender
+is a plant that grows in the marshes, overgrown with moss, with one
+straight stalk about the bigness of an oat straw. It is better than a
+cubic high, and upon the top is found one single fantastic flower. The
+leaves grow close to the root in shape like a tankard, hollow, tight,
+and always full of water." The whole plant, so he says, comes into
+perfection about the middle of August, and has leaves and stalks as red
+as blood, while the flower is yellow.</p>
+
+<p>Mr. Josslyn also speaks of the fact that shrubs and flowers brought from
+England and Holland by the Puritans as early as 1626 were the nucleus
+of<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span> old-fashioned gardens, and that woadwaxen, now a pest covering acres
+of ground and showing during the time of blossoming a brilliant yellow,
+was kept in pots by Governor Endicott, while the oxeye daisy and
+whiteweed were grown on Governor Endicott's Danvers farm.</p>
+
+<p>He also tells us of the gardens with "their pleasant, familiar flowers,
+lavender, hollyhocks, and satin." "We call this herbe in Norfolke
+sattin," says Gerard, "and among our women, it is called honestie and
+gillyflowers, which meant pinks as well, and dear English roses and
+eglantine."</p>
+
+<p>The evolution of the garden commenced at this time, and from then until
+fifty years ago the old-fashioned garden was in vogue. There was much
+sameness to this kind of garden; each one had its central path of
+varying width, generally with a box border on either side, while inside
+were sweet-smelling flowers, such as mignonette, heliotrope, and sweet
+alyssum. Vine-covered arbors were the central feature, and at the end of
+the walk stood a summer-house of simple proportions, sometimes so
+covered with trailing vines as to be almost unseen.</p>
+
+<p>It was here on summer afternoons that our grandmothers loved to come for
+a social cup of tea,<span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span> knitting while breathing in the sweet-scented air,
+permeated with the fragrance of single and double peonies, phlox, roses,
+and bushes of syringa. Tall hollyhocks swayed in the breeze, holding
+their stately cups stiff and upright, and there were tiger lilies, as
+well as the dielytra, with its row of hanging pink and white blossoms,
+from which the children made boats, rabbits, and other fantastic
+figures.</p>
+
+<p>In some of the old-time gardens, the small, thorny Scotch roses
+intermingled with the red and white roses of York and Lancaster. Little
+wonder that the perfume of their blooms was wafted through the air,
+although they were hidden among the taller roses, and there was no
+visible trace of their presence.</p>
+
+<p>One walked along the broad sidewalks of the old-time cities, expecting
+to find at every turn a garden of flowers. Not even a glimpse did they
+obtain, for the gardens of those days were not in view, but hidden away
+behind high board fences which have now in many cases been changed for
+iron ones, thus giving to the public glimpses of the central arbor and
+the long line of path with brilliant bloom on either side.</p>
+
+<p>One reason that the gardens in the olden days<span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span> were hidden from view was
+that the houses, more especially the Salem ones, were built close to the
+sidewalk, and there was no chance for flowers in front or at either
+side.</p>
+
+<div class="figleft" style="width: 500px;"><a name="ILL_010" id="ILL_010"></a>
+<img src="images/ill_010.jpg" width="500" height="314" alt="Plate X.&mdash;Whittier Garden, Danvers, Mass." title="" />
+<span class="caption">Plate X.&mdash;Whittier Garden, Danvers, Mass.</span>
+</div>
+
+<p>Most of the noted old gardens have long since become things of the past,
+but a few are still left to give hints of the many that long ago were
+the pride of New England housewives. The estate of the late Captain
+Joseph Peabody at Danvers, Massachusetts, was at one time famed for its
+old-fashioned garden. This lay to the right of the avenue of trees that
+formed the driveway to the house. These trees were planted in 1816 by
+Joseph Augustus Peabody, the elder son of the owner. The garden proper
+was hidden from view, as one passed up the driveway, but lay at the
+front of the house. In its center was a large tulip tree, which still
+stands, said to be one of the oldest and largest in the country. One of
+the unique features of the grounds, and one that has existed since the
+days of Captain Peabody's occupancy, is a small summer-house, showing
+lattice work and graceful arches. Its top is dome-shaped, surmounted by
+a gilded pineapple.</p>
+
+<p>There is, however, another historic summer-house on this estate. It was
+formerly on the<span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span> Elias Hasket Derby property, and was built about
+1790. This was purchased by the present owner of the estate, who had it
+moved to her grounds, a distance of four miles, without a crack in the
+plaster. It was built by Samuel McIntyre, and is decorated with the
+pilaster and festoons that are characteristic of his workmanship. Four
+urns and a farmer whetting his scythe adorn the top. Originally a
+companion piece was at the other end, representing a milkmaid with her
+pail. This latter figure was long ago sold by the former owner and
+placed with a spindle in its hand on the Sutton Mills at Andover,
+Massachusetts, where it stood for many years until destroyed by fire.
+The house itself contains a tool room on the lower floor, while at the
+head of the staircase is a large room, sixteen feet square, containing
+eight windows and four cupboards. It is hung with Japanese lanterns, and
+the closets are filled with wonderful old china. Its setting of flowers
+is most appropriate.</p>
+
+<p>At Oak Knoll in Danvers is still left the garden that the poet Whittier
+so much loved. It stands at the side of the house, bordering the avenue
+that leads from the entrance gate. The paths have box borders, and
+inside is a wealth of bloom, the<span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span> central feature being a fountain which
+was a gift from Whittier to the mistress of the home. It was here he
+loved to come during the warm summer afternoons to pace up and down,
+doubtless thinking over and shaping many of his most noted poems. The
+garden has been carefully tended, and it shows to-day the same flowers
+that were in their prime during his life.</p>
+
+<div class="figright" style="width: 500px;"><a name="ILL_011" id="ILL_011"></a>
+<img src="images/ill_011.jpg" width="500" height="321" alt="Plate XI.&mdash;Peabody Garden, Danvers, Mass." title="" />
+<span class="caption">Plate XI.&mdash;Peabody Garden, Danvers, Mass.</span>
+</div>
+
+<p>Another fine example of a box-bordered, old-time garden is seen at
+Newburyport, Massachusetts, on the estate of Mrs. Charles Perry. Here
+the colonial house stands back from the main road, with a long stretch
+of lawn at the front. Passing out of the door at the rear, one comes
+upon a courtyard with moss-grown flagging that leads directly to the
+garden itself, fragrant with the incense of old-time blooms.</p>
+
+<p>At Indian Hill, the summer home of the late Major Benjamin Perley Poore
+at West Newbury, much care has been given to the gardens to keep the
+flowers as they were in the olden days. A feature of this estate, in
+addition to the gardens, is a shapely grove of trees at the rear of the
+mansion, that took first prize years ago as being the finest and
+best-shaped specimens in the county. Many of these trees were named for
+the major's<span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span> friends, and they bear names well known to New Englanders.</p>
+
+<p>More than a century ago, when Salem was the trade center of the world,
+her gardens were renowned. These gardens were at the rear of the
+dwellings, and it was here that the host and his guests came for their
+after-dinner smoke, surrounded by the flowers that they loved.</p>
+
+<p>The first improvements in garden culture were made by one George
+Heussler, who, according to Captain Jonathan P. Felt, came to America in
+1780, bringing with him a diploma given him by his former employers.
+Previous to this period he had served an apprenticeship in the gardens
+of several German princes, as well as in that of the king of Holland,
+and was, in consequence, well qualified for the work. The first
+experience he had in America in gardening was at the home of John Tracy
+in Newburyport, where he worked faithfully for several years. Ten years
+afterwards he came to Salem to take charge of the farm and garden of
+Elias Hasket Derby, Senior, at Danvers, and later worked in other
+gardens in the city of Salem, where he lived until his death in 1817.</p>
+
+<p>From the records we glean that on October 21, 1796, Mr. Heussler gave
+notice that he had choice<span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span> fruit trees for sale at Mr. Derby's farm,
+while a newspaper of that date informs us that the latter gentleman had
+recently imported valuable trees from India and Africa and that he had
+"an extensive nursery of useful plants in the neighborhood of his rich
+garden." His son, E. Hersey Derby, had a garden of great dimensions at
+his estate in South Salem, or, as it was then called, South Fields. This
+was in 1802, and for a long time the fame of this rare and beautiful
+garden was retained.</p>
+
+<p>Both of the Derby gardens were worthy of attention, and it is said by
+those in authority that in the Derby greenhouse the first night-blooming
+cereus blossomed. This was in 1790, and the flower was the true <i>cereus
+grande flora</i>, not the flat-leaved cactus kind that is now cultivated
+under that name. It was largely the influence of the beautiful Derby
+gardens that gave to Salem its impetus for fine garden culture.</p>
+
+<p>Who knows how many romances have been enacted in the old-fashioned
+gardens of long ago! They were fascinating places for lovers to wander
+and in their vine-clad summer-houses many a love-tale was told. The
+sight of an old-time garden recalls to-day the early owners, and in
+imagination one can hear the swish of silken<span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span> skirts as the mistress of
+the home saunters down the central path to take tea with friends in her
+beloved arbor. There were warm friendships among neighbors in those
+days, and the summer season was marked by a daily interchange of visits;
+and so the old-time garden is fraught with memories of bygone
+festivities and perchance of gossip.</p>
+
+<p>After the close of commerce, the Derby Street houses, formerly occupied
+by the old merchants, gradually became deserted, and new houses were
+sought in different parts of the town, farther removed from shipping
+interests. Chestnut Street was the location of many of these new homes,
+and here the beautiful old-fashioned gardens were shown at their best.
+These were usually inclosed, and were reached by a side door, opening
+directly into a veritable wealth of bloom.</p>
+
+<p>Among the extensive gardens cultivated here was a smaller one containing
+a greenhouse. This was owned by John Fiske Allen. Mr. Allen was an
+ardent lover of flowers, and was always interested in adding some new
+and rare specimen to his collection. From Caleb Ropes in Philadelphia he
+purchased seed of the <i>Victoria Regia</i>, the water lily of the Amazon.
+These plants blossomed for the second time in our country on<span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span> July 28,
+1833, the grounds being thronged with visitors during the time of their
+blossoming. This fact was called to the attention of William Sharp, who
+had illustrations made for a book on the subject. The following year an
+extension was made to the greenhouse, and more seed was planted, which
+had come from England, and, in addition, orchids and other plants were
+grown.</p>
+
+<p>The Humphrey Devereux house stands almost directly across the street
+from the Allen house. This garden, under the care of the next owner,
+Captain Charles Hoffman, became famous, for here the first camellias and
+azaleas in this country were planted. One of the former plants is still
+seen in a greenhouse in Salem. Captain Hoffman had a well-trained
+gardener, named Wilson, whose care gave this garden a distinctive name
+in the city. This garden is now the property of Dr. James E. Simpson,
+and it shows like no other the direct influence of olden times. There is
+the same vine-clad arbor for the central figure, and the plants which
+are grown behind box borders are the same that grew in our grandmothers'
+time. This scheme has been carefully carried out by the mistress of the
+house, who is passionately fond of the old-time blossoms.<span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span></p>
+
+<p>In the garden of the Cabot house on Essex Street, the first owner of the
+house imported tulips from Holland, and, during the time of their
+blossoming, threw open the garden to friends. The later owners improved
+the garden by adding rare specimens of peonies and other plants, and
+have kept the same effects, adding to the gardens' beauty each year.</p>
+
+<p>While the old-fashioned garden has gone into decline, yet the modern-day
+enthusiast has brought into his formal gardens the flowers of yesterday.
+The artistic possibilities of these have appealed so strongly to the
+flower lover that they have been restored to their own once more. The
+box border is practically a thing of the past, having been replaced by
+flower borders of mignonette and sweet alyssum, which afford a fine
+setting for the beds. Like pictures seem these old-fashioned gardens,
+framed with thoughts of days long gone by, and one unconsciously sighs
+for those days that are gone, taking with them the sweet odor of the
+flowers that grew in our grandmothers' time.<span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_V" id="CHAPTER_V"></a>CHAPTER V</h2>
+
+<h3>HALLS AND STAIRWAYS</h3>
+
+<p>The colonial hall as we have come to think of it&mdash;dignified and
+spacious, with characteristics of unrivaled beauty&mdash;was not the type in
+vogue in the first years of the country's settlement, but rather was the
+outgrowth of inherent tendencies, reflecting in a measure the breadth
+and attractiveness of the English hallway.</p>
+
+<p>The earliest dwellings were built for comfort, with little regard for
+effect, and they showed no hallways, only a rude entrance door giving
+directly upon the general and often only apartment. Sometimes this door
+was sheltered on the outside by a quaint closed porch, which afforded
+additional warmth and protection from the driving storms of rain or
+snow; but it was never anything more than a mere comfort-seeking
+appendage, boasting no pretentions whatever to architectural merit.
+Crude, indeed, such entrances must have seemed to the stern Puritan
+dwellers, in comparison with<span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span> those of their ancestral abodes; and it
+is not to be wondered at if in secret they sometimes longed for the
+hallways of their boyhood, where, after the evening meal in the winter
+season, the family was wont to gather about the roaring fire, perchance
+to listen to some tale of thrilling adventure.</p>
+
+<div class="figleft" style="width: 330px;"><a name="ILL_012" id="ILL_012"></a>
+<img src="images/ill_012.jpg" width="330" height="500" alt="Plate XII.&mdash;Saltonstall Hallway, about 1800." title="" />
+<span class="caption">Plate XII.&mdash;Saltonstall Hallway, about 1800.</span>
+</div>
+
+<p>The first American hall came in with the building of the frame house,
+erected after the early hardships were over, and the colonists could
+afford to abandon their rude cabin domiciles. This was really little
+more than an entry, rarely characterized by any unusual features, but it
+served as a sort of introduction to the home proper, and was dignified
+by the title of hallway. The hall in the old Capen house at Topsfield,
+Massachusetts, belongs to this type.</p>
+
+<p>Later came the more pretentious hall, typical of the gambrel roof house,
+that enjoyed so long a period of popularity. This was generally a narrow
+passage, with doors opening at either side into the main front
+apartments, and with the staircase at the end rising in a series of
+turns to the rooms above. The first turn often contained in one corner a
+small table, which held a candlestick and candle used to light a guest
+to bed, or a grandfather's clock, the dark wood of<span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span> its casing serving
+as an effective contrast to the otherwise light finish of the apartment.</p>
+
+<p>Not infrequently the hall was solidly paneled, and a built-in cupboard
+or like device was sometimes concealed behind the paneling; or, as in a
+dwelling in Manchester, Massachusetts, it contained an innovation in the
+form of a broad space opened between two high beams, halfway up the
+staircase, arranged, no doubt, for the display of some choice
+possession, and showing beneath a motto of religious import.</p>
+
+<p>In the better class of houses of this period, the hallway sometimes
+extended the width of the dwelling, opening at the rear on to the yard
+space. This type was the forerunner of the stately attractive hall that
+came into vogue in the last half of the eighteenth century, and
+continued in favor during the first years of the nineteenth century,
+with the advent of the wooden and brick mansion.</p>
+
+<div class="figright" style="width: 376px;"><a name="ILL_013" id="ILL_013"></a>
+<img src="images/ill_013.jpg" width="376" height="500" alt="Plate XIII.&mdash;Hallway, Lee House, 1800." title="" />
+<span class="caption">Plate XIII.&mdash;Hallway, Lee House, 1800.</span>
+</div>
+
+<p>Belonging to the earlier class are the Warner and Stark halls in New
+Hampshire. The former is paneled from floor to ceiling, the white of the
+finish now mellowed to ivory tones, and serving to display to advantage
+the fine furnishings with which it is equipped. At the rear it opens
+upon a grassy yard space, shaded by tall trees, thought<span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span> to be the site
+of the old slave quarters, long since demolished. The walls show several
+adornments, among the most interesting being the enormous antlers of an
+elk, which, tradition tells, were presented to the builder of the
+dwelling by some of the Indians with whom he traded, as an evidence of
+their friendship and good will. The latter hall is of similar type,
+entered through a narrow door space and continuing the width of the
+dwelling; it ends at the rear in a quaint old door that shows above its
+broad wooden panels a row of green bull's eyes, specimens of early
+American glass manufacture, still rough on the inside where detached
+from the molding bar. This door gives upon an old-time garden plot,
+fragrant with the blooms of its original planting, and preserving intact
+its early features. Rare bits of old furniture are used in the equipment
+of this hall, and the paneled walls are hung with family portraits.</p>
+
+<p>When unwearied toil had made living considerably easier, and many of the
+merchants had amassed fortunes, there sprang up, in both the North and
+the South, those charming colonial mansions that were the fit abode of a
+brave race. They demanded hallways of spacious dimensions, and into
+favor then came the broad and lofty<span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span> hall, embodying in its construction
+the highest development of the colonial type. Quite through the center
+of the house this hall extended, from the pillared portico and stately
+entrance door, with its fan lights and brazen knocker, to another door
+at the rear, through the glazed upper panels of which tantalizing
+glimpses could be obtained of tall hollyhocks and climbing roses growing
+in the old-fashioned garden just without.</p>
+
+<div class="figleft" style="width: 500px;"><a name="ILL_014" id="ILL_014"></a>
+<img src="images/ill_014.jpg" width="500" height="397" alt="Plate XIV.&mdash;Hallway, Tucker House, about 1800." title="" />
+<span class="caption">Plate XIV.&mdash;Hallway, Tucker House, about 1800.</span>
+</div>
+
+<p>In a measure this hall was a reproduction of the English type,
+particularly in its spaciousness of dimension. Unlike this type,
+however, it lacked the dominant influence of the fireplace, and in its
+construction it showed several independent features, all tending to
+emphasize the attractive dignity suggested in the broadness of outline.
+Often an elliptical arch spanned the width at about one third the
+length, generally serving to frame the staircase, and tending to make
+dominant the attractiveness of this feature. This was usually little
+more than a skeleton arch, being a suggestion, rather than a reality,
+sometimes plain, and sometimes slightly ornamental. This feature is
+shown in the Lee hall at Salem, and in the main hall of the old Governor
+Wentworth house at Little Harbor, New Hampshire. This latter hall<span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span> is
+particularly interesting, not only for its beauty of construction, but
+also for its historic associations. Under its arch, framing the fine old
+staircase, men prominent in the history of the State and country have
+passed, and on the walls and over the door are still seen stacks of
+arms, thirteen in number, the muskets of the governor's guard, so long
+dismissed.</p>
+
+<p>The most important feature of all these halls was the staircase, and in
+its construction the greatest interest was centered. Generally it
+ascended by broad, low treads to a landing lighted by a window of
+artistic design, and continued in a shorter flight to the second floor
+apartments. It was always located at one side, and generally near the
+rear, to allow the placing of furniture without crowding. The balusters
+were usually beautifully carved and hand turned, with newel posts of
+graceful design; and sometimes even the risers showed carved effects.
+The cap rail was usually of mahogany. Hard wood was sometimes used in
+the construction of the staircase, the treads in this event being dark
+and polished, while soft wood painted white was also much used.</p>
+
+<div class="figright" style="width: 360px;"><a name="ILL_015" id="ILL_015"></a>
+<img src="images/ill_015.jpg" width="360" height="500" alt="Plate XV.&mdash;Hallway, Wentworth House, 1750." title="" />
+<span class="caption">Plate XV.&mdash;Hallway, Wentworth House, 1750.</span>
+</div>
+
+<p>The finish of the walls in this type of hall varied. Some were entirely
+paneled, others showed a<span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span> quaint landscape paper above a low white
+wainscot, and still others showed hangings of pictorial import, framed
+like great pictures. To the last-named class belongs the Lee hall at
+Marblehead, considered to be one of the finest examples of its type
+extant. Black walnut is the wood finish here, and the hangings, designed
+by a London artist, are in soft tones of gray, beautifully blended, and
+represent scenes of ruined Greece, each set in a separate panel,
+handsomely carved.</p>
+
+<p>Occasionally, to-day, a staircase of the spiral type is found,&mdash;a type
+that possesses certain satisfying characteristics, but which never
+enjoyed the popularity of the straight staircase. Some few of the
+staircases in the old Derby Street mansions at Salem are of this type,
+as is the staircase at Oak Knoll, in Danvers, the poet Whittier's last
+residence. The common name for this type of staircase was winder.</p>
+
+<p>A large number of representatives of the finest type of the colonial
+hall are scattered throughout the North and South, and their sturdiness
+of construction bids fair to make them valued examples indefinitely. One
+particularly good example is shown at Hey Bonnie Hall, in Bristol, Rhode
+Island, a mansion built on Southern lines, and<span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span> suggesting in its
+construction the hospitality of that section. Here the hall is twenty
+feet wide; the walls are tinted their original coloring, a soft rich
+green, that harmonizes perfectly with the white woodwork and the deep,
+mellow tones of the priceless old mahogany of the furnishings. A
+well-designed, groined arch forming a portion of the ceiling, and
+supported at the corners by four slender white pillars, is one of the
+apartment's attractive adjuncts, while the dominant feature is the
+staircase that rises at the farther end, five feet in width, with treads
+of solid mahogany and simple but substantial balusters of the same wood
+on either side. The upper hall is as distinctive as the lower one, and
+exactly corresponds in length and width. Wonderful old furnishings are
+placed here, and at one end is displayed a fine bit of architectural
+work in a fanlight window, overlooking the garden.</p>
+
+<p>One wonders, when viewing such a hall as this, how this type could ever
+have been superseded in house construction, but with the gradual decline
+in favor of the colonial type of dwelling, it was abolished, and in
+place of its lofty build and attractive spaciousness, halls of cramped
+dimensions came into vogue, culminating in the entry<span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span> passage typical of
+houses built toward the middle of the nineteenth century. Happily,
+present-day house builders are coming to a realizing sense of the
+importance of the hallway, and are beginning to appreciate the fact
+that, to be attractive, the hall must be ample, well lighted, and of
+pleasing character. With this realization the beauty of the colonial
+hall has again demanded attention, and in a large number of modern homes
+it has been copied in a modified degree.<span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_VI" id="CHAPTER_VI"></a>CHAPTER VI</h2>
+
+<h3>FIREPLACES AND MANTELPIECES</h3>
+
+<p>It is a far cry from the fireplaces of early times to those of the
+present, when elaborate fittings make them architecturally notable. We
+read that in the Middle Ages, the fire in the banquet hall was laid on
+the floor in the center of the large apartment, the smoke from the
+blazing logs, as it curled slowly upward, escaping through a hole cut in
+the ceiling. Later, during the Renaissance period, the fire was laid
+close to the wall, the space set apart for it framed with masonry jambs
+that supported a mantel shelf. A projecting hood of stone or brick
+carried the smoke away, and the jambs were useful, inasmuch as they
+protected the fire from draughts. From this time, the evolution of the
+fireplace might be said to date, improvement in its arrangement being
+worked out gradually, until to-day it is numbered among the home's most
+attractive features. It is interesting to note, in reference to these
+latter-day specimens, that many of them are similar in design<span class='pagenum'><a name="Page_64" id="Page_64">[Pg 64]</a></span> to those
+of the Renaissance, Louis Sixteenth, and colonial periods.</p>
+
+<p>Not a few of the early fireplaces were of the inglenook type, a fad that
+has been revived and is much in evidence in modern dwellings; and many
+of them followed certain periods, such as the Queen Anne style and the
+Elizabethan design. Several, too, were topped with mantels, features
+practical as well as ornamental, which are almost always associated with
+the fireplaces of to-day. Many of the old mantels were very narrow,
+prohibiting ornamentation with pottery or small bits of bric-a-brac;
+they were so built, because the designers of early times considered them
+sufficiently decorative in themselves without any additional
+embellishment, and their sturdiness and architectural regularity seem to
+justify this opinion. Mantels and fireplaces of early Renaissance type
+show in detail an elegance that is characteristic of all the work of
+that period, the Italian designers being masters in their line.</p>
+
+<p>In the baronial halls of Merrie England, we find huge fireplaces, wide
+enough to hold the Yule log, around which, after the chase, the
+followers gathered to drink deep of the wassail bowl. Such pictures must
+have lingered long in the minds of<span class='pagenum'><a name="Page_65" id="Page_65">[Pg 65]</a></span> the colonists in their new
+surroundings, and to us they are suggestive of the Squire in "Old
+Christmas," who, seated in his great armchair, close by the fire,
+contentedly smoked his pipe and gazed into the heart of the flickering
+flames, filled with the joy of his ancestral possessions.</p>
+
+<div class="figcenter" style="width: 500px;"><a name="ILL_016" id="ILL_016"></a>
+<img src="images/ill_016.jpg" width="500" height="339" alt="Plate XVI.&mdash;Historic Fireplace at Ipswich, Mass." title="" />
+<span class="caption">Plate XVI.&mdash;Historic Fireplace at Ipswich, Mass.</span>
+</div>
+
+<p>Life with the early colonists was a stern reality. The climate here was
+far more rigorous than that of the motherland, and a home and a warm
+fire were the two necessities first demanded. Logs from the near-by
+forest afforded the former, while rocks taken from the clearings
+supplied the latter. The fireplaces of those days were perhaps the
+largest ever built in any land, some ten feet or more in depth, and
+broad enough to hold the logs which were stacked just outside the cabin
+door. The rude stones which formed the fireplace were piled wall
+fashion, the largest at the bottom and the smallest on top, the chinks
+between made strong by daubings of clay. Later, the builders gave a more
+finished effect to this feature, and the hearths were then extended many
+feet into the single large apartment, while on either side were placed
+rude, home-made benches with high backs, to shield the inmates from the
+cold felt outside the circle of the fire's warmth.<span class='pagenum'><a name="Page_66" id="Page_66">[Pg 66]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_017" id="ILL_017"></a>
+<img src="images/ill_017.jpg" width="600" height="362" alt="Plate XVII.&mdash;Old Fireplace in Wentworth House, Portsmouth, N.&nbsp;H." title="" />
+<span class="caption">Plate XVII.&mdash;Old Fireplace in Wentworth House, Portsmouth, N.&nbsp;H.</span>
+</div>
+
+<p>At the rear of the fireplace was arranged a huge backlog, to afford
+protection to the stones, and also to throw the heat into the room. This
+was often of unseasoned timber, that it might last the longer, two feet
+in diameter, and eight feet or more in length. Firedogs were used to
+hold the smaller logs, while creepers were employed for the smallest of
+all, and to start the fire, small pine boughs and small timbers were
+heaped high, flint and tinder serving to ignite them. Once started, the
+fire was kept indefinitely, being carefully covered at night or piled
+with peat; above the blaze swung the soot-blackened crane, with its
+various pots and kettles. Such was the early colonial kitchen, the
+fireplace its dominant feature, the light from its glowing logs throwing
+into relief the sanded floor, bare, unplastered walls, and the rafters
+overhead. With the coming of prosperity, these rude log huts gave way to
+timber houses, two stories in height, and with their advent the better
+type of colonial fireplaces came into vogue.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_018" id="ILL_018"></a>
+<img src="images/ill_018.jpg" width="600" height="362" alt="Plate XVIII.&mdash;First Hob Grate in New England, Waters House; Mantel Glass and Fireplace, showing decoration of floral basket." title="" />
+<span class="caption">Plate XVIII.&mdash;First Hob Grate in New England, Waters House; Mantel Glass and Fireplace, showing decoration of floral basket.</span>
+</div>
+
+<p>Dating as far back as the earliest fireplaces are found fire sets, as
+they were sometimes called, comprising the hearth accessories necessary
+for an open fire. The oldest of these sets, which were in use long
+before coal was burned as fuel, consisted usually<span class='pagenum'><a name="Page_67" id="Page_67">[Pg 67]</a></span> of a pair of
+andirons, a long-handled fire shovel, and a pair of tongs. In some cases
+more than one set of andirons was included, for in the great, cavernous
+fireplaces of the colonists' log cabins, the high supports used for the
+heavy forestick and logs were not suitable for the smaller wood, and
+creepers had to be set between the large andirons to hold the short
+sticks in place. Bellows were often found beside the fireplace in those
+times, but the poker was rarely if ever included in fire sets, previous
+to the introduction of coal as a fuel.</p>
+
+<p>In material and design these fire sets, particularly the andirons,
+differed widely. Iron, steel, copper, and brass were the metals most
+commonly used for their construction, although in other countries even
+silver was occasionally made into fire irons. As for design, they ranged
+from the very simplest and most unpretentious styles up through the
+quaint dogs' heads to the grotesque figures and elaborately wrought
+pieces to be found among good collections of antique hearth accessories.</p>
+
+<p>Andirons for kitchen use were as a rule very plain and substantial.
+Sometimes they were merely straight pieces supported by short legs and
+having uprights of either plain or twisted metal, topped by small knots
+of some sort. They were probably<span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span> most commonly made of iron, and not a
+few were rudely hammered and shaped on the pioneer blacksmith's anvil.
+It is consequently little to be wondered at that many of the andirons
+once used in colonial kitchens give one the impression of having been
+designed for strength and utility rather than for ornament.</p>
+
+<p>The better class of andirons in use during the seventeenth and early
+part of the eighteenth centuries were for the most part of graceful,
+but, at the same time, simple and dignified designs. The finest ones
+were of brass, which was kept brightly polished by the energetic
+housekeeper. Short knobs or uprights were often placed a few inches back
+of the main uprights and served the double purpose of holding the
+forestick in place and of protecting the shining brass. Occasionally
+andirons were made in rights and lefts with the shanks curving outward
+from the short knobs where they joined the straight, horizontal
+supports.</p>
+
+<div class="figright" style="width: 380px;"><a name="ILL_019" id="ILL_019"></a>
+<img src="images/ill_019.jpg" width="380" height="600" alt="Plate XIX.&mdash;Middleton House Steeple Top Andirons, and Bellows; Southern Andirons, Atkinson Collection." title="" />
+<span class="caption">Plate XIX.&mdash;Middleton House Steeple Top Andirons, and Bellows; Southern Andirons, Atkinson Collection.</span>
+</div>
+
+<p>Among other popular andiron designs of this period were the twisted
+flame, the urn topped, the queer iron and brass dogs with claw feet, the
+colonial baluster, and the steeple topped. Of these, the steeple-topped
+andirons were perhaps the rarest, while the colonial baluster pattern
+with<span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span> ball tops was, without doubt, the most popular and commonly used.</p>
+
+<p>A good example of the style of andirons which came into favor during the
+latter half of the eighteenth century is found in the Hessian design.
+They take their name from the fact that the upright of each iron is cast
+in the form of a Hessian soldier, posed as if in the act of marching.
+Since this particular pattern first made its appearance immediately
+after the close of the American Revolution, it is not difficult to
+comprehend its significance, for it is a well-known fact that the
+patriotic colonists heartily hated the hired allies in the employ of
+King George of England who had fought against them. This humbling of the
+Hessian to service among the flames and ashes, although only in effigy,
+seemed to afford the Americans a great deal of satisfaction, if the
+great popularity of these andirons stood for anything.</p>
+
+<p>Probably no finer collection of colonial hearths is to be found anywhere
+than in Salem. The Derby Street mansions even now show wonderful bits of
+the skill which has made Salem a name synonymous of the best in the
+architectural world. McIntyre designed many of these, following in some
+cases the style of the decorator, Adams. Many of the mantels<span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span> show a
+wonderful harmony of contour, capped by a simple shelf, for the most
+part unadorned. One such is seen in the Gove house on Lynde Street, its
+straight, simple lines affording dignity and grace that are most
+attractive. The decoration is the head of Washington, fixing the period
+of its construction about the time of the Revolution.</p>
+
+<p>Other popular decorations were the eagle, which came into favor at the
+same period as the Washington decoration, baskets of flowers,
+wonderfully delicate in their carving, garlands, and many such designs,
+in all of which McIntyre shows a versatility that, considering the
+limitations of his day, is truly remarkable.</p>
+
+<p>While many of the mantels were of wood, some few were of marble. Two
+such of special interest are to be found, one in the Thomas Sanders's
+house on Chestnut Street, and the other in Hon. David M. Little's
+residence on the same thoroughfare. The former shows an exquisite
+design, supported on either side by caryatids, gracefully carved; and
+the latter, of the same period, is practically of the same design. A
+third marble mantel is found in the home of the Salem Club, formerly the
+residence of Captain Joseph Peabody. This mantel is of Florentine marble
+and was imported by the captain<span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span> in 1819. It is particularly beautiful
+in its finish, and has served as an inspiration for many similar mantels
+to be found in New England.</p>
+
+<p>Belonging to the early type is the quaint fireplace found in the hallway
+of the Robinson house on Chestnut Street. This apartment was formerly
+the kitchen, and the fireplace in its original condition was discovered
+in the process of remodeling. Upon investigation, it was found to be a
+composite of three separate fireplaces, built one within the other, and
+culminating outwardly in a small grate; and when opened, it showed
+portions of the old pothooks. It was restored to its original aspect,
+appearing to-day as it was first constructed, its narrow mantel adorned
+with rare bits of pewter.</p>
+
+<p>In what was formerly the home of Mrs. Nathaniel B. Mansfield in Salem,
+is a curious mantel, which was first owned by Mr. Fabens. It is one of
+the rarest bits of McIntyre's work, decorated with his best wrought and
+finest planned carving. Another fine mantel is in the home of Hon.
+George von L. Meyer at Hamilton, Massachusetts. This is as historic as
+it is beautiful, and was part of the original equipment of the
+Crowninshield house in Boston.</p>
+
+<p>Many of the later style fireplaces, more especially of the better class,
+showed firebacks. These were<span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span> of iron, and were designed to keep the
+back of the fireplace from cracking. Some of these old firebacks had
+flowers for ornamentation, while others showed decoration in the form of
+family coats-of-arms. In the Pickering house on Broad Street, Salem, is
+a quaint fireback which was made in the first iron foundry at Saugus,
+now Lynn. This has on the back the initials of the then owners of the
+dwelling, John and Alice Pickering, inscribed as follows, "J.&nbsp;A.&nbsp;P.
+1660." This same Alice Pickering was very fond of dress, and an old
+record of 1650 tells that she wore to church a silken hood. For this
+offense she was reprimanded and brought before the church, but was
+allowed to go when it was learned that she was worth two hundred pounds.</p>
+
+<p>By the beginning of the eighteenth century, fireplaces had come to be
+considered of great decorative importance, and in an account written in
+1750 Isaac Ware says of them: "With us no article in a well-furnished
+room is more essential. The eye immediately falls upon it on entering
+the room, and the place for sitting down is naturally near it. By this
+means it becomes the most prominent thing in the furnishing of the
+room."</p>
+
+<p>The popularity of the fireplace was somewhat checked in 1745 through the
+invention of the<span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span> Franklin stove, which immediately came into favor.
+These stoves were constructed of iron, with trimmings of rosettes and
+railing and knobs of varying size; in appearance they were very similar
+to the small, open fireplace with andirons for burning logs. As heat
+producers, however, they were a decided improvement over the old-time
+hearth, which in many cases smoked abominably, and sent much of the heat
+up the chimney instead of into the room. The new stoves proved
+economical, and there was but little waste of heat through the pipes
+connecting them with the chimneys.</p>
+
+<p>In the dining room of Harriet Prescott Spofford's house at Newburyport
+is one of these stoves, before which Whittier delighted to sit during
+his frequent visits to this old home. It is a fine specimen of its kind,
+and as interesting in its way as the quaint room which it graces. For
+many years this dwelling served as an inn, kept by one Ebenezer Pearson,
+being one of the favorite resorts for pleasure parties, and in the
+old-time dining room much brilliant parrying of wit took place, as
+distinguished visitors amiably chatted over their teacups.</p>
+
+<p>Later in the eighteenth century, another form of heating came into
+vogue. This was the fire frame, which appeared about thirty years after
+the invention<span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span> of the Franklin stove, and in type was something of a
+compromise between the open fireplace and the stove, possessing certain
+characteristics of each. It was so arranged that it could be used in a
+fireplace that had either been filled in with brick, or finished with a
+fireboard, and in appearance was very similar to the upper part of a
+Franklin stove. Unlike the stove, however, it rested directly upon the
+fireplace hearth, instead of being raised from the floor.</p>
+
+<p>When coal first came into use, a Salem man saw it burn, and so impressed
+was he with its worth that he told Dr. George Perkins of Lynde Street
+about it. The doctor immediately ordered a barrel of the fuel to be
+brought down in a baggage wagon from Boston, and he also ordered a
+new-fangled stove of the hob grate order. The trial took place in the
+living-room of his home, and the neighbors gathered to watch it burn. So
+great was the success of the venture that a load of coal was ordered,
+and it landed at the North River wharf, where the water was then so deep
+that vessels could easily come to pier there. The cargo consisted of
+from one hundred and sixty to one hundred and seventy tons, considered
+an enormous load at the time.</p>
+
+<p>The first coal burned in a stove was in Wilkes-barre,<span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span> Pennsylvania,
+where Judge Jesse Fell, in the main room of the old tavern, in February,
+1808, started the first coal fire. Previous to that time coal had been
+burned in open forges, under a heavy draught, by a few blacksmiths, but
+it had never been adapted for household purposes, and the discovery that
+it could be used changed it from a useless thing to something of great
+value.</p>
+
+<p>In 1812 Colonel George Shoemaker discovered coal in the Susquehanna
+Valley, and he took twelve tons of it to Philadelphia to sell. He
+disposed of two tons, but was compelled to give the rest away, as people
+considered him a fraud, proving that the use of coal was not general at
+this period.</p>
+
+<p>The hob grate came into use in 1750, a few years after the advent of the
+Franklin stove, and it proved especially valuable for the burning of
+coal, when that product became popular. At first it was known as "Cat
+Stone," but later was called hob grate, by which name it is known at the
+present time.</p>
+
+<p>Fenders of brass or iron were generally used with these grates, a small
+one placed close to the fire to prevent the ashes from falling over the
+hearth, and a larger one arranged around the entire fireplace. Although
+hob grates were popular in Northern<span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span> houses, they were much more
+frequently used in the South.</p>
+
+<p>Tiles were little used in America until the hob grate era, when they
+seem to have come into vogue. They were used to surround both hob grates
+and Franklin stoves. Some of them showed decorations of religious
+subjects, while others, like a set in a Salem house, told in pictures
+the story of &AElig;sop's Fables. There is a tiled fireplace still in
+existence in the Saltonstall-Howe house at Haverhill, Massachusetts, a
+dwelling originally owned by Dr. Saltonstall, the first medical
+practitioner in the city. This fireplace, in the dining-room, shows a
+double row of tiles, depicting a series of Scriptural events, and it is
+equipped with a fender of ancient hammered brass, a family heirloom. The
+date of the fireplace can be definitely determined without knowledge of
+the time of the erection of the house from the fact of the absence of a
+mantel above. Another similar fireplace adorned with quaint Dutch tiles
+is shown in the Pickering house living-room. Like the Saltonstall one,
+this fireplace has a beautiful, ancient fender of brass and a pair of
+bellows that were made by Rev. Theophilus Pickering, a preacher in
+Essex, Massachusetts, who succeeded the Rev. John Wise.<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span></p>
+
+<p>The first hob grate ever placed in a Salem home is to be seen in the
+Waters house on Washington Square. It is topped with one of McIntyre's
+famous mantels, showing that the original fireplace was brought down to
+be used with the grate.</p>
+
+<p>Elias Hasket Derby, one of Salem's most famous merchants, had a
+beautiful estate where Market Square now stands. The house, which was a
+marvel of elegance, stood in the center of the square, surrounded with
+terraced gardens that swept to the water's edge. After his death the
+house was too large and elegant to be kept up, and it was torn down and
+the land sold. The timbers of the house, the wood carving, and mantels
+were purchased by Salem house owners, one hob grate finding its way to
+the old Henry K. Oliver house on Federal Street. This dwelling, which
+was built in 1802 by Captain Samuel Cook for his daughter, who married
+Mr. Oliver, shows old-time fireplaces in many rooms, one of brass being
+found in the parlor. This was the first of its kind ever placed in a
+Salem home, and it has a grate, on either side of which are brass
+pillars about three feet in height, with brass balls on top. A brass
+band extends from pillar to pillar below the grate, and the fender is
+also of brass. The mantel above is<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span> elegantly carved, and came from the
+Elias Hasket Derby mansion.</p>
+
+<p>A soapstone fireplace with grate is shown in the General Stephen Abbot
+house on Federal Street, where General Abbot, who served under
+Washington, entertained the latter during his visit to Salem. Behind
+this fireplace is a secret closet, large enough to conceal three men,
+where, during troublous times, slaves were hidden.</p>
+
+<p>With the advent of the furnace, many beautiful fireplaces were closed
+up, or taken away to be replaced by modern ones that lacked in every
+respect the dignity and grace of the colonial specimens. Happily this
+state of affairs was of short duration, and to-day the fireplace in all
+its original charm is a feature of many homes. To be sure, it is now a
+luxury rather than a necessity, but it is a luxury that is enjoyed not
+only by the wealthy classes, but by those in moderate circumstances as
+well, who appreciate the great decorative advantages of this feature.
+Surely there is nothing more homelike than the warm glow of blazing
+logs, and it is a delight to sit before the sputtering flames, and enjoy
+the warmth and glow, as did our ancestors in the long ago.<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_VII" id="CHAPTER_VII"></a>CHAPTER VII</h2>
+
+<h3>OLD-TIME WALL PAPERS</h3>
+
+<p>The records of many old-time features are scanty in detail, and, in
+consequence, their meaning is differently and often wrongly interpreted.
+Even one who has spent years in delving into the past secures facts that
+differ materially from those obtained by some one else who has spent a
+like time in research, and thus accounts of varying dependency are
+propounded for reference. This is especially true in tracing the origin
+of the old picture wall papers that, with the revival of colonial ideas,
+are again coming into vogue.</p>
+
+<p>One may prate about the papers of to-day, but they cannot compare either
+in style or in effect with these early types, which show designs
+patiently and carefully worked out by men who were masters of their
+craft, and who, while lacking the advantages afforded the designers of
+the present, nevertheless achieved results that have never been
+surpassed. This fact is especially noteworthy, and it is wholly to the
+credit of these old-time<span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span> craftsmen that their products are to-day an
+inspiration to architects and home builders who are seeking the best in
+the way of interior decoration.</p>
+
+<p>When wall papers first came into use is uncertain, for various
+authorities with apparently good reason set different times. China
+claims the honor of having originated them, as does Japan, while Holland
+boasts the distinction of having first introduced them into other lands.
+We know for a certainty that wall papers fashioned in strips three feet
+long and fifteen inches wide were made in Holland centuries ago and
+introduced into England and France, and latter-day specimens, of similar
+type, are to be found in the homes of the colonists in our own land.</p>
+
+<p>The printing of these decorative wall papers was at first done from
+blocks, much as books were printed in early times. While it may not have
+been block printing, a unique wall hanging of like type was to be seen
+until within the last few years in a colonial house on Essex Street, at
+Salem&mdash;the Lindall-Andrews dwelling, built in 1740 by Judge Lindall.
+This wall paper, printed and hung in squares, adorned the parlor at the
+left of the hallway, and before its removal a reproduction was made by
+Bumstead for a descendant of the first<span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span> owner to use on the walls of a
+room in her summer home.</p>
+
+<p>Dr. Thomas Barnard, minister of the First Church, who succeeded in
+arranging for a compromise at the time of Leslie's Retreat, lived in
+this dwelling during his pastorate, and on the walls of the hallway he
+caused to have painted by one Bartol of Marblehead, father of Dr. Cyrus
+Bartol, a series of wonderfully realistic pastoral scenes, that have
+never been removed and are still to be seen, although their brightness
+has been dimmed by time.</p>
+
+<p>Pictorial wall paper did not come into general favor in Europe until the
+eighteenth century, the period that marked the adoption of the long roll
+still in vogue. To be sure, this type had been used much earlier by the
+Chinese, but machinery for its fashioning was not invented until the
+latter half of the eighteenth century. Up to this time, wall paper was
+made in small squares and laboriously hung,&mdash;a fact that made it
+expensive and accordingly prohibitive to all but the wealthy classes.</p>
+
+<p>Jackson of Battersea in 1744 published a book of designs taken from
+Italian scenes and bits of sculpture. These were pictures done as panels
+and printed in oils, and resulted in the adoption<span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span> of printed wall paper
+throughout England. From that time on, as their cost grew less, wall
+papers were extensively used in the motherland, which fact accounts for
+the general adoption of this type of wall hanging by the colonists, as
+the new land grew richer, and square, substantial homes were built.</p>
+
+<p>In the early days of the colonies, there were few mechanics who were
+able to furnish settings for the new homes, and consequently the home
+builders were forced to depend on foreign lands for most of their
+furnishings. Among these, wall hangings were not included, due partly to
+the fact that there was no place for them in the rude cabins of early
+times, and partly because they were not then in general use. Wall papers
+were first brought to this country in 1735, though, owing to their
+expensiveness, they were not used to any extent until many years later.
+The frugal housewife preferred to paint the walls either in soft gray
+tones, with a mixture of gray clay and water, or with yellow paint,
+ornamented with a hand-painted frieze of simple design, often
+supplemented by a narrow border stenciled above the chair rail. The
+earliest examples of this work depicted the rose, the poppy, the violet,
+or the pink, followed later<span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span> by depictions of human interest, such as
+Indians, wigwams, forest scenes, etc. This idea has been carried out in
+the recently renovated Kimball house at Georgetown, Massachusetts, where
+the mistress of the home has used for wall adornment hand-painted
+friezes of soft-tinted flowers and emblematic designs.</p>
+
+<p>Later, wall papers were brought here in quantities, and while a number
+of these rare old hangings have been removed and replaced by others of
+modern type, yet there are many left, each rich in memories of bygone
+days. The stories connected with them will never be known, save the
+legends which have been handed down from generation to generation, and
+which the present grandames love to repeat, as they sit at twilight by
+the open fire, and the roaring of the logs recalls to mind the olden
+days.</p>
+
+<p>Much of the wall paper brought here was made to order from accurate
+measurements, and much was carefully selected in accordance with
+previous instructions. Often special patterns were purchased for a new
+home by a young lover, and into their selection went fond and happy
+thoughts of the bride-to-be.</p>
+
+<p>Even to this day one occasionally finds, stored<span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span> away in some old attic,
+rolls of priceless paper which had been brought here years ago and never
+used. To the student and dreamer such a discovery is rich in
+association, and even to the practical home maker it is fraught with
+suggestions. There is something genuine about it, a touch of quaintness
+and simplicity that, for lack of a more accurate term, we call colonial.</p>
+
+<p>From one such attic, not so very long ago, were brought to light rolls
+of rare old paper, which had been hidden away under the eaves for forty
+years. Upon investigation this was found to be the Don Quixote pattern,
+one of the three rarest types known, depicting the story of this quaint
+character from the time of his leaving his home accompanied by his
+faithful squire, Sancho Panza, to the time of his return, a sadder and
+wiser man. The scenes are worked out in soft gray tones, wonderfully
+blended, providing a harmonious and attractive ensemble.</p>
+
+<div class="figleft" style="width: 312px;"><a name="ILL_020" id="ILL_020"></a>
+<img src="images/ill_020.jpg" width="312" height="500" alt="Plate XX.&mdash;Cupid and Psyche paper, Safford House." title="" />
+<span class="caption">Plate XX.&mdash;Cupid and Psyche paper, Safford House.</span>
+</div>
+
+<p>On the walls of a third-story room in the Andrew house on Washington
+Square, Salem, is shown a wonderful wall paper, representing an old-time
+English hunt. In the first picture of the series the soft green of the
+trees furnishes a contrasting background for the red coats of the
+hunters who,<span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span> on prancing steeds, with yelping hounds grouped about, are
+ready for the start. Then follow the run over hill and dale, past
+cottages where wondering peasants gape in open-mouthed admiration at the
+brilliant train as it flashes by, and the bringing of the fox to bay,
+ending with the luncheon upon the greensward, showing the huntsmen and
+their ladies fair enjoying a well-earned repast.</p>
+
+<p>When this dwelling was first built, the parlor, at the right of the
+hallway, was papered in a rare old hanging, that was removed when
+defaced, the owners at the time giving little thought to its value. In
+the room, since its erection, has hung a great, handsomely framed
+mirror, occupying an entire panel space. Behind this mirror, a short
+time ago, when the room was to be repapered, a panel of the first wall
+covering was discovered, as distinct in coloring and detail as the day
+it was placed there. It is one of twelve panels,&mdash;consisting of
+twenty-six breadths each five feet seven inches long by twenty inches
+wide, fifteen hundred blocks being used in its printing,&mdash;depicting the
+marriage of Cupid and Psyche, Psyche's lack of faith, and the sad ending
+of the romance, and is a pattern that is numbered among the most noted
+designed. The panel found here has been preserved,<span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span> and the old mirror
+hung in place hides it from view.</p>
+
+<p>Such papers are a keen delight to lovers of the colonial, for they
+convey their meaning clearly and attractively in well-chosen and
+harmonious coloring. Contrasted with present papers, depicting designs
+figured or flowered, they show their worth, and it is little wonder that
+architects have discovered their fascination, and are having old ideas
+in new dress depicted on the walls of many modern dwellings.</p>
+
+<p>The colonists understood harmony in home decoration, and their wall
+hangings as well as their furniture were carefully chosen. They
+purchased papers to suit their apartments, and the colors were selected
+with a view to the best effect, so that the soft white of the woodwork
+might be in keeping with their pictorial value. Consistency is the
+keynote of the colonial interior, and it is this feature that has given
+to homes of this type that touch of distinction that no other period of
+architecture possesses.</p>
+
+<div class="figright" style="width: 311px;"><a name="ILL_021" id="ILL_021"></a>
+<img src="images/ill_021.jpg" width="311" height="500" alt="Plate XXI.&mdash;Venetian paper in Wheelwright House, Newburyport." title="" />
+<span class="caption">Plate XXI.&mdash;Venetian paper in Wheelwright House, Newburyport.</span>
+</div>
+
+<p>The old wall papers all represent foreign scenes, those of France and
+England predominating, the latter in a greater degree than the former,
+though the French papers were more highly finished than<span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span> the English.
+When the colonist became prosperous, and the newest fashions of the
+motherland were eagerly copied, wall papers of both types were imported;
+many of these are still preserved, showing shadings done by hand with
+the utmost care, and colorings of lovely reds, blues, and browns, all
+produced by the use of from fifteen to twenty sets of blocks.</p>
+
+<p>One of the most exquisite of French papers is shown in the Knapp house
+at Newburyport, Massachusetts, built by a Revolutionary hero, at the
+time of the erection of the Lee Mansion at Marblehead. This paper is
+thought to have been fashioned in the first quarter of the nineteenth
+century, and in type it is like that found on the hall of the
+"Hermitage," Andrew Jackson's residence near Nashville, Tennessee. It is
+produced in wonderful shades of soft green, red, peacock blue, and
+white, all undimmed by time, and it represents scenes from F&eacute;nelon's
+"Adventure of Telemachus," a favorite novelty in Paris in 1820.</p>
+
+<p>Other fine examples of this type of paper, which have never been hung,
+are still preserved in the home of Major George Whipple at Salem, having
+been imported about 1800. These show different scenes, including
+representations of gateways and fountains, with people in the
+foreground.<span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
+
+<p>Natural scenes were favorite themes with many designers, one such
+example being a Venetian scheme still shown on the walls of the
+Wheelwright house in Newburyport, a fine, colonial dwelling, built a
+hundred years ago by an ancestor of William Wheelwright, whose energies
+resulted in the first railroad over the Andes. This paper is found in
+the drawing-room, and another, illustrative of a chariot race, is shown
+in one of the chambers.</p>
+
+<div class="figleft" style="width: 500px;"><a name="ILL_022" id="ILL_022"></a>
+<img src="images/ill_022.jpg" width="500" height="366" alt="Plate XXII.&mdash;Roman Ruins paper, Lee Mansion, Marblehead." title="" />
+<span class="caption">Plate XXII.&mdash;Roman Ruins paper, Lee Mansion, Marblehead.</span>
+</div>
+
+<p>The Bay of Naples was another favorite theme with designers; in fact, it
+was numbered among the best-liked subjects. Its faithfulness of detail
+and exquisite coloring are no doubt responsible for this popularity, and
+then, too, no other subject could better bear repetition. Other favorite
+views were scenes of France, more particularly of Paris, and these types
+were in great favor during Washington's administration and that of John
+Adams, though later they lost caste.</p>
+
+<p>The new landscape papers suggest the old ones, though they are unlike
+them in tone and character, except in cases where specimens have been
+taken as models and copied with faithful exactness. Such instances,
+however, are rare. The best examples of old specimens of this type date
+from twenty-five<span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span> years prior to the Revolution up to about fifty years
+afterwards.</p>
+
+<p>Fine examples of such paper are still to be seen at the Lee Mansion at
+Marblehead, now the home of the Marblehead Historical Society. These,
+like many others, were made to order in England by accurate
+measurements, proof positive of this fact being gleaned a few years ago
+when the panel between the two windows in the upper hall was peeled off,
+and on the back was found the following inscription, "11 Regent Street,
+London. Between windows, upper hall." They are all excellently
+preserved, and constitute probably the most remarkable set in America.
+For the most part, they are done in gray, outlined in black, and depict
+old Roman ruins, set like framed pictures, in alternation with strange
+heraldic devices, like coats of arms. In some of the rooms the papers
+are in sepia tones, showing castellated scenery, sailboats gliding over
+lakes, and peasant figures loitering along the shore.</p>
+
+<div class="figright" style="width: 500px;"><a name="ILL_023" id="ILL_023"></a>
+<img src="images/ill_023.jpg" width="500" height="339" alt="Plate XXIII.&mdash;Adventures of Telemachus paper, Nymphs Swinging." title="" />
+<span class="caption">Plate XXIII.&mdash;Adventures of Telemachus paper, Nymphs Swinging.</span>
+</div>
+
+<p>Another interesting wall paper is found at Hillsboro, New Hampshire, in
+the home of Governor Pierce, father of Franklin Pierce, fourteenth
+President of the United States, which is now used as an inn. The room
+that it adorns is set apart, and the<span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span> pattern depicts galleys setting
+sail for foreign lands, while to the music of the harpsichord, the
+gentry dance upon the lawn. In its prime this estate was one of the show
+places of Hillsboro, with beautiful gardens surrounding the house, and
+interesting features in the way of peacocks that proudly displayed
+themselves to the gaze of admiring guests.</p>
+
+<p>Unlike these old-time papers, and yet equally as distinctive, is the
+wall covering in the hall of the Warner house at Portsmouth, New
+Hampshire. This is a series of paintings, extending the length of the
+staircase, and constituting the most unique wall adornment in the
+country. Ever since the hall was finished, there has been displayed at
+the staircase landing, in the broad spaces at either side of the central
+window, life-sized paintings of two Indians, highly decorated and finely
+executed, thought to be representations of fur traders of early times;
+but the rest of the series was lost to view for a long time until about
+sixty years ago, when the hall was repaired. During the process of
+renovation, four coats of paper that had accumulated were removed, and
+as the last coat was being torn off, the picture of a horse's hoof was
+disclosed. This led to further investigation, and soon a painting of
+Governor Phipps, resplendent in scarlet and yellow,<span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span> seated on his
+charger, was brought to light, followed by the representation of a lady
+carding wool at a colonial spinning-wheel, who had been interrupted in
+her task by the alighting of a hawk among chickens. Next came a
+Scriptural scene, that of Abraham offering up Isaac, followed by a
+foreign city scene, and several other sketches, covering in all an area
+of between four and five hundred square feet. The entire paintings
+to-day are presented in their original beauty, and they lend to the fine
+hall an atmosphere of interesting quaintness.</p>
+
+<p>But whatever their type, the old wall hangings are always attractive.
+Sometimes it is the subject that most strongly appeals, again it is the
+coloring, or it may be the effect, but in any event each and every one
+serves the purpose for which it was intended, and a room hung with
+old-time wall paper is undeniably beautiful, affording a setting that
+modern effects rarely equal.<span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_VIII" id="CHAPTER_VIII"></a>CHAPTER VIII</h2>
+
+<h3>OLD CHAIRS AND SOFAS</h3>
+
+<p>There is a charm about old furnishings that cannot fail to appeal to all
+lovers of the quaint and interesting, and a study of their
+characteristics is a diversion well worth while. Old-time cabinet-makers
+understood the value of bestowing upon details the same consideration
+they gave main features, and, as a result, their work shows that harmony
+that gives to it an interest not found in later types, and which, more
+than anything else, has helped bring it into prominence in the equipment
+of modern dwellings. While this is true of all colonial fittings, it is
+especially true of the chair, for this article more than any other
+depicts the gradual betterment of rudely formed beginnings culminating
+in the work of the three master craftsmen, Chippendale, Hepplewhite, and
+Sheraton, whose designs, even to-day, serve as an inspiration to
+high-class cabinet-makers.</p>
+
+<p>In the early days of the colonies, chairs were<span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span> scarce appurtenances,
+and the few used, generally not more than three in number in each home,
+and known as forms, were very rudely constructed, being in reality
+stools or benches, fashioned after the English designs then in vogue.
+Later, these developed into the high-backed settles, which are so much
+used in a modified form to-day.</p>
+
+<div class="figleft" style="width: 372px;"><a name="ILL_024" id="ILL_024"></a>
+<img src="images/ill_024.jpg" width="372" height="600" alt="Plate XXIV.&mdash;Queen Anne, Fiddle Back; Queen Anne, stuffed chair; Dutch Chair, carved; Empire Lyre-backed Roundabout on Chippendale lines, 1825." title="" />
+<span class="caption">Plate XXIV.&mdash;Queen Anne, Fiddle Back; Queen Anne, stuffed chair; Dutch Chair, carved; Empire Lyre-backed Roundabout on Chippendale lines, 1825.</span>
+</div>
+
+<p>By the middle of the seventeenth century, chairs had come into more
+common usage, the type then in favor being strong and solid of frame,
+with seat and back covered with durable leather or Turkey work.
+Generally, the legs and stretches were plain, though sometimes the legs
+and back posts were turned.</p>
+
+<p>Specimens of the turned variety, which are the first seats that really
+could be termed chairs, are very scarce to-day, the best examples being
+found at Pilgrim Hall at Plymouth, in the home of Hon. John D. Long at
+Hingham, Massachusetts, in the Heard house at Ipswich, Massachusetts,
+and in the Waters collection at Salem, where one specimen shows a
+covering which is a reproduction, having been fashioned to exactly match
+in design and texture the original one it replaced when that one wore
+out.</p>
+
+<p>The year 1700 marked the introduction of the<span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span> slat-back chair, which
+enjoyed a long period of popularity. The number of slats at the back,
+characteristic of this type, varied with the time of making, the first
+specimens showing but two, while later types showed five. These chairs
+were solid and strong of frame, and in Pennsylvania were made curved to
+fit the back, affording a comfortable support. They included, in
+addition to ordinary chairs, armchairs, and it was to an armchair of
+this make that Benjamin Franklin affixed rockers, thus inventing the
+first American rocking-chair and inaugurating a fashion that has never
+waned in popularity. This first rocking-chair and its contemporaries,
+which did not antedate the Revolutionary War by any great number of
+years, had rockers that projected as far in the front as they did at the
+back,&mdash;a peculiarity that makes them easily recognizable to-day. Later,
+this objection was remedied, and the present type of rocking-chair came
+into fashion.</p>
+
+<div class="figright" style="width: 366px;"><a name="ILL_025" id="ILL_025"></a>
+<img src="images/ill_025.jpg" width="366" height="600" alt="Plate XXV.&mdash;Chippendale, Lord Timothy Dexter&#39;s Collection, H.&nbsp;P. Benson; French Chair, showing Empire influence; Flemish Chair; Banister-back Chair." title="" />
+<span class="caption">Plate XXV.&mdash;Chippendale, Lord Timothy Dexter&#39;s Collection, H.&nbsp;P. Benson; French Chair, showing Empire influence; Flemish Chair; Banister-back Chair.</span>
+</div>
+
+<p>From 1710 to 1720 the banister-back chair was much used, though it never
+enjoyed equal favor with the slat-back type. Instead of the horizontal
+slats typical of the earlier model, the banister-back chair showed
+upright spindles, usually four in number, and generally flat, though
+sometimes<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span> rounded at the back. Its seat, like that of the slat back,
+was of rush, and it was fashioned of either hard or soft wood, and
+almost always painted black. One interesting example of this make is
+found at "Highfield," the ancestral home of the Adams family at Byfield,
+Massachusetts, having been brought here in the early days of the
+dwelling's erection by Anne Sewall Longfellow, who came here the bride
+of Abraham Adams, and who brought the chair herself from her old home
+across the fields that divided the two estates, so that no harm would
+befall it. It has been carefully treasured by her descendants, and
+to-day occupies its original resting place by the side of the wide old
+fireplace, where, on the night before the Battle of Bunker Hill, leaden
+bullets used in that historic encounter were cast.</p>
+
+<p>Slightly later than these types came the Dutch chair, sometimes severely
+plain in design, and again pierced and curiously carved. One excellent
+example of this model, formerly owned by Moll Pitcher, the famous
+soothsayer of Lynn, who told one's fate by the teacup at her home at
+High Rock, is now preserved in a Chestnut Street dwelling at Salem, and
+shows the straight legs and straight foot of the best class of the
+Dutch<span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span> type, and the usual rush seat. Most Dutch specimens found their
+way to Dutch settlements, though many were brought to New England direct
+from northern Holland.</p>
+
+<p>Easy chairs which came into style not long after the slat-back model,
+proved the most comfortable type yet invented, and served as a welcome
+variation from the straight and stiff-backed chairs up to that time in
+favor. They were stuffed at back and sides, and covered with patch or
+material of like nature. Owing to the amount of material which was used
+in stuffing and covering them, their cost was considerable, varying from
+one to five pounds, according to the style and quality of covering used.</p>
+
+<p>The most common and popular chairs of the eighteenth century were those
+of the Windsor type, manufactured in this country as early as 1725, and
+deriving their name from the town in England where they originated. The
+story of their origin is most interesting. The reigning George of that
+day, the second of his name, saw in a shepherd's cottage a chair which
+he greatly admired. He bought it to use as a model, thus setting the
+stamp of kingly approval on this type, and bringing it into immediate
+favor. It is not related what<span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span> color he had his chairs painted, but
+the general coloring employed was either black or dark green, though
+some chairs were not painted at all. The finish of the back of this type
+was varied to suit different fancies, some few having a comblike
+extension on top as a head-rest, while others had a curved or bowlike
+horizontal top piece, like a fan. These types originated the names comb
+back and fan back, by which Windsor chairs of these types are known.
+American manufacturers in general copied the English styles, though they
+also developed several variations. Many American Windsors, particularly
+the fan backs, are equipped with rockers, the date of their manufacture
+coming after the Revolution.</p>
+
+<div class="figleft" style="width: 390px;"><a name="ILL_026" id="ILL_026"></a>
+<img src="images/ill_026.jpg" width="390" height="600" alt="Plate XXVI.&mdash;Chippendale Arm Chair, showing straight, square legs; Chippendale Chair; Chippendale, one of a set of six, showing Rosette design; Chippendale Arm Chair with Cabriole legs, Ball and Claw feet." title="" />
+<span class="caption">Plate XXVI.&mdash;Chippendale Arm Chair, showing straight, square legs; Chippendale Chair; Chippendale, one of a set of six, showing Rosette design; Chippendale Arm Chair with Cabriole legs, Ball and Claw feet.</span>
+</div>
+
+<p>But Windsor chairs, popular and fine as they were, by no means were the
+best type developed in this century, for this period marked a great
+change in the history of cabinet-making, resulting in the development of
+wonderful designs, exquisitely blended and finished. First on the list
+of the new master craftsmen was Chippendale, who in 1753 issued his
+first book of designs, and whose models were given first consideration
+for more than thirty years. Then, in 1789, followed Hepplewhite, and two
+years later came Sheraton, while<span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span> lesser lights, such as the Brothers
+Adam, Manwaring, Ince, and Mayhew, all contributed their share to the
+betterment of chair manufacture.</p>
+
+<p>The chair seems to have been Chippendale's favorite piece of furniture,
+and in its design he has blended the finest points in French, Dutch, and
+Chinese patterns. His first chairs showed Dutch influence, and for these
+he used the cabriole leg, greatly improving its curving, with the Dutch
+or ball-and-claw foot, the latter more frequently than the former. His
+chair seats were broad and flat, and in his backs he disregarded the
+usual Dutch types, his uprights generally joining the top at an angle,
+and his top piece being usually bow-shaped. His backs were a little
+broader at the top than at the bottom, and he used the central splat
+carved and pierced.</p>
+
+<p>Next, his chairs showed Louis the Fifteenth characteristics, notably in
+the splats, which were often handsomely carved and pierced. During this
+time he produced his ribbon-back chair, though his best chairs, showing
+this influence, were upholstered armchairs, with legs terminating in
+French scroll feet. Later, he introduced in his chairs Gothic and
+Chinese features, even though the backs still preserved the Dutch and
+French features. Finally,<span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span> the details of the several features became
+much mixed, and at length resulted in a predominance of Chinese
+characteristics. Most of his chairs were done in mahogany, which was a
+favorite wood in his day, and his skill is especially displayed in the
+wonderful carving which is typical of much of his work. Not only are his
+chairs excellently proportioned, but they are so substantially built
+that even to-day, after more than one hundred and fifty years' usage,
+they show no sign of wear.</p>
+
+<div class="figright" style="width: 377px;"><a name="ILL_027" id="ILL_027"></a>
+<img src="images/ill_027.jpg" width="377" height="600" alt="Plate XXVII.&mdash;Empire Sofa; Cornucopia Sofa; Sofa in Adams style, about 1800." title="" />
+<span class="caption">Plate XXVII.&mdash;Empire Sofa; Cornucopia Sofa; Sofa in Adams style, about 1800.</span>
+</div>
+
+<p>Not a little of his work found its way to New England homes, many fine
+specimens at one time gracing the dwelling of "Lord" Timothy Dexter,
+Newburyport's eccentric character, who made his fortune by selling
+warming pans to the heathen, who used the covers for scooping sugar, and
+the pans for sirup. His home was filled with quantities of beautiful
+furniture, including many excellent Chippendale chairs.</p>
+
+<p>Hepplewhite, the second of the master cabinet-makers, succeeded
+Chippendale in popular favor in 1789, and his furniture, while much
+lighter and consequently less durable than that of his predecessor,
+showed a beauty of form and a wealth of ornamentation that rendered it
+most artistic.<span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span> He employed not only carving of the most delicate and
+exquisite nature, but inlay and painting as well, introducing japanning
+after the style of Vernis-Martin work.</p>
+
+<p>The shield or heart-shaped back is one of the characteristics of his
+chairs, though he also used oval backs and sometimes even square backs.
+They are all very graceful and delicate, with carved drapery, and many
+of the shield-shaped type show for decoration the three feathers of the
+Prince of Wales, Hepplewhite being one of the Prince's party when
+sentiment ran strong during the illness of George III. Other decorations
+employed by him were the urn, husk and ear of wheat. The wood he
+generally used was mahogany, though occasionally he made use of painted
+satinwood.</p>
+
+<div class="figleft" style="width: 371px;"><a name="ILL_028" id="ILL_028"></a>
+<img src="images/ill_028.jpg" width="371" height="600" alt="Plate XXVIII.&mdash;Sheraton, mahogany frame, about 1800; Sheraton with solid arms and straight, slender legs; Sheraton, about 1790. Note the graceful curve of the arms." title="" />
+<span class="caption">Plate XXVIII.&mdash;Sheraton, mahogany frame, about 1800; Sheraton with solid arms and straight, slender legs; Sheraton, about 1790. Note the graceful curve of the arms.</span>
+</div>
+
+<p>Following close upon the heels of Hepplewhite came Sheraton, the last of
+the three great masters in cabinet-work. His designs were delicate, but
+strong, and generally his chair backs were firmer than those of
+Hepplewhite. When he had exhausted other forms of decoration, he
+indulged his fancy for brilliant coloring, mixing it with both inlay and
+carving. Later he embellished his work with the white and gold of the
+French style, finally employing features of the Napoleonic period,
+such<span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span> as brass mounts and brass inlay. His last seats show the
+influence of the Empire type, which came into vogue in the early days of
+the nineteenth century, and the curved piece which he brought in about
+1800 served as a model for nearly a century, though it was not adorned
+with the brass mounts that he had intended.</p>
+
+<p>His greatest glory as a constructor lies in his skillful workmanship and
+his excellent choice of woods,&mdash;satinwood, tulipwood, rosewood,
+applewood, and occasionally mahogany, being his selection; and as a
+decorator in the color and arrangement of his marquetry, as well as in
+the fact that he never allowed consideration of ornament to affect his
+work as a whole.</p>
+
+<p>Among the chairs he fashioned was one that has come to be known in this
+country as the Martha Washington chair, from the fact that a specimen of
+this type was owned at Mount Vernon. Several excellent examples of his
+chairs are found at "Hey Bonnie Hall," in Bristol, Rhode Island, one of
+them being the chair in which John Adams is said to have died.</p>
+
+<div class="figright" style="width: 380px;"><a name="ILL_029" id="ILL_029"></a>
+<img src="images/ill_029.jpg" width="380" height="600" alt="Plate XXIX.&mdash;Sheraton, about 1800; Sofa, about 1820; Sofa, about 1820, winged legs." title="" />
+<span class="caption">Plate XXIX.&mdash;Sheraton, about 1800; Sofa, about 1820; Sofa, about 1820, winged legs.</span>
+</div>
+
+<p>Chairs of all types are found in any number of old-time homes, those in
+Salem being as representative as any, for to this old seaport more than
+to<span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span> any other, in proportion, rare furnishings were brought. Many of the
+pieces are of historic interest, such as the old-time chair of Flemish
+make, brought over in the ship <i>Angel Gabriel</i>, which was wrecked off
+the coast of Maine; much of its cargo was recovered, including this old
+chair, which was later brought to Salem in another ship. Another fine
+old specimen is the armchair, for many years the prized possession of
+Hawthorne, and an heirloom in his family, which he presented to the
+Waters family, in whose possession it now is.</p>
+
+<p>With the passing of Sheraton, Empire models held full sway, and, while
+some of these were comfortable and graceful, the majority were massive,
+stiff, and extreme in style. Early nineteenth-century chairs
+manufactured in America are of this type, some of them of rosewood, some
+of mahogany, and some painted, while many are of mahogany veneer.</p>
+
+<p>But while chairs were the most common seats in the colonies, they were
+not the only ones, for old-time homes were supplied with sofas as well.
+To be sure, these did not come into use until many years after the
+advent of the chair, the time of their appearance being about the year
+1760; the<span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span> majority shown are the work of the master cabinet-makers.
+Sheraton models are those most commonly found here, though the earliest
+specimens are of Chippendale manufacture, excellent examples of his work
+being still found, many of them characterized by Louis XV features. A
+special design of Chippendale's much in favor was "The Darby and Joan"
+sofa, in reality a double seat, which model, as well as many others that
+became very popular, was never shown in his catalogue.</p>
+
+<p>Sheraton sofas came in vogue about 1800, their graceful designs and
+handsome carving making them at once favorites. Many of these showed
+eight legs, though later, when his designs became heavier and more
+elaborate, only four legs were used. The coverings of these later
+specimens were generally haircloth, fastened with brass nails.</p>
+
+<p>The Brothers Adam also made some of the sofas found here, their designs
+showing a peculiar slanting or curved leg which is known as the Adam
+leg, and which is also characteristic of some of Sheraton's pieces.</p>
+
+<p>About 1820 what was known as the Cornucopia sofa came into style, the
+carving at the arms showing horns of plenty, which design was often
+repeated in the top-rail, while the hollow made by<span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span> the curve of the
+decoration was filled with hard, round pillows, known as "squabs."
+Contemporaneous with this type was the Empire sofa, with winged legs and
+claw feet, often covered with haircloth. One example of this model,
+exquisitely carved, is in the possession of a Salem family. But whatever
+their type or characteristic, the old-time chair and sofa are
+distinctive, and it is a tribute to their worth that in the equipment of
+modern homes designers are reverting to them for inspiration. Likewise
+it is with relief that we welcome them, after so long harboring the ugly
+monstrosities that followed in favor the Empire types.<span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_IX" id="CHAPTER_IX"></a>CHAPTER IX</h2>
+
+<h3>SIDEBOARDS, BUREAUS, TABLES, ETC.</h3>
+
+<p>The present interest in antiques has brought into prominence the
+old-time furnishings, and as a result ancient hiding places have been
+forced to give up their treasures, and hitherto little appreciated
+relics are now reinstated with all their original dignity. The architect
+of the twentieth century is responsible in a great measure for this, for
+in his zest to give to modern homes the best that could be afforded, he
+has seen fit to revert to early types for inspiration; and with the
+revival in favor of these specimens, genuine antiques have come to be
+appreciated, and their value has correspondingly increased.</p>
+
+<p>Included among these old-time pieces are chests, which in early days did
+service for numerous purposes. In America they were first fashioned by
+workmen who came to this country from foreign lands, through the efforts
+of the first governor, John Endicott, many of them being employed on<span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span>
+plantations, where much of their work was done. These chests were made
+of the wood of forest trees, which then grew so plentifully, and are
+rude and simple in construction, in striking contrast to the rich,
+hand-carved, mahogany chests, which many of the colonists brought from
+the motherland, packed with their clothing, and which, later on, were
+shipped here in large numbers. Old inventories frequently mention both
+these types of chests, those manufactured here generally being spoken of
+as "owld pine chests." They were principally used in the chamber and at
+one side of the fireplace in the general room, the larger ones to hold
+family necessities, such as the homespun clothing and anything else that
+needed to be covered, while the smaller ones served as receptacles for
+the skeins of wool from which the handy housewife fashioned the family
+wearing apparel.</p>
+
+<p>Such chests were an intimate part of the home life in those early times,
+and viewing their quaintness it is not hard to picture the scenes of
+which they were a part, when the house mother, in her homespun gown,
+busily spun at her old clock wheel, drawing the skeins from the chest at
+her side, while the little ones, seated on rude benches before the open
+fire, carefully filled the quills for<span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span> the next day's supply. Mayhap
+the eldest daughter fashioned on the big wheel, under her mother's
+guidance, her wedding garments, weaving into them loving thoughts of the
+groom-to-be, while the song in her heart kept time to the merry whirr of
+the wheel.</p>
+
+<p>Of the larger type of the "owld pine chest" is the treasured specimen at
+Georgetown, known for many generations as the magic chest, and so called
+from the feats it is said to have performed in the early days of its
+history, such as walking up and down stairs, and dancing a merry jig
+when a deacon sat upon its lid. It stands to-day quiet and demure,
+giving no hint of its former hilarious tendencies, though it is no
+longer used for its original purpose,&mdash;the storing of meal for the
+family use.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_030" id="ILL_030"></a>
+<img src="images/ill_030.jpg" width="600" height="339" alt="Plate XXX.&mdash;Sheraton Night Table; Block Front Bureau Desk, owned by Dr. Ernest H. Noyes, Newburyport, Mass.; Cellarette, 1700, owned originally by Robert Morris." title="" />
+<span class="caption">Plate XXX.&mdash;Sheraton Night Table; Block Front Bureau Desk, owned by Dr. Ernest H. Noyes, Newburyport, Mass.; Cellarette, 1700, owned originally by Robert Morris.</span>
+</div>
+
+<p>With the betterment of financial conditions, the rude pine chests went
+out of fashion, and in their stead beautiful hand-carved specimens were
+brought from foreign countries. Many of these show exquisite coloring,
+any number of examples being still preserved; sometimes they were placed
+in the chamber, but more frequently on the landing at the head of the
+stairs.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_031" id="ILL_031"></a>
+<img src="images/ill_031.jpg" width="600" height="349" alt="Plate XXXI.&mdash;Dressing Glass with Petticoat legs; Empire Bureau, 1816." title="" />
+<span class="caption">Plate XXXI.&mdash;Dressing Glass with Petticoat legs; Empire Bureau, 1816.</span>
+</div>
+
+<p>Chests with drawers were in fashion as early as<span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span> 1650, according to the
+old records, many of them handsomely carved, and all showing little
+egg-shaped pieces upon the drawers. Some of the finest of these old
+chests are shown in the Waters collection at Salem. Generally they were
+fashioned of oak, and a frequent characteristic was a lid on top which
+lifted off, allowing for the packing of large articles, while the
+drawers at the front were used for storing smaller things. Sometimes
+chests are found constructed on frames, but not often. This type was
+probably fashioned to hold linen, being the forerunner of the high chest
+of drawers which came into vogue in the later days of the seventeenth
+century. Up to some time after 1700, chests continued in general use,
+though it is doubtful if they were made in any great quantity after
+1720. The number of legs found on these chests varies with the time of
+making, some showing six, while others have but four.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_032" id="ILL_032"></a>
+<img src="images/ill_032.jpg" width="600" height="417" alt="Plate XXXII.&mdash;Chest of Drawers, 1710; Six-legged High Chest of Drawers, about 1705." title="" />
+<span class="caption">Plate XXXII.&mdash;Chest of Drawers, 1710; Six-legged High Chest of Drawers, about 1705.</span>
+</div>
+
+<p>With the advent of the high chest of drawers, other woods than oak, such
+as walnut and cherry, and later mahogany, became popular; the use of
+these woods produced a marked change in chest designs, notably in the
+massiveness of build. Many specimens of both types are found throughout
+New England, one very fine example of the<span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span> early type showing the drop
+handle, which is a characteristic of the early chest, being included in
+the Nathaniel B. Mansfield collection. Another of the later type, now in
+the Pickering house, carefully stored away that no harm may befall it,
+shows on one side the initials of Colonel Timothy Pickering, who used it
+during his army days.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_033" id="ILL_033"></a>
+<img src="images/ill_033.jpg" width="600" height="396" alt="Plate XXXIII.&mdash;Dressing Table with Brass feet; Bureau and Dressing Glass." title="" />
+<span class="caption">Plate XXXIII.&mdash;Dressing Table with Brass feet; Bureau and Dressing Glass.</span>
+</div>
+
+<p>Dressing tables were made to go with these chests, following the same
+lines of design, though constructed with four rather than six legs.
+These came to be designated as "lowboys" in distinction from the chests
+mounted upon high legs, which were known as "highboys." Examples of both
+were found in the old General Abbot house at Salem, until a few years
+ago; while a highboy, showing bandy legs, a characteristic of the
+earliest high chest, is a prized possession in the Benson home, also at
+Salem.</p>
+
+<p>Many highboys and lowboys show inlay work, one of the former, of English
+manufacture, being found in the Warner house at Portsmouth, while
+another, of different style, is shown in the Osgood house at Salem.</p>
+
+<p>Lowboys were made to correspond with every style of the high chest, and
+frequently they were constructed of maple, beautifully marked, after<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span>
+the fashion of the chests made of walnut and cherry. Highboys sometimes
+took the form of a double chest, showing drawers extending almost to the
+floor, and mounted on varied-style feet, frequently of the claw-and-ball
+type. These, as well as lowboys, continued to be regularly used until
+well into the last quarter of the eighteenth century. Hepplewhite's book
+of designs, published in 1789, shows models for chests of drawers
+extending almost to the floor, but it is not probable that they were
+made in any number after this date.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_034" id="ILL_034"></a>
+<img src="images/ill_034.jpg" width="600" height="445" alt="Plate XXXIV.&mdash;Block Front Bureau Desk, owned by Nathan C. Osgood, Esq. One of the best specimens in New England; oak paneled Chest, about 1675." title="" />
+<span class="caption">Plate XXXIV.&mdash;Block Front Bureau Desk, owned by Nathan C. Osgood, Esq. One of the best specimens in New England; oak paneled Chest, about 1675.</span>
+</div>
+
+<p>The desk occupied a prominent place in New England homes in the early
+days of the colonies, though not to the extent of the other and more
+necessary articles of furniture. It varied in size and design according
+to the period of its manufacture, the earliest type being little more
+than a box that locked, with flat or sloping top, and placed on the
+table when used. This type was often ornamented with rich carving, and
+sometimes it was arranged upon legs, with a shelf beneath.</p>
+
+<p>The form in common use about 1700 was known as the "scrutoir," being in
+reality a desk resting on a chest of drawers; the sloping front opened
+on hinges, and afforded a writing desk. One example of this type, fitted
+with ball feet, and showing<span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span> secret drawers and many cupboards, is found
+in the Ropes house in Salem, being an inheritance from the original
+owner, General Israel Putnam. Another of equal interest is in the home
+of Mrs. Guerdon Howe at Haverhill. This originally belonged to Daniel
+Webster, who was at one time a law partner of Mr. Howe's grandfather.
+This desk, which was brought to the house after the death of Webster, is
+filled with old and interesting letters.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_035" id="ILL_035"></a>
+<img src="images/ill_035.jpg" width="600" height="364" alt="Plate XXXV.&mdash;Secretary, showing shell ornamentation; Highboy with shell ornamentation and ball and claw feet, 1760; Highboy with shell ornamentation." title="" />
+<span class="caption">Plate XXXV.&mdash;Secretary, showing shell ornamentation; Highboy with shell ornamentation and ball and claw feet, 1760; Highboy with shell ornamentation.</span>
+</div>
+
+<p>The earliest "scrutoirs" were of foreign manufacture, chiefly English,
+but by 1710 they were being made in this country. These early American
+"scrutoirs" are very plain in form, generally made of cherry, though
+occasionally one is found constructed of walnut. After the first quarter
+of the eighteenth century, American manufacturers improved their output,
+and made some very handsome specimens of the type known as bureau desks.
+One excellent example of the very early bureau desk of foreign make is
+found in the possession of the Alden family, having been brought to this
+country in the <i>Mayflower</i> by John Alden himself.</p>
+
+<p>By 1750 the desk in its various forms had come to be considered an
+important part of the household<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span> equipment, and in their manufacture
+many woods were employed, such as mahogany, cherry, apple, and black
+walnut, sometimes solid, and sometimes veneered. The following thirty
+years saw the advent of many new styles, two of which were more dominant
+than the rest; one of these was the development of the early "scrutoir,"
+and the other the forerunner of the bookcase desk or secretary.</p>
+
+<p>During this period Chippendale designed several desk models, the most
+notable of which was probably his secretary, characterized by Chinese
+fret designs in the glass doors, and an ingenious arrangement of secret
+drawers. In 1790 Hepplewhite followed with his designs, many of which
+were severe in contour, being wholly straight in front and arranged with
+two glass doors above, sometimes fancifully framed. Then Sheraton's
+desks and secretaries came into favor; many of his models showed
+practical features and beautiful finish, and after 1793 were generally
+characterized by inlay work, with the lower portion consisting of a
+cupboard instead of the usual drawers.</p>
+
+<div class="figleft" style="width: 389px;"><a name="ILL_036" id="ILL_036"></a>
+<img src="images/ill_036.jpg" width="389" height="600" alt="Plate XXXVI.&mdash;Dressing Table, 1760; Mahogany Commode, collection of Nathan C. Osgood, Esq." title="" />
+<span class="caption">Plate XXXVI.&mdash;Dressing Table, 1760; Mahogany Commode, collection of Nathan C. Osgood, Esq.</span>
+</div>
+
+<p>During these latter days of the eighteenth century, beautiful
+secretaries were manufactured in this country, ranging in form from the
+very plain<span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span> to the very elaborate, but after 1800, when some few
+French Empire desks found their way here, serving as models for American
+manufacturers, the domestic output became less graceful, depending for
+beauty on the grain of the veneering used.</p>
+
+<p>Many of all these types of desks are found throughout New England, one
+particularly good specimen being shown in the Noyes house at
+Newburyport. This belongs to a period antedating the Revolutionary War,
+and shows the oval which is characteristic of its type. Among its
+features are paneled doors one and one half inches thick.</p>
+
+<p>Though the date of their introduction was not until well along in the
+eighteenth century, sideboards are prominent among the old-time
+furnishings, and in the highest state of their development they were
+articles of beauty and utility. In reality they are a development of the
+serving table, which came into vogue in the first half of the eighteenth
+century, and in form are a combination of the serving table and its
+accompanying pieces. At first they were little more than unwieldy,
+unattractive chests of drawers, gradually developing to their best form,
+with carved front, slender legs, and other details. In their
+construction,<span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span> mahogany was chiefly used, inlaid with satinwood, holly,
+tulip, and maple, and veneered occasionally with walnut; and they showed
+in their finished lines the best work of the skilled craftsman. The last
+type of the old sideboard showed Empire characteristics, being more
+massive than graceful, but yet containing features of marked beauty.</p>
+
+<p>While Chippendale is often credited with having made sideboards, no
+record of this fact is found among his designs, though he makes frequent
+mention of several large tables, which he calls sideboard tables. No
+doubt, many of the sideboards credited to him were made by Shearer, a
+designer to whom belongs the credit of originating the sideboard, and
+who included in his designs pieces with curved and serpentine fronts, a
+style which was later perfected by Hepplewhite. There is no doubt that
+Hepplewhite made sideboards, for in his book of designs he shows a
+sideboard model, with a deep drawer at each end and a shallow one in the
+center, as well as four different designs in the table form, without the
+drawers, which are similar to Chippendale's work. Hepplewhite's
+sideboards are characterized by square legs, often ending in the
+spadefoot, the ends sometimes<span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span> square and sometimes round, the front
+swelled, straight, or curved, affording a great variety to his work.
+Generally his sideboards are made of mahogany, and almost invariably
+they are inlaid, though occasionally they show carving.</p>
+
+<p>Sheraton also designed sideboards, and while in general appearance they
+somewhat resemble Hepplewhite's designs, in many respects they are
+superior. They were equipped with any number of devices, such as
+cellarets, closets for wine bottles, slides for the serving tray, and
+racks for plates and glasses, and many of them are lavishly ornamented
+with inlay work, though few show carving.</p>
+
+<div class="figright" style="width: 423px;"><a name="ILL_037" id="ILL_037"></a>
+<img src="images/ill_037.jpg" width="423" height="600" alt="Plate XXXVII.&mdash;Sheraton Sideboard; Simple form of Sheraton Sideboard, with line inlay around drawers and doors. Date 1800." title="" />
+<span class="caption">Plate XXXVII.&mdash;Sheraton Sideboard; Simple form of Sheraton Sideboard, with line inlay around drawers and doors. Date 1800.</span>
+</div>
+
+<p>Examples of all these types are found in the colonies, one of
+Hepplewhite design showing the fine inlay work and graceful proportions
+typical of his pieces and originally owned by Governor Wentworth, being
+in the possession of a Salem family. Another, of Sheraton make, is
+preserved in the Stark home, having been brought here from the Governor
+Pierce house at Hillsboro. Another of like make is found in the Howe
+house, having originally belonged to an ancestor of the present owner,
+Governor John Leverett, governor of<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span> Massachusetts during the time of
+King Philip's War.</p>
+
+<p>Shortly after 1800, the style of sideboard greatly changed, becoming
+more massive, with the body placed nearer the floor, and the legs
+shorter. French Empire styles influenced the manufacture in this country
+to a great extent, though carving and the grain of the wood were still
+depended upon for ornament, rather than the French features. The best
+examples of this type are to-day found in the South; 1820-1830 saw the
+advent of a plainer model, being in reality an adaptation of one of
+Sheraton's types; in the following years other variations were made, all
+showing the heaviness of the Empire style in a more or less degree,
+until about 1850, when the architectural merits of the sideboard
+disappeared.</p>
+
+<p>Intimately associated with the sideboard is the table which probably
+shows more variety in design than any of the other old-time furnishings.
+From the table board or top used in 1624, square, oval, or round in
+contour, evolved the butterfly table popular about 1700, many examples
+of which are found throughout Connecticut. These followed in form the
+outline of a butterfly, and were supported by pieces of wood shaped much
+like the rudder<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span> of a ship. Other types popular here were the Dutch
+table, the hundred-legged table, the dish-top table, and the tea table.</p>
+
+<p>The first table used in this country was the table top, which was
+literally a board made separate from its supports, which was taken off
+and placed at one side of the room after meals. This showed different
+forms, and was known by different names, one called the chair table, and
+so constructed that when not in use it served as a seat, being probably
+the most unique. It was invariably fashioned with drawers.</p>
+
+<p>Included in the later designs were writing tables fashioned by Sheraton,
+showing elegant carving at the back, the most decorative of these, known
+as the "Kidney" based table, being used either for writing or as a
+lady's worktable. Another model of Sheraton's was a worktable known as
+the Pouch Table, arranged with a bag of drawn silk. These were often
+fitted with drawers and a sliding desk, which drew forward from beneath
+the table top.</p>
+
+<p>The dining table of this period showed the pillar and claw style with
+central leg fixed to a block, on which the table hinged. This principle
+received the support of the English people for many<span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span> years, and Sheraton
+tables of this make had four claws to each pillar, and castors of brass.
+So much did Sheraton designs resemble those of French artisans that only
+close inspection will decide as to which cabinet-maker a certain piece
+belongs.</p>
+
+<p>Following this type came the telescopic table, showing extensions fitted
+through slides moving in grooved channels.</p>
+
+<p>Other later tables were card tables, which closed and could be stood
+against the wall when not in use, the pie-crust table of the Dutch style
+of make, and the table with scalloped moldings carved from solid pieces
+of wood, with legs terminating in claw-and-ball feet. Tables of Empire
+design often have brass feet and lyre supports, while others show the
+rope carving and acanthus leaf.</p>
+
+<p>Popular types of the later days of the eighteenth century were Pembroke
+tables, small and of ornamental design, with inlaid tops and brackets to
+supply the two side flaps, as well as Pier tables, circular or
+serpentine in shape.<span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_X" id="CHAPTER_X"></a>CHAPTER X</h2>
+
+<h3>FOUR-POSTERS</h3>
+
+<p>At no time since the days of the Renaissance has interest been so keen
+in interior decoration as it is at the present day, not only as regards
+the main living rooms of the home, but the sleeping apartments as well.
+This has resulted in a revival of old-time features, and the chamber
+fittings of the present in many cases are similar in type to those of
+early times, when purely classical designs were in vogue,&mdash;models that
+have never been surpassed in beauty by later designers, though many a
+fine piece of furniture has been made since then by expert
+cabinet-makers.</p>
+
+<p>Early specimens showed a delicacy of touch and a mastery of thought that
+gave to them a lasting place in the world of architecture, and while the
+coming historian may dilate upon twentieth-century models, he cannot
+make any comparison that will in any way be derogatory to these
+wonderfully fine old pieces. In early days, labor was a<span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span> very different
+problem from what it is to-day, years being often spent in the making of
+a single specimen of furniture, and, indeed, in some countries, a
+workman has been known to have spent his whole life in the fashioning of
+a single piece.</p>
+
+<p>Taking these points into consideration, one cannot wonder that early
+century pieces are still as perfect as they were the day that they left
+the makers' hands, and it is with regret that he views the hurry and
+rush of modern times resulting in the practical abolition of hand
+carving, and the introduction of machinery that has helped in the
+deterioration of the art. Reproductions, as they are made to-day, while
+in many cases very beautiful, cannot equal in finish the originals
+fashioned at a time when art was the first consideration.</p>
+
+<p>Fortunately, many genuine antiques are still in existence, and present
+interest for the most part centers in their types and periods of
+manufacture. With so many periods and so many makers, it is not
+surprising that mistakes in these respects are sometimes made,
+especially as regards the bedstead. For the best of these, one need not
+search farther back than the seventeenth century, for the most valuable
+specimens were made in the seventeenth and eighteenth centuries, many
+of<span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span> these to-day bringing from two to three hundred dollars apiece.</p>
+
+<p>Of course, these fine beds were not the first beds used here, though no
+doubt the earlier types, as well as these later specimens, were imported
+from England, along with the other household furnishings. If any
+bedsteads were made here, they were undoubtedly simple and
+unpretentious, along the lines of the settle and board tables.</p>
+
+<p>The articles of furniture devised by people of different countries for
+comfort in sleep vary according to climate and the progress of
+civilization. The bed of our primeval ancestors consisted of dried
+mosses and leaves, with a canopy of waving leaves above. Later, through
+the need of shelter from the frost and protection from crawling insects,
+a rude structure consisting of a framework of poles, covered with
+branches, was substituted. Probably the first authentic representation
+of a bed is found on ancient Egyptian tombs, depicting a long, narrow
+receptacle, suited for but one person. Greek and Roman beds,
+representations of which have also been found, are of the single type,
+resembling in shape the Flemish couches made in the latter half of the
+seventeenth century, while the Greek thalamos, another type, showed a
+framework of<span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span> great beauty, curiously carved, and decked with ivory,
+gold, silver, and precious stones. Roman luxury outvied that of Greece,
+as is shown by specimens that have been found in Pompeii, and the
+hangings of the bed, while receiving special attention, seemed to be
+less highly prized than the frame, probably on account of the mildness
+of the climate.</p>
+
+<p>The eleventh century saw the half-savage people of northern Europe
+building beds into the walls of their rooms, and fitting them with doors
+and sliding panels to insure against the cold. These cupboard couches
+are reproduced in a modified form in many summer homes to-day, being
+arranged like steamer berths.</p>
+
+<p>After the Norman Conquest, beds of this type came into favor in England,
+though they were quickly superseded by a great oaken bed with
+roofed-over top. This was arranged in the center of the room, and
+heavily curtained for protection against the wind that blew in through
+the cracks of the poorly hung doors and the unglazed windows, closed
+only by loosely fitted shutters. Many of these beds were of prodigious
+size, the most historic, "The Great Bed of Ware" to which Shakespeare
+alludes, being twelve feet square, built of solid oak, and finished with
+the most elaborate carving imaginable.<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span> This bed is known to have
+furnished sleeping accommodations for twelve persons at one time, and it
+has stood for nearly four centuries in an ancient inn, located in the
+town of Ware. In style, this is a four-poster, and doubtless marks the
+induction of this, the most expensive but the most popular bed of its
+day.</p>
+
+<div class="figcenter" style="width: 500px;"><a name="ILL_038" id="ILL_038"></a>
+<img src="images/ill_038.jpg" width="500" height="362" alt="Plate XXXVIII.&mdash;Bedstead in Middleton House, 1798." title="" />
+<span class="caption">Plate XXXVIII.&mdash;Bedstead in Middleton House, 1798.</span>
+</div>
+
+<p>Old-time four-posters consisted, as do those we see to-day, of four
+posts, supporting a tester, and connected laterally by sidepieces which
+were almost always undecorated, as the bedspread was supposed to fall
+over the sides of the bed and cover them. A headboard was considered
+almost indispensable, although it is absent in some cases. It was
+usually rather low and decorated with carving, more or less elaborate.
+The footboard was sometimes used, but was quite often omitted in the
+older specimens, and seems to have come into favor later on, as an
+additional detail. When the posts were lowered, the footboard rose into
+prominence, but this was not until after the first quarter of the
+nineteenth century had elapsed.</p>
+
+<p>Many of the beds had a canvas bottom, held in place either by iron rods
+or ropes, or sometimes by both. It was "sackcloth and ashes" at
+house-cleaning time in those days, for either kind required<span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span> the united
+strength of several muscular arms to put it together. The hair mattress
+was unknown at that period, and in its place was used brown linen
+sacking filled with straw and buttoned at one side, so that the straw
+could be easily removed at any time. This formed the lower strata of the
+bed, and above it were laid innumerable feather beds, piled one above
+the other, so high that often steps were necessary assistants in getting
+into bed.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_039" id="ILL_039"></a>
+<img src="images/ill_039.jpg" width="600" height="389" alt="Plate XXXIX.&mdash;Sheraton type, in Kittredge House; Four-poster, about 1825." title="" />
+<span class="caption">Plate XXXIX.&mdash;Sheraton type, in Kittredge House; Four-poster, about 1825.</span>
+</div>
+
+<p>In colonial homes, where bedrooms were fireless, curtains and hangings
+were important accessories of the bed to shield the sleeper from drafts.
+These were often made of linen, handspun by some member of the
+household, and while many were white, some were in colors. One of these,
+of blue and white homespun pattern, edged with hand-made ball fringe,
+has been in constant use for generations, and as yet shows not the
+slightest sign of wear. It is now owned by a fortunate Salem woman.</p>
+
+<div class="figcenter" style="width: 500px;"><a name="ILL_040" id="ILL_040"></a>
+<img src="images/ill_040.jpg" width="500" height="327" alt="Plate XL.&mdash;Field Bedstead, slept in by Lafayette, in Stark Mansion. Owned by Mrs. Charles Stark, Dunbarton, N.&nbsp;H." title="" />
+<span class="caption">Plate XL.&mdash;Field Bedstead, slept in by Lafayette, in Stark Mansion. Owned by Mrs. Charles Stark, Dunbarton, N.&nbsp;H.</span>
+</div>
+
+<p>Many of these hangings were made of chintz and hand-embroidered linen,
+and in homes of limited means they were also made of patch, following
+the style of the quilt. Blankets were likewise home-made, of handspun
+wool, adorned with roses in each corner, which gave them the name of
+rose blankets. A blue and white homespun<span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span> counterpane added the
+finishing touch, and often the hangings of the bed were of this same
+material, the curtains being drawn back loosely so that, on cold nights,
+they could be permitted to fall about the bed. Often both counterpane
+and hangings were finished with a hand-made netted fringe, varying in
+width from five to eight inches.</p>
+
+<p>While beds were a scarcity in the rude homes of our early ancestors,
+still they were sometimes brought here from over the seas, as is proven
+from an account written by Rev. Robert Crowell in his <i>History of
+Essex</i>, in which he speaks of two bedrooms in Darius Cogswell's house.
+These were divided off from the main room by handsome curtains that were
+stretched the whole way across, and, in the bed reserved for visitors,
+the guests of the night lay inclosed with curtains to exclude the night
+air; these, when drawn in the morning, allowed one to peer through the
+cracks in the shrunken logs at the world outside.</p>
+
+<p>Most of our ancestors, however, were content with much simpler beds than
+this, for mere frames, with curtains and valances, were most frequently
+used, the beds stuffed with straw or feathers plucked from live geese,
+or poultry, and laid on<span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span> the floor. Among these early types are
+"Cupboard" or "Presse" bedsteads, frequently mentioned in the
+inventories from which we gather much of our information. These, when
+not in use, were fastened up against the wall, proving valuable space
+savers where space was limited. Bunks were another type of the early bed
+in use here, one specimen, used in early days for slaves who were in the
+family, being still shown at the Adams house at Byfield.</p>
+
+<p>Possibly the early settlers may have used a bed that is still in fashion
+among the Kentucky mountaineers, known as "Wild Bill." This is a
+one-poster, rather than a four-poster, and occupies a corner of the loft
+in a log cabin. The side and end of the cabin serve for headboard and
+one side of the bed; saplings nailed to the solitary post that runs from
+roof to flooring supply footboard and sidepiece; springy poles, running
+crosswise, uphold the home-made straw mattress and feather bed.
+Doubtless the rest of the mountaineer who uses this is sweet, but to one
+unused to it, it seems a diabolical bed!</p>
+
+<p>When life in the new country became easier, furniture of all kinds was
+brought here from England, much of it of the Queen Anne period. This
+comprised,<span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span> among other details, four-posters made of black walnut, this
+wood having superseded English oak in popular favor during the preceding
+reign of William and Mary. Panelings and moldings that had done duty
+during the Jacobean period were retained in all their splendor, and to
+these were added the new feature of the claw-and-ball foot. Our oldest
+beds belong to this period, unless we consider Presse bedsteads or
+Cupboard bedsteads, already spoken of, as real beds. The Dutch name for
+such contrivances was "slaw-bank," and they might be said to be the
+forerunner of the latter-day folding bed.</p>
+
+<p>Mahogany was first used in England in the year 1720, and therefore it
+belongs to the Georgian period. Four-posters of this material, as
+constructed in the early days of their popularity, had slender and
+delicate posts, which were sometimes fluted and sometimes carved. In
+these earlier specimens the headboards were simply made and left
+undecorated. At this time great advance in the designing of furniture
+was made, for cabinet-makers published books of designs, and
+Chippendale, who was doubtless the greatest English exponent of his
+craft, designed beds with footpieces and sidepieces, carefully paneled
+and carved. He<span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span> used tall and slender posts, and carving of the most
+elaborate nature. Genuine Chippendale beds are rare in America, and they
+are not common in England, seeming almost as if he had executed this
+piece of furniture less frequently than any other. We have, however,
+beautiful specimens which were modeled after Chippendale designs.</p>
+
+<p>In English furniture making, the brothers Adam held the supremacy from
+1775 until the end of the century. They endeavored to restore the simply
+classical styles of Greece and Rome, with Greek ornamental figures, such
+as the acanthus, urns, shells, rosettes, and female heads. They made a
+smaller bed than the Chippendale pattern, with lower posts and less
+abundant carving.</p>
+
+<p>Hepplewhite's influence culminated some ten years later than that of the
+brothers Adam. He designed four-posters of attractive delicacy, used
+carved rosettes and a delicately carved beading by way of decoration,
+and delighted to place an urn-shaped section, lightly festooned with
+drapery, on the post where the sidepiece joins the standard.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_041" id="ILL_041"></a>
+<img src="images/ill_041.jpg" width="600" height="365" alt="Plate XLI.&mdash;Sheraton Four-poster; Four-poster showing decided English characteristics." title="" />
+<span class="caption">Plate XLI.&mdash;Sheraton Four-poster; Four-poster showing decided English characteristics.</span>
+</div>
+
+<p>Sheraton was the last of the noted cabinet-makers of the Georgian
+period, commencing to publish his designs in 1790. They were
+distinguished for the use of inlaid work, and later on he developed<span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span>
+painted designs. In his work he introduced many light woods, such as
+whitewood, satinwood, and sycamore, which, when painted green, was
+termed harewood. The trend of sentiment at that time seemed to be toward
+simplicity and delicacy.</p>
+
+<p>The last great change in the old four-poster was made, curiously enough,
+in deference to Napoleon, for it was through his influence that ancient
+Roman decorations, such as the laurel wreath and the torch, were
+revived. England had her mental reservations regarding this type,
+however, and by the time the fashion reached America it simply lowered
+the bedposts. It was the beginning of the end, however, and forty years
+later came the Renaissance of black walnut, and with it the relegation
+of the old four-posters to attic and storehouse, or else to the chopping
+block. Saddest of all, their owners were glad to see them go, on account
+of the difficulty of putting them together. In the revival of colonial
+fittings, the four-poster has again been restored to favor, and in many
+modern homes the old four-poster is the chamber's most pleasing feature.</p>
+
+<p>There are some wonderfully fine old four-posters in America. One of
+these, in the Howe house at Haverhill, showing slender posts,
+surmounted<span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span> by the ball and eagle, is made of brass. Originally it
+belonged to the first owner of the dwelling, Dr. Nathaniel Saltonstall,
+a contemporary of George Washington, and a descendant of Sir Richard
+Saltonstall. It has never been out of the family since its importation,
+the present owner being the widow of the first owner's great-grandson.</p>
+
+<p>Historic through the fact that it once graced the chamber of Oliver
+Wendell Holmes is the exquisite four-poster now in a Salem house. This
+is characterized by a richness of design that is most attractive, and
+the hangings are in keeping with the exquisiteness of the whole. In this
+same dwelling is another old poster, this time of the low type, that
+came into vogue about 1825. This shows but little of the carving that is
+a feature of the older types.</p>
+
+<p>Other fine old four-posters can be found in Salem. One is of Hepplewhite
+make, showing the slender posts and fluting of his type, while another
+is considered one of the best specimens in New England, with a drapery
+of patch that is probably all of a hundred years old.</p>
+
+<p>At Dunbarton, New Hampshire, in the old Stark mansion, is a fine example
+of the Field bedstead,<span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span> standing exactly as it did when Lafayette
+occupied it so many years ago, and still known by the name then given to
+it, the Lafayette bed.</p>
+
+<p>In the Middleton house at Bristol is a most interesting four-poster,
+done in white, the gift to a bride of long ago. Lately this has been
+repainted exactly as it was when first placed in the house, the design
+depicted, that of the bow and arrow, showing as clear and dainty as when
+first traced. In another chamber in this same old home is another
+four-poster that was brought direct from Leghorn. Both of these rare
+specimens have been in the family since the building of the homestead.</p>
+
+<p>Examples of these fine old beds are growing scarcer and rarer each year,
+and their value is correspondingly increasing. Some years ago they could
+be had almost for the asking, but with their revival in favor, their
+worth has increased. They depict an era that is associated with the best
+in the way of design and craftsmanship, and not a few of them have
+historic associations that render them particularly notable.<span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XI" id="CHAPTER_XI"></a>CHAPTER XI</h2>
+
+<h3>MIRRORS</h3>
+
+<p>The heavily freighted ships that came into the harbor in the days of
+Salem's commercial prosperity brought in their holds many valuables,
+including mirrors, several of which are to-day found in Salem homes. Not
+a few of these are ancestral heirlooms, closely interlinked with
+interesting family histories, and their depths have reflected the faces
+of many old-time belles.</p>
+
+<p>Even in the earliest days of the colonies, mirrors formed a part of the
+household accessories, for our Puritan ancestors, scorning as they did
+all pretence of personal vanity, did not forbear to glimpse their
+appearance before they wended their way to service on Sabbath morn.
+Proof positive of their use at this time is to-day in existence in the
+form of inventories that list the prices and tell odd, descriptive
+stories concerning them, as, for instance, a record of 1684 that speaks
+of "a large looking-glass and brasses valued at two pounds, five
+shillings."<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span></p>
+
+<p>The origin of the mirror is shrouded in mystery and the time of its
+invention uncertain, but there is no doubt that rude reflectors were
+made to serve the purpose in South Europe and Asia, at least three
+hundred years before the Christian Era. These were made of metal, varied
+in shape, and they were considered necessary toilet accessories. All
+were highly polished, and several showed handles elaborately wrought.</p>
+
+<p>Small mirrors of polished iron or bronze were used by the early Chinese,
+who wore them as ornaments at their girdles, attached to a cord that
+held the handle or knob. Who knows but these may have been forerunners
+of the "vanity case" in use to-day!</p>
+
+<p>Small circular placques of polished metal known as pocket and hand
+mirrors came into vogue between the twelfth and the fifteenth centuries.
+These, too, were worn at the girdle, and placed in shallow boxes covered
+with a lid. The cases were of ivory, beautifully carved with
+representations of love, romance, and, less frequently, of the hunt.</p>
+
+<p>Looking-glasses when first used were fastened to the wall like panels,
+but in the fifteenth century they became movable. These earlier mirrors
+show<span class='pagenum'><a name="Page_134" id="Page_134">[Pg 134]</a></span> a great variety of shapes, and were made of different kinds of
+polished metal.</p>
+
+<p>The Venetians undoubtedly made the first looking-glasses, having been
+the ones to discover the art of coating plates of glass with an amalgam
+of tin foil and mercury. For over a century they guarded their secret
+well, and it was not until 1670 that the art became known in England
+through the keenness of an Englishman named Lambert.</p>
+
+<p>Salem merchants sent their ships to Venetian ports, and an occasional
+mirror of this make is found here. One of these is owned in Salem. It is
+about a foot and a half in length, its frame of gilt surmounted by a
+cornice and gilt pineapple, with claw feet.</p>
+
+<p>The introduction of glass mirrors gave rise to a new industry,&mdash;the
+making of mirror frames. In this occupation, cabinet-makers found a new
+vent for their skill, since by far the larger number of frames were made
+of wood. Of course, there were a few odd frames made, such as those of
+glass fitted together at the joints with gilt molding, but the majority
+were of wood. The different styles are characteristic of certain periods
+or designers, and it is upon the frame rather than upon<span class='pagenum'><a name="Page_135" id="Page_135">[Pg 135]</a></span> the glass
+that one must rely for value, as well as for date of manufacture.</p>
+
+<p>Previous to the Revolution, the colonists manufactured little furniture,
+and were dependent upon England, Holland, Spain, and France for their
+house furnishings, including mirrors. Many beautiful specimens thus
+found their way here, and many are still to be found in colonial homes.
+One such is owned in Salem. This is a Bilboa glass, an especially fine
+type, one of several still preserved in New England, principally in
+Marblehead. There is a popular legend that these old glasses were
+brought from the Bay of Biscay by sailors for sweethearts at home,
+though some authorities insist that they were imported from Italy and
+paid for with dried fish. However this may be, they are certainly
+excellent illustrations of the early craftsmen's skill.</p>
+
+<p>The distinctive feature of the Bilboa glass is a column of
+salmon-colored marble on either side of the gilt frame. This marble is
+glued or cemented in small sections to the wood, and in some cases
+strips of marble form the border around the frame. It is ornamented on
+top by a broken arch surmounted by an urn. Grotesque and grinning heads
+top the columns, and a narrow bead molding<span class='pagenum'><a name="Page_136" id="Page_136">[Pg 136]</a></span> surrounds the glass and
+decorates the lower part in scroll design.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_042" id="ILL_042"></a>
+<img src="images/ill_042.jpg" width="600" height="270" alt="Plate XLII.&mdash;Girandole in George Ropes House, 1800; Girandole, 1800; Constitution Mirror, 1780." title="" />
+<span class="caption">Plate XLII.&mdash;Girandole in George Ropes House, 1800; Girandole, 1800; Constitution Mirror, 1780.</span>
+</div>
+
+<p>The earliest type of looking-glasses came into vogue in the first half
+of the eighteenth century, during the reign of Queen Anne of England.
+The frames of simple wood gave little hint of the extravagant
+decorations that were to follow, the only ornamentation being gilded
+wooden figures and squat urns, which were occasionally used.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_043" id="ILL_043"></a>
+<img src="images/ill_043.jpg" width="600" height="350" alt="Plate XLIII.&mdash;Picture Mirror showing Dawn, in Adams House, 1703; English Georgian Mirror, 1750; Two-piece Looking-glass, 1750." title="" />
+<span class="caption">Plate XLIII.&mdash;Picture Mirror showing Dawn, in Adams House, 1703; English Georgian Mirror, 1750; Two-piece Looking-glass, 1750.</span>
+</div>
+
+<p>Owing to the extreme difficulty of making large pieces of glass, and
+also because it was not deemed prudent to waste the smaller pieces, many
+of the Queen Anne mirrors were made of two pieces of glass arranged so
+that one plate overlapped the other. Later, these parts were joined by
+strips of gilt molding. Several of these mirrors are still in existence,
+one of the earlier type being owned by Mrs. Walter L. Harris of Salem,
+showing a simple glass with gilt figure ornament.</p>
+
+<p>One of the finest mirror designers was Chippendale, who wrought out
+Chinese patterns, his schemes showing a wonderful weaving of birds,
+flowers, animals, and even human beings. One design, typical of his
+work, shows a flat wooden frame cut in graceful arches, with a gilded
+eagle perched on top with outspread wings. Gilt rosettes<span class='pagenum'><a name="Page_137" id="Page_137">[Pg 137]</a></span> and flowers,
+as well as ornaments strung on wire, were frequently used by him, and
+are considered characteristic of his type.</p>
+
+<p>It was customary for the frames to rest on a pair of mirror knobs, which
+were fitted to the lower edge of the frame and screwed firmly to the
+wall. These knobs were often made of brass, but the most fashionable
+ones were of copper overlaid with Battersea enamel, and framed in rings
+of brass. Among the most quaint designs which were carried out on these
+mirror knobs were heads of prominent persons such as Washington,
+Lafayette, and Lord Nelson. Bright-colored flowers and landscapes, the
+American eagle, and the thirteen stars, representing the original
+colonies, were also frequently used, as were the queer designs of the
+funeral urn and weeping willow, that seemed to especially appeal to our
+ancestors' taste.</p>
+
+<p>By the year 1780 American mirror manufacturers had evolved a style
+peculiarly their own, and the glasses made at that time were known as
+Constitution mirrors. The frames were not unusual in design, generally
+being made of wood, in more or less elaborate shapes, but they were
+original in their decoration, especially in their tops. These generally
+were graced by the American eagle, the<span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span> newly chosen emblem of the
+Republic, executed either in plaster covered with gilt, or in wood. A
+good example of the Constitution type is shown in the Lord house at
+Newton. The top shows the usual eagle decoration, though the cornice is
+overhanging, fixing the date of manufacture early in the nineteenth
+century. This mirror is especially historic, having belonged to the
+brilliant Revolutionary hero, Henry Knox, General Washington's most
+intimate friend.</p>
+
+<p>Another handsome mirror of the same period is one that was originally in
+the Harrod mansion at Newburyport. It was one of the few things saved
+when the house was burned at the time of the great fire in 1812. This
+mirror now hangs in the home of a lineal descendant of the Harrod family
+in Salem. It is in perfect condition, and shows the eagle top and draped
+sides.</p>
+
+<p>The overhanging cornice came into vogue early in the nineteenth century.
+A mirror characteristic of this date is shown in the living room at
+"Highfield," the Byfield home of the Adams family, built by Abraham
+Adams in 1703. It has a gilt frame of the ordinary picture type, and on
+account of its association is most interesting.</p>
+
+<p>A specimen of the same period is shown in the<span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span> Lord house at Newton.
+This is decorated with the figure of a goddess sitting in a chariot
+drawn by two rams. The frame is of fine mahogany, with handsomely carved
+columns, simply ornamented.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_044" id="ILL_044"></a>
+<img src="images/ill_044.jpg" width="600" height="300" alt="Plate XLIV.&mdash;Oval Mirror, showing Acanthus leaves, once on Cleopatra&#39;s Barge, the first pleasure yacht built in America; Mirror, 1710, resting on ornamental knobs; Mirror, 1810, in Dudley L. Pickman House." title="" />
+<span class="caption">Plate XLIV.&mdash;Oval Mirror, showing Acanthus leaves, once on Cleopatra&#39;s Barge, the first pleasure yacht built in America; Mirror, 1710, resting on ornamental knobs; Mirror, 1810, in Dudley L. Pickman House.</span>
+</div>
+
+<p>Other types of mirrors popular in the days of our forefathers were the
+mantel mirrors that came into favor early in the eighteenth century,
+first in England and later in America. Their greatest period of
+popularity was from 1760 until the commencement of the nineteenth
+century. Many of these glasses were oval in shape, though the majority
+consisted of three panels of glass separated only by narrow moldings of
+wood. This style was probably originated by some economical
+cabinet-maker who, in order to avoid the heavy expense which the
+purchase of large plates involved, designed these. They were most
+favorably received upon their introduction, and many of the old glasses
+to be found at the present day are of this style.</p>
+
+<p>One of the most valuable of these three-piece mantel glasses is that in
+the drawing-room of the Pierce-Nichols house on Federal Street at Salem,
+the frame of which has attracted the attention of antiquarians all over
+the country. It was made for a bride, who in 1783 came to be mistress
+of<span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span> this old home, and it shows a finish of gold and white harmonizing
+admirably with the surrounding white woodwork, exquisitely carved by
+Samuel McIntyre, the noted wood-carver. Its principal features are
+slender, fluted columns twined with garlands, which fancy is repeated in
+the decorations of the capitals. Above the glass are two narrow panels,
+one of white ornamented with gilt, and the other of latticework over
+white. Just beneath the overhang of the cornice is a row of gilt balls,
+a form of decoration that came into style during the latter part of the
+eighteenth century, and which continued to characterize a certain class
+of mirrors for several decades.</p>
+
+<p>Late in the nineteenth century mirrors known as bull's-eyes and
+girandoles came into vogue. These were circular in form, the glass
+usually convex, and they were made by Chippendale, the Adam Brothers,
+and others. The fact of their being convex rendered them impractical for
+common use, though it allowed for elaborate framing, and they were
+employed rather for ornament than for use. Looking up the old
+definition, we find these glasses alone have the right to be called
+mirrors, and that all else save "circular convex" should, properly
+speaking, be termed looking-glasses.<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span></p>
+
+<p>One good example of this type was in the George house at Rowley,
+Massachusetts, now demolished. It showed a heavy gilt frame, surmounted
+by an eagle.</p>
+
+<p>Originally, there were shown in Hamilton Hall, at Salem, two fine
+examples of girandoles, with glass pendants, which in the midst of
+lighted candles reflected myriad sparkles. Interesting, indeed, would be
+the tales they could tell of fair ladies in powder and patches, and
+courtly gallants who in the long ago gathered in this famous hall to
+tread the measures of the minuet! These girandoles were the gift of Mr.
+Cabot, and they are now replaced by simpler examples, the originals
+having been given to the Saltonstall family, in whose possession they
+still are.</p>
+
+<p>Of the late colonial looking-glasses, there are two general types, the
+earlier dating back to about 1810 and characterized by an overhanging
+cornice, beneath which pendant balls or acorns are frequently found,
+with frames of wood carved and gilded, or painted. Further decoration is
+found in a panel beneath the cornice ornamented with various designs,
+such as a horn of plenty, floral subjects, or classical scenes.</p>
+
+<p>In the later type, the cornice has disappeared,<span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span> and the frame as a rule
+is more simply ornamented. The upper panel, however, has been retained,
+and almost invariably it shows a painting of some sort. Until within a
+comparatively few years, it was not a difficult matter to secure mirrors
+of this type, but the recent fad for collecting old furniture has caused
+many of the best specimens to be purchased, and, in consequence, really
+good colonial mirrors are rapidly becoming scarce, and one is a
+treasured possession.</p>
+
+<p>The Kittredge house at North Andover, Massachusetts, shows several fine
+examples of this later type, and other examples are to be found in the
+Lord house at Newton, and in several Salem residences. These show a
+great variety of panels, ranging from pastoral scenes to horns of
+plenty, and from ships to simple baskets of flowers.</p>
+
+<p>It is interesting to note, in connection with these old-time mirrors,
+the influence of the period reflected in the framing, and also how
+graphically the frame depicts the social life of its date of
+manufacture, and the country in which it was designed. There is a marked
+flamboyancy in the Venetian designs of the early eighteenth century,
+changed in the middle of the same century to a heavy splendor and
+inartistic grandeur. England, slightly earlier,<span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span> gave examples of fruit
+which many think were designed by Gibbon, but which materially lack the
+freedom of his work.</p>
+
+<p>Scrolls and angles, arabesques and medallions, belong to the second half
+of the eighteenth century. Many such came to New England, and one of
+these mirrors is still seen in a Salem home. Its decorations hint of the
+influence of the Renaissance, and it shows medallions decorated with
+grotesque figures on either side of the upper panel.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_045" id="ILL_045"></a>
+<img src="images/ill_045.jpg" width="600" height="306" alt="Plate XLV.&mdash;Mirror, 1770; Lafayette Courting Mirror, Osgood Collection; Empire Mirror, 1810." title="" />
+<span class="caption">Plate XLV.&mdash;Mirror, 1770; Lafayette Courting Mirror, Osgood Collection; Empire Mirror, 1810.</span>
+</div>
+
+<p>Perhaps as interesting as any of the old mirrors is the Lafayette
+mirror, one excellent example of which is seen in the Osgood house at
+Salem. This is small in size, surmounted with a painting of Lafayette,
+and is one of a great number designed in compliment to the beloved
+Frenchman's visit to Salem in 1784. It is known as the Courtney Mirror.</p>
+
+<p>Many of the fine old specimens to be seen in Salem were brought to New
+England at the time of the old seaport town's commercial glory, about
+the period of the Revolution, and previous to the restrictions following
+the War of 1812. These were halcyon days in Salem, "before the great
+tide of East India trade had ebbed away, leaving Derby Street stranded,
+its great wharves given over<span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span> to rats and the slow lap of the water
+among the dull green piles."</p>
+
+<p>Probably there are few of these old-time mirrors but have been connected
+with interesting traditions and events, and it seems a pity that their
+histories have never been compiled, but have been allowed to pass
+unrecorded, leaving the imagination to conjure up scenes of joy and
+sorrow that have been reflected in their depths. Still, for all their
+unwritten stories each and every one possesses a glamor of mystery that
+makes the work of collecting them most fascinating. The personal note so
+prevalent in nearly all workmanship of past centuries is particularly
+noticeable in the looking-glass, and perhaps it is this very attribute
+more than anything else that lends so great a degree of charm and
+attractiveness to them.<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XII" id="CHAPTER_XII"></a>CHAPTER XII</h2>
+
+<h3>OLD-TIME CLOCKS</h3>
+
+<p>There is something quaintly pathetic about an old colonial clock. Its
+sociability appeals to all home lovers, as it cheerily ticks the hours
+away, with a regularity that is almost human.</p>
+
+<p>The first clocks, if so they might be called, were composed of two bowls
+connected by an opening through which water trickled, drop by drop, from
+one to the other. Next came a simple contrivance consisting of a greased
+wick tied into knots. The smoldering of the lighted wick determined the
+flight of time.</p>
+
+<p>The first clock, which was made in 807, was given as a present to the
+Emperor Claudius. It was a small clock of bronze inlaid with gold, and
+was fitted with twelve small doors. Each one of these opened at a given
+time, and allowed tiny balls to roll out, differing in number according
+to the hour represented. Promptly at the strike of twelve, toy horsemen
+came prancing out, and closed every open door. This was a marvel of<span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span>
+clock-making that attracted a great deal of attention.</p>
+
+<p>In 1335, a monk, Peter Lightfoot by name, constructed a wonderful clock,
+which he presented to Glastonbury Abbey. During the fifteenth and
+sixteenth centuries, many and varied kinds of clocks were made, and we
+are assured that this was a successful venture, even in the early ages,
+from the fact that in 1500 a clock-makers' union was formed.</p>
+
+<p>To one who is interested in the history of clocks, there is no better
+place to view them than in Europe, where the most skilled clock-makers
+lived during the seventeenth and eighteenth centuries. Marseilles,
+Exeter, and Westminster Abbey are the homes of some of the most
+wonderful clocks in the world.</p>
+
+<p>Some of the most beautiful of these were made by Chippendale and
+Sheraton, the former manufacturing specimens that stood nine feet high
+and measured twenty-five inches across. On the door, was placed a
+reliable thermometer, while on the inner circle, the signs of the Zodiac
+were marked, the outer circle showing the movable features by means of a
+sliding ring.</p>
+
+<p>The manufacture of clocks in America began<span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span> early in the eighteenth
+century. Among the earliest clock-makers was one Benjamin Bagnall, who
+learned his trade in England and settled in Boston in 1712. A record of
+a meeting of the selectmen of the town on August 13, 1717, reads: "that
+Mr. Joseph Wadsworth, William Welstead, Esq., and Habijah Savage, Esq.,
+be desired to treat with Mr. Benjamin Bagnall about making a Town
+Clock," and according to the record in September of that year he was
+paid for it.</p>
+
+<p>The earliest Bagnall clock on record is of the Pendulum type, in a tall
+case of pine; on the inside of the lower door was written: "This clock
+put up January 10, 1722." Another, very similar to this type, belongs to
+the New England Historical Genealogical Society of Boston. The case,
+though plain, is handsome and unusual, being made of solid black walnut.
+Most of the cases, however, were made of pine, veneered. The use of this
+wood was characteristic of old American-made cases, while those of old
+English make were veneered on oak.</p>
+
+<p>A particularly fine Bagnall clock is in the Hosmer collection at
+Hartford, Connecticut. It is a black walnut veneer on pine. A
+peculiarity of the Bagnall make is the small dial, only twelve<span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span> inches
+square. Above the dial is an arched extension, silvered and engraved
+with the name of the maker. Samuel Bagnall, son of Benjamin, has left a
+few good clocks, thought to be equal to the work of his father.</p>
+
+<p>The clocks of Enos Doolittle, another colonial maker, are not numerous
+enough to give him a prominent place among the great manufacturers.
+Nevertheless, he deserves much praise for the few good clocks which he
+has left behind. One of them is at Hartford, Doolittle's native town.
+The case is of beautifully carved cherry, ornamented with pilasters on
+the sides of the case and face; the top of the case is richly ornamented
+with scrolls and carvings. A circular plate above the dial has the
+legend "Enos Doolittle, Hartford."</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_046" id="ILL_046"></a>
+<img src="images/ill_046.jpg" width="600" height="382" alt="Plate XLVI.&mdash;Willard Banjo Clock, 1802; Banjo Clock, 1804; Willard Banjo Clock, 1802." title="" />
+<span class="caption">Plate XLVI.&mdash;Willard Banjo Clock, 1802; Banjo Clock, 1804; Willard Banjo Clock, 1802.</span>
+</div>
+
+<p>There were many small clock-makers in colonial days, one, we might say,
+in every town, who left a few examples of their work; but none of them
+left the number or quality produced by the great clock-makers, the
+Willards. Benjamin Willard, who had shops in Boston, Roxbury, and
+Grafton, made a specialty of the musical clock, which he advertised as
+playing a tune a day and a psalm tune on Sundays. Aaron Willard, a
+brother, made tall, striking clocks. One of his productions,<span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span> owned by
+Dr. G. Faulkner of Boston, has run for over one hundred and twenty
+years. On the inside of the case is written: "The first short timepiece
+made in America, 1784." It is a departure from the ordinary Aaron
+Willard clock, because it is so short. The case of mahogany stands only
+twenty-six inches high; and there are scroll feet, turning back. A
+separate upper part, with ogre feet, which can be lifted off, contains
+the movements. Simon Willard, another brother, in 1802 patented the
+"Improved timepiece" which later was known as the "banjo" because of its
+resemblance in shape to that instrument. The "banjo" which Willard
+manufactured had a convex glass door over the face, a slim waist with
+brass ornaments running parallel to the curve of the box, and a
+rectangular base, which was sometimes built with legs for a shelf,
+sometimes with an ornamental bracket on the bottom, in which case the
+clock was intended for the wall. The construction of these clocks was
+simple; the works were of brass, and capable of running eight or nine
+days. There was no strike, but this clock was a favorite, because of its
+accuracy.</p>
+
+<p>Hardly less famous than the Willards was Eli<span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span> Terry, born April, 1773,
+in East Windsor, Connecticut. Before he was twenty-one, he was
+recognized as having unusual ingenuity at clock-making. He had learned
+the trade from Thomas Harland, a well-known clock-maker of the times,
+had constructed a few old-fashioned hanging clocks and sold them in his
+own town. He moved to Plymouth and continued to make clocks, working
+alone till 1800, when he hired a few assistants. He would start about a
+dozen movements at a time, cutting the wheels and teeth with saw and
+jack-knife. Each year he made a few trips through the surrounding
+country, carrying three or four clock movements which he sold for about
+twenty-five dollars apiece.</p>
+
+<p>Felt tells in his annals that "in 1770, Joseph Hiller moved from Boston
+to Salem and took a shop opposite the courthouse on the exchange." Later
+on, in 1789, we learn that Samuel Mullikin made an agreement to barter
+clocks for both English and West Indies goods, and also in exchange for
+country produce. So popular did they become that we learn that in 1844
+there were in Salem ten clock-makers and eleven jewelers all working at
+this trade.</p>
+
+<p>While the colonists still imported many of their<span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span> clocks, yet in 1800
+clock-making had become such a thriving industry that wooden cases were
+constantly being made, the manufacture of the works being a separate
+field.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_047" id="ILL_047"></a>
+<img src="images/ill_047.jpg" width="600" height="398" alt="Plate XLVII.&mdash;English Grandfather&#39;s Clock, William Dean Howells; Collection of Old Clocks, property of Mr. Mills, Saugus, Mass.; Grandfather&#39;s Clock, formerly owned by President Franklin Pierce. Property of Mrs. Charles Stark." title="" />
+<span class="caption">Plate XLVII.&mdash;English Grandfather&#39;s Clock, William Dean Howells; Collection of Old Clocks, property of Mr. Mills, Saugus, Mass.; Grandfather&#39;s Clock, formerly owned by President Franklin Pierce. Property of Mrs. Charles Stark.</span>
+</div>
+
+<p>One of the most interesting is a tall grandfather's clock, showing the
+moon above the face, at the Stark house in Dunbarton. This clock
+formerly stood in the old Governor Pierce mansion at Hillsboro. It is
+very handsome, showing fine inlaid work on the case.</p>
+
+<p>Varied in shape and size were the numerous clocks which were found in
+colonial homes in New England. They ranged from the tall grandfather's
+clock to the smaller wall and bracket pieces. One kind that was in use,
+though rarely seen to-day, is the table clock, a type highly prized by
+the colonists, and recorded as a fine timekeeper.</p>
+
+<p>By the early nineteenth century we find the making of American clocks
+had become so universal that they were to be found not only in many New
+England houses, but throughout the South and Middle states as well. Many
+of the rarest and oldest were at the plantation manors of Virginia and
+Kentucky as well as in New England.</p>
+
+<p>There are to-day in many houses colonial<span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span> clocks valued not only for
+their worth, but for association's sake. One of these is in the home of
+Mr. John Albree at Swampscott, Massachusetts. It is considered one of
+the oldest of its kind in the United States, and was brought from
+England in the year 1635 by one John Albree, and has been in the family
+ever since. It is known as the weaver's clock, and has one hand only.
+These clocks are very rare, only a very few being known of.</p>
+
+<p>Singularly enough, few people, even those who are the most interested in
+clocks and their making, know much about their early history and
+construction. The purchase of a clock at the present time means not only
+the case, but the entire works as well. It was, however, far different
+in the early days, at least while the tall clocks were so popular.
+Transportation was difficult, so the clock peddlers contented themselves
+by slinging half a dozen clock movements over the saddle and starting
+out to find purchasers. After the works were purchased, and the family
+felt they had twenty pounds to spare, they called in a local
+cabinet-maker, and often the whole of the amount went into the making of
+the case. Naturally, a certain-shaped case was made to fit a certain
+movement,<span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span> so that definite types of clocks were found, but it must be
+remembered that the case gave no indication of the period of the maker
+of the movements.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_048" id="ILL_048"></a>
+<img src="images/ill_048.jpg" width="600" height="413" alt="Plate XLVIII.&mdash;General Stephen Abbot Clock; Terry Shelf Clock, 1824; English Clock, with Ball ornamentation." title="" />
+<span class="caption">Plate XLVIII.&mdash;General Stephen Abbot Clock; Terry Shelf Clock, 1824; English Clock, with Ball ornamentation.</span>
+</div>
+
+<p>One of the first types of clocks made in America was the wall clock.
+This was set on a shelf through which slits were cut for the pendulum
+and weight cords to fall. These were known as "lantern," "bird cage," or
+"wag-at-the-wall," later replaced by the more imposing "Grandfather,"
+which served a double duty as timekeeper and as one of the "show pieces"
+of furniture.</p>
+
+<p>The first known Terry clock was made in 1792. It was built with a long,
+handsome case and with a silver-plated dial, engraved with Terry's name.
+This clock, just as it was when Eli Terry set it going for the first
+time with all the pride which he must have had in his first
+accomplishment, is now in the possession of the Terry family.</p>
+
+<p>There was an interesting clock of this type in the General Stephen Abbot
+house on Federal Street, Salem, and another is still in the possession
+of Mr. Henry Mills of Saugus, Massachusetts.</p>
+
+<p>Terry introduced a patent shelf clock, with a short case. This made the
+clock much more marketable, because it was short enough to allow of easy
+transportation and at the same time<span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span> offered the inducement of a
+well-made and inexpensive case.</p>
+
+<p>The patent shelf clock was a surprise to the rivals of Terry, because
+this change in construction had produced an absolutely new and improved
+model,&mdash;an unheard-of thing in clock making. The conservatism before
+shown by the colonial makers had stunted the growth of clock
+improvements in many ways, hence Terry's new invention produced a
+sensation.</p>
+
+<p>The change was such as to allow the play of weights on each side and the
+whole length of the case. The placing of the pendulum, crown wheel, and
+verge in front of the wheels, and between the dial and the movement, was
+another space-saving device, as was also the changing of the dial wheels
+from the outside to the inside of the movement plates. The escapement
+was transferred by hanging the verge on a steel pin, instead of on a
+long, heavy shaft inside the plates. This allowed the clock to be
+fastened to the case in back, making the pendulum accessible by removing
+only the dial. Thus Terry fairly revolutionized small-clock making, by
+introducing a new form, more compact, more serviceable, and cheaper than
+any of the older makes.<span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span></p>
+
+<p>In 1807 Terry bought an old mill in Plymouth and fitted it up so as to
+make his clocks by machinery. About this time several Waterbury men
+associated themselves to supply Terry with the materials, if he would
+make the clocks. With this steady income from machine-made clocks, and
+the profits from extra sales, he made, in a very short time, what was
+then considered quite a fortune.</p>
+
+<p>In 1808 he started five hundred clocks at once,&mdash;an undertaking which
+was considered foolhardy. People argued that there weren't enough people
+in the colonies to buy so many clocks, but nevertheless the clocks sold
+rapidly. In 1810 Terry sold out to Seth Thomas and Silas Hoadley, two of
+his head workmen. The new company was a leader in colonial clock
+manufacturing for a number of years, until competition brought the
+prices of clocks down to five and ten dollars.</p>
+
+<p>All these years Terry had been experimenting, and in 1814 he introduced
+his pillar scroll top case. This upset the clock trade to such an extent
+that the old-fashioned hanging, wooden clocks, which hitherto had been
+the leading type, were forced out of existence. The shape of the scroll
+top case is rectangular, the case, with<span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span> small feet and top, standing
+about twenty-five inches high. On the front edges of the case are
+pillars, twenty-one inches long, three quarters of an inch in diameter
+at the base, and three eighths at the top, having, as a rule, square
+bases. The dial, which takes up a half or more of the whole front, is
+eleven inches square, while below is a tablet about seven by eleven
+inches. The dial is not over-ornamental and has suitable spandrels in
+the corners. The scroll top is found plain as well as highly carved, but
+always the idea of the scroll is present.</p>
+
+<p>Terry sold the right to manufacture the clock to Seth Thomas for a
+thousand dollars. At first they each made about six thousand clocks a
+year, but later increased the output to twelve thousand. The clocks were
+great favorites and sold easily for fifteen dollars each.</p>
+
+<p>Another conservatism of the colonial clock-makers was the sharp division
+which they made between the use of wood and brass in the manufacture of
+the movements. The one-day clocks were made of wood throughout, and this
+prevented their use on water or even their exportation, because the
+works would swell in the dampness and render the clock useless. The
+eight-day<span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span> clocks were made of brass, but the extra cost of the
+movements sufficient to make the clock run eight days excluded many
+people, who had to remain content with the one-day clock.</p>
+
+<p>It was not till 1837 that it occurred to any of these ingenious makers
+of timepieces to produce a one-day clock out of brass. To Chauncey
+Jerome, the first exporter of clocks from America to England in the year
+1824, the honor was reserved of applying the principle of the cheap wire
+pinion to the brass, one-day clock. Thus began the revolution of
+American clock manufacturing, which has placed this country before all
+the world as a leader in cheap and accurate watch and clock making.</p>
+
+<p>The whirr and bustle of hundreds of factories of to-day, which
+manufacture watches and clocks at an output of thousands per year, is a
+strong contrast to the slow and laborious construction of the old
+colonial clocks. And not only is there a contrast in their manufacture,
+but when one compares the finished products of the year 1700 and 1900
+side by side, one is conscious of conflicting emotions. There is
+naturally a decided feeling of admiration for the artistically designed
+timepiece of the twentieth century on the one<span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span> hand, and, on the other,
+an irresistibly sentimental sensation when standing before a dignified,
+ancient, tall clock, on the door of which one reads:&mdash;</p>
+
+<p>
+<span style="margin-left: 21em;">"I am old and worn as my face appears,</span><br />
+<span style="margin-left: 21em;">For I have walked on time for a hundred years,</span><br />
+<span style="margin-left: 21em;">Many have fallen since my race began,</span><br />
+<span style="margin-left: 21em;">Many will fall ere my race is run.</span><br />
+<span style="margin-left: 21em;">I have buried the World with its hopes and fears</span><br />
+<span style="margin-left: 21em;">In my long, long march of a hundred years."</span><br />
+<span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XIII" id="CHAPTER_XIII"></a>CHAPTER XIII</h2>
+
+<h3>OLD-TIME LIGHTS</h3>
+
+<p>Since the introduction of gas and electric light, the old-time lamp has
+ceased to be a necessity, though in many instances it still does service
+as the receptacle for the gas jet or electric bulb. Likewise,
+candlesticks and candelabra are still in use, not, of course, as
+necessities, as they were a century ago, but yet doing efficient service
+in the homes of people who realize that the soft glow of the candle
+affords an artistic touch that nothing else can give. Undeniably, there
+is a peculiar fascination about candlelight that few can resist, and in
+whatever room it is used, that room is benefited through its
+attractiveness.</p>
+
+<p>It is only when harking back that one realizes the strides that have
+been made in house lighting. In the early days, when the country was
+new, the only light was firelight, candlewood, or pine torches. To be
+sure, there was always the punched lantern, hung on the wall ready for
+use<span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span> at a moment's notice, but this was for outside rather than inside
+lighting.</p>
+
+<p>The earliest artificial light used by the colonist was candlewood, or
+pine torches. These torches were cut from trees in near-by forests, and
+were in reality short sections of dry, pitch-pine log from the heart of
+the wood, cut into thin strips, eight inches in length. The resinous
+quality of the wood caused these little splinters to burn like torches,
+hence their name. The drippings from them were caught on flat stones,
+which were laid just inside the fireplace; and to make a brighter light
+several torches were burned at one time, their steady flame, combined
+with the flickering blaze of the roaring logs, casting into the room
+just enough light by which to accomplish the simple tasks which had to
+be performed after nightfall.</p>
+
+<p>Even this rude means of lighting was not available in some homes, for it
+is not uncommon to read in old chronicles of lessons being learned by
+the light of the fire only. While such a state of affairs would be
+looked upon as a calamity to-day, it was not without compensation, for
+the merry flames of the huge logs, as they flickered and danced on the
+hearth, cast a cheerful light on the closed<span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span> shutters, and against the
+brown walls, much to the delight of the little ones, who, seated on rude
+benches close at hand, threw hickory shavings into the fire to make it
+flame faster, or poked the great backlog with the long iron peel to make
+the sparks fly upward.</p>
+
+<p>Candlewood fagots were in use throughout New England until the early
+part of the eighteenth century, and it was customary each fall to cut
+enough wood to supply the family demand for a year. In some Northern
+states, these fagots were commonly used until 1820, while in the South
+they are used in a few sections even to-day, being often carried in the
+hand like a lantern.</p>
+
+<p>When candles were first used here, they were imported from England, but
+their cost was so high that they were prohibitive save for festive
+occasions. The scarcity of domestic animals in the new land barred their
+being killed save for meat, and thus was lost an opportunity for candle
+making that was seriously felt. Some people, including Governors
+Winthrop and Higginson, in 1620 sent to England for supplies of tallow
+or suet to make their own candles, but the majority had to be content
+with candlewood. These first candles were fashioned without wicks, being
+provided<span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span> instead with pith taken from the common rush and generally
+known as rush light,&mdash;a lighting which possessed disadvantages, inasmuch
+as it burned but dimly and lasted but a short time. Even in 1634 we find
+that candles could not be bought for less than fourpence apiece,&mdash;a
+price above the limited purses of the majority. Fortunately, the rivers
+were abundantly stocked with fish, and these were caught and killed, and
+their livers tried out for oil. This oil, which was crude, was
+principally used in lanterns, the wicks being made of loosely spun hemp
+and tow, often dipped in saltpeter.</p>
+
+<div class="figright" style="width: 331px;"><a name="ILL_049" id="ILL_049"></a>
+<img src="images/ill_049.jpg" width="331" height="600" alt="Plate XLIX.&mdash;Whale Oil Lamps with Wicks; Mantel Lamps, 1815; Paul and Virginia Candelabra." title="" />
+<span class="caption">Plate XLIX.&mdash;Whale Oil Lamps with Wicks; Mantel Lamps, 1815; Paul and Virginia Candelabra.</span>
+</div>
+
+<p>The earliest lamp was a saucer filled with oil, and having in the center
+a twisted rag. This rude form of wick was used for over a century. Then
+came the Betty lamp, a shallow receptacle, in form either circular,
+oval, or triangular, and made of pewter, iron, or brass. Filled with
+oil, it had for a wick the twisted rag, which was stuck into the oil and
+left protruding at one side. This type came into use before the
+invention of matches, and was lighted by flint and steel, or by a live
+coal.</p>
+
+<p>A most unique specimen of the early lamp is seen in a Salem home. It
+stands about six inches<span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span> high, with a circumference of about twelve
+inches, and is an inch thick. It is made of iron, showing a liplike
+pitcher, while at the back is a curved handle. It is arranged to be
+filled with oil, and the wick is the twisted rag, which rests on the
+nose. Tradition relates that this lamp was used at the time of the
+witchcraft delusion, to light the unfortunate prisoners to jail.</p>
+
+<p>When whale-fishing became the pursuit of the colonists, an addition to
+the lighting requisites was discovered in the form of sperm secured from
+the head of the whale. This proved very valuable in the manufacture of
+candles, which gave a much brighter light than the older type. So
+popular did this oil become that in 1762 a factory was established at
+Germantown, at that time a part of Quincy, to manufacture sperm oil from
+its crude state; and candles made from this oil were later sold in Salem
+by one John Appleton.</p>
+
+<p>At this period, candle making was a home industry, being included in the
+fall work of every good housewife. At candle season, two large kettles,
+half filled with water, were hung on the long iron crane over the
+roaring fire in the kitchen, and in this the tallow was melted, having
+to be scalded twice before it was ready for use. Across<span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span> large poles
+placed on the back of two chairs, smaller ones, known as candle rods,
+were laid, and to each one of these was attached a wick. Each wick in
+turn was dipped into the boiling tallow and then set away to cool. This
+way of making candles was slow and tedious, and it required skill to
+cool them without cracking, though an experienced candle-maker could
+easily fashion two hundred a day.</p>
+
+<p>Bayberry candles, so much in favor to-day, were also made in early
+times. The berries were gathered in the fall, and thrown into boiling
+water, the scum carefully removed as it formed. At first a dirty green
+color was secured, but as the wax refined, the coloring changed to a
+delicate, soft green. Candles of this type were not so plentiful as
+those of tallow, for the berries emitted but little fat, and they were
+therefore carefully treasured by their makers. To-day these candles are
+the most popular of all makes, emitting a pungent odor as they burn, but
+their cost sometimes makes them prohibitive. Instead of the housewife
+always attending to this tedious task, it was sometimes performed by a
+person who went from house to house, making the winter's supply of
+bayberry candles. It was customary<span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span> for every housekeeper in those
+days to have quantities of these in her storeroom, often as many as a
+thousand.</p>
+
+<p>With the increase in sheep, many were killed, and the tallow obtained
+used for candle making. Such candles were provided with wicks made from
+loosely spun hemp, four or five inch lengths being suspended from each
+candle rod. The number of wicks used depended largely on the size of the
+kettle of boiling water and tallow. First the wicks were very carefully
+straightened, and then dipped into the tallow, and when cold this
+process was repeated until the candle had attained the right shape.
+Great care had to be exercised in this respect, and also that the tallow
+was kept hot, the wicks straight, and that the wicks were not dipped too
+deep in the boiling tallow. In drying, care was taken lest they dry too
+quickly or too slowly, and also that a board was placed underneath to
+catch the drippings. These drippings, when cool, were scratched from the
+board and used over.</p>
+
+<p>The introduction of candle molds lessened the task of candle making to a
+great extent, and, in addition, secured a better-shaped candle, and one
+that burned longer than the old dip type. With<span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span> their advent came into
+vogue professional candle-makers, men who traveled all over the country,
+taking with them large molds. In two days' time, so rapidly did they
+work, they could make the entire stock for a family's winter supply.
+These candles, when complete, were very carefully packed away in wooden
+boxes to insure safety from mice. They were a jolly set of men, these
+candle-makers, who pursued the work for love of the roving life it
+afforded, as well as for the money it netted. They came equipped with
+the latest gossip, and their presence was a boon to the tired house
+mother, whose duties did not allow of much social intercourse.</p>
+
+<p>Ordinarily, candles were very sparingly used, but on festive occasions
+they were often burned in great quantities. At Hamilton Hall, in Salem,
+built at a cost of twenty-two thousand dollars, this mode of lighting
+was a feature, and in the early part of the nineteenth century, when the
+hall was the scene of the old assemblies, it was lighted by innumerable
+candles and whale-oil lamps, so many being required to properly illumine
+it that it took John Remond, Salem's noted caterer of that period,
+several days to prepare them for use. In those days, informal parties<span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span>
+were much in vogue, commencing promptly at six and closing promptly at
+twelve, even if in the midst of a dance. The dances then enjoyed were of
+the contra type, waltzes and polkas being at that day unknown. The
+gentlemen at these gay assemblies came dressed in Roger de Coverley
+coats, small-clothes, and silken stockings, while the ladies were
+arrayed in picturesque velvets and satins, the popular fabrics of the
+period.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_050" id="ILL_050"></a>
+<img src="images/ill_050.jpg" width="600" height="326" alt="Plate L.&mdash;Astral Lamps, 1778; English brass branching Candlestick, showing Lions." title="" />
+<span class="caption">Plate L.&mdash;Astral Lamps, 1778; English brass branching Candlestick, showing Lions.</span>
+</div>
+
+<p>Candlesticks seem always to have been considered a part of the house
+furnishings in America, for we find accounts of them in the earliest
+records of the colonies. Many of these were brought from England, and in
+colonial dwellings still standing we find excellent specimens still
+preserved. The first candlesticks extensively used here were rudely
+fashioned of iron and tin, being among the first articles of purely
+domestic manufacture found in New England. Later, with the building of
+more pretentious homes, candlesticks made of brass, pewter, and silver
+came into vogue, the brass ones being the most commonly used, as well as
+candelabra, and in the homes of the wealthier class were found brass
+wall sconces that were imported from London and France.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_051" id="ILL_051"></a>
+<img src="images/ill_051.jpg" width="600" height="324" alt="Plate LI.&mdash;Colonial Mantel Lamp; Single bedroom brass Candlestick; Sheffield Plate Candlesticks." title="" />
+<span class="caption">Plate LI.&mdash;Colonial Mantel Lamp; Single bedroom brass Candlestick; Sheffield Plate Candlesticks.</span>
+</div>
+
+<p>A particularly fine pair of these sconces is<span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span> found in the Osgood house
+on Chestnut Street, Salem. Here the brass filigree work is in the form
+of a lyre encircled with a laurel wreath, and surmounted by the head of
+Apollo. The tree branches curve gracefully outward from the wreath and
+below the lyre.</p>
+
+<p>In the early part of the eighteenth century, snuffers and snuffer boats,
+as the trays in which the candlesticks rested were known, came into use.
+These were sometimes of plain design, and sometimes fanciful, made
+either of brass or silver. Pewter was also used for this purpose, and
+later it became a favorite metal for the manufacture of hall lamps and
+candlesticks.</p>
+
+<div class="figleft" style="width: 418px;"><a name="ILL_052" id="ILL_052"></a>
+<img src="images/ill_052.jpg" width="418" height="600" alt="Plate LII.&mdash;Pierced, or Paul Revere Lantern; Old Hand Lantern; English Silver Candlesticks; Brass Branching Candlesticks, Chippendale, 1760." title="" />
+<span class="caption">Plate LII.&mdash;Pierced, or Paul Revere Lantern; Old Hand Lantern; English Silver Candlesticks; Brass Branching Candlesticks, Chippendale, 1760.</span>
+</div>
+
+<p>Lanterns next came into style and were a prominent feature of the
+hallway furnishing. Many of these were gilded and many were painted, and
+their greatest period of popularity was during the first part of the
+eighteenth century. About 1750 the first glass lamps came into favor.
+These were not like those of a later period, being very simple in form,
+and not particularly graceful.</p>
+
+<p>In 1782 a Frenchman, named Argand, introduced the lamp which still bears
+his name. This marked the beginning of the lamp era, and while at first
+these lamps were so high in price that they<span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span> could only be afforded by
+the wealthier classes, later they were produced at a more reasonable
+figure, when they came into general use.</p>
+
+<p>The last half of the eighteenth century marked the adoption of
+magnificent chandeliers, many of which are still preserved. One such is
+found in the Warner house at Portsmouth, in the parlor at the right of
+the wide old hall, a room wherein have assembled many notable
+gatherings, for the Hon. Jonathan Warner was a generous host. This
+specimen is among the finest in the country, and is in keeping with the
+other fine old-time fittings.</p>
+
+<p>About the beginning of the nineteenth century, candelabra and lamps with
+glass prisms were much used, some of them very simple in design, being
+little more than a plain stick with a few prisms attached, while others
+were very elaborate. Many of these candlesticks and candelabra are still
+preserved, together with the other old-time lights. In a Jamaica Plain
+home are some very valuable specimens of lighting fixtures that once
+stood on the mantel in the Sprague House on Essex Street, Salem, having
+been brought to this country by the first owner at the time the dwelling
+was being furnished for his bride.</p>
+
+<p>With Fashion's decree that lamps and candelabra<span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span> should be hung with
+cut-glass prisms, they attained great popularity, and sets of three came
+to be regular ornaments of the carved mantelpieces. These sets consisted
+of a three-pronged candelabrum for the middle, and a single stick on
+either side. The stand was of marble, while the standards were of gilt.
+At the base of each candle a brass ornament, like an inverted crown,
+supported the sparkling prisms, which jingled and caught rainbow
+reflections at every slight quiver. In the lamps, frequently the side
+portions were of bronze, the lamp for holding the oil being surrounded
+by prisms which depended from the central standard. The flaring chimneys
+of ground glass softened and shaded the light, while they also kept it
+from flickering in case of sudden draughts.</p>
+
+<p>Up to the year 1837, flint and steel were the only mode of ignition, and
+their long association with old-time lights makes them an intimate part
+of them. At first both flint and steel were very crudely made, but later
+on, some of the steels were very ornamental. With them was used a tinder
+box, with its store of charred linen to catch the tiny flame as it
+leaped toward the steel, and this, too, must be considered in the review
+of old-time lights.<span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span></p>
+
+<p>Examples of these and the old forms of lighting are found in every part
+of New England and throughout the South, though perhaps the largest
+collection in any single section is found in Salem, the home of
+excellent examples of all things colonial. As one views them, he cannot
+but be impressed with their quaintness, and while no doubt he is
+thankful for the strides in science that have made possible the
+brilliant illumination of the present, yet in his heart he must
+acknowledge that the present lights, though in many instances undeniably
+beautiful, lack the charm of the old-time types.<span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XIV" id="CHAPTER_XIV"></a>CHAPTER XIV</h2>
+
+<h3>OLD CHINA</h3>
+
+<p>China constituted an important part of the household equipment in
+colonial days, and while not as antique as pewter and wooden ware, it
+outrivaled both in beauty and popular favor. Its daintiness of coloring,
+variety of make, and exquisiteness of texture afforded a welcome change
+from the somber-colored and little varied ware hitherto used; and its
+fragility proved of wondrous interest to the careful housewife, causing
+her to bestow upon it her tenderest care and to zealously guard it
+against harm, since it was her delight to boast that her sets were
+intact. To-day it is equally appreciated, and it is displayed on the
+shelves of built-in cupboards, with all the pride of possession
+exhibited by its original owners.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_053" id="ILL_053"></a>
+<img src="images/ill_053.jpg" width="600" height="297" alt="Plate LIII.&mdash;Peacock Plate of Delft, very rare; Decorated Salt Glaze Plate, about 1780." title="" />
+<span class="caption">Plate LIII.&mdash;Peacock Plate of Delft, very rare; Decorated Salt Glaze Plate, about 1780.</span>
+</div>
+
+<p>Old cupboards are somehow always associated with old china in this
+country, and in most instances they are worthy of the admiration in
+which they are held. In colonial times, cupboards formed a decorative
+feature of the house furnishings,<span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span> and they were fashioned with as much
+regard for shape and finish as the rooms in which they were to be
+placed. In time they came to be considered almost indispensable
+adjuncts, and with their increase in favor, their development became
+marked. Perhaps the finest type is that with the shell top, some
+excellent examples of which are still preserved, notably in the Brown
+Inn at Hamilton and in the Dummer house at Byfield, Massachusetts.</p>
+
+<div class="figright" style="width: 411px;"><a name="ILL_054" id="ILL_054"></a>
+<img src="images/ill_054.jpg" width="411" height="600" alt="Plate LIV.&mdash;Liverpool Pitcher, showing Salem Ship; Old Chelsea Ware; Canton China Teapot; Wedgwood, with Rose decoration. Very rare." title="" />
+<span class="caption">Plate LIV.&mdash;Liverpool Pitcher, showing Salem Ship; Old Chelsea Ware; Canton China Teapot; Wedgwood, with Rose decoration. Very rare.</span>
+</div>
+
+<div class="figleft" style="width: 428px;"><a name="ILL_055" id="ILL_055"></a>
+<img src="images/ill_055.jpg" width="428" height="600" alt="Plate LV.&mdash;Gold Luster Pitcher; Staffordshire Pitcher with Rose decoration; Peacock Delft Pitcher; Jasper Ware Wedgwood Pitcher. Blue and White." title="" />
+<span class="caption">Plate LV.&mdash;Gold Luster Pitcher; Staffordshire Pitcher with Rose decoration; Peacock Delft Pitcher; Jasper Ware Wedgwood Pitcher. Blue and White.</span>
+</div>
+<hr style="width: 0%;" />
+
+<p>Of all the old wares used here, salt glaze is most rarely found, most
+collections including not even a single specimen. This is probably due
+in a great measure to its fragility; it is not owing to its scarcity of
+import, as large quantities of this ware were brought here in early
+times. Examples now found are principally of Staffordshire manufacture,
+made between 1760 and 1780, though much of the ware that was made about
+1720, belonging to the so-called second period, was shipped here.</p>
+
+<p>A study of all forms of salt glaze is of interest, but that of English
+manufacture is of most importance to American collectors, for it is that
+type that the colonists imported, and with which American collections
+are most closely associated.</p>
+
+<p>The process of salt glaze manufacture was known<span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span> in England as early as
+1660, and a familiar legend as to its origin was that it was
+accidentally discovered through the boiling over of a kettle of brine,
+the salt running down the outside of the earthen pot, and, when cold,
+hardening upon it, forming a glaze. This theory has been discredited by
+later scientists, and it is not unlikely that it was the invention of
+some imaginary individual, but however that may be, the ware in itself
+is of unusual attractiveness, and records show that upon its
+introduction into Staffordshire, it superseded in favor the dull lead
+glaze.</p>
+
+<p>The first ware finished by this method was coarse and brown, a type that
+remained in vogue until the early years of the eighteenth century, when
+a gray ware was produced. Some of this latter found its way to America,
+but the type most familiar here is that manufactured in the closing
+years of the eighteenth century,&mdash;a ware with a white or nearly white
+body, thin and graceful in contour, and characterized by a very hard
+saline glaze.</p>
+
+<p>Pepper pots, soup tureens, plates, and pitchers were among the most
+common pieces manufactured, though teapots in various shapes, bottles,
+vases, etc., were also made. Some of these pieces have a plain center
+and decorated border, while others show an entirely decorated surface.<span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span></p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_056" id="ILL_056"></a>
+<img src="images/ill_056.jpg" width="600" height="337" alt="Plate LVI.&mdash;The Shepherd Toby, one of the rarest Tobies; English Toby. Very old; Very old Toby, showing Cocked Hat." title="" />
+<span class="caption">Plate LVI.&mdash;The Shepherd Toby, one of the rarest Tobies; English Toby. Very old; Very old Toby, showing Cocked Hat.</span>
+</div>
+
+<p>Another output of the Staffordshire factories, now much valued here, are
+the old toby jugs, many excellent examples of which were brought here
+and have been carefully preserved. In their way they are as interesting
+as the finest china bits, their gay coloring and quaint shape affording
+a striking contrast to the delicately tinted and daintily shaped
+Lowestoft and like wares.</p>
+
+<p>The first tobies were in reality scarcely more than hollow figures to
+which a handle had been attached, but as time went on they grew more and
+more like mugs, and while at first the cap or hat lifted off, forming a
+cover, the succeeding style had the hat incorporated into the mug.</p>
+
+<p>Tobies are broadly classed as Staffordshire, and while this is probably
+true of a large portion, Dutch and German tobies as well as French ones
+are not uncommon. A supposed example of the last named is included in
+the Page collection at Lynn, and is known as the Napoleon toby. It is
+thought to be French from the fact that the likeness of the little
+corporal is not a caricature. English potters delighted to depict
+Bonaparte, but they seldom gave him the attractive countenance of this
+jug. They made him tall and thin, or short and abnormally fat, and they
+decked him in queer clothes,<span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span> and labeled him "Boney." This jug depicts
+Napoleon in a very pleasant guise, suave of countenance and very well
+dressed. There is a smoothness of texture and finish about the work
+which marks it as distinct from the English tobies, which unfortunately
+frequently lacked these desirable qualities.</p>
+
+<p>English tobies are sometimes classified as young and old tobies. The
+terms are expressive, for the young toby is a figure standing, as if
+full of vigor and life, with a jovial, happy-go-lucky expression, while
+the old toby is represented seated, with a worldly-wise face that has
+the appearance of having experienced life to the fullest. Both types
+always carry a mug in one hand, or both hands, from which a foaming
+liquid is about to issue. The coloring of the old toby is principally
+yellow, while the young toby is a combination of brown and yellow. Of
+course, both these colorings are varied with others.</p>
+
+<p>Tobies show considerable variety in modeling and decoration. Some are
+jovial in appearance, others placid, and still others leering. In fact,
+every kind of a toby is represented, except a dry one. In addition to
+depicting the figures of human beings, some tobies represented animals,
+and not a<span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span> few were in the form of teapots. The latter were generally
+finished in blue, with a band of green and a bit of copper luster, and
+in height they varied from twelve to eighteen inches.</p>
+
+<p>Although these drinking mugs were made in many factories, none bear
+hallmarks, save those made at Bennington, and, in consequence, those are
+more highly prized by connoisseurs. A unique specimen among the output
+of this factory has no mug in the hand, the arms being arranged close to
+the body, which has the appearance of having no arms at all.</p>
+
+<p>Delft ware, which is at the present time enjoying great favor among
+collectors, made the country where it originated famous, and its history
+is in reality the history of Holland's commercial rise.</p>
+
+<p>Besides its age, old Delft has the charm of individuality. As the
+designs were handworked, the ware lacks the precision in drawing that
+later stamped pieces have, and shows softened outlines instead of
+sharply defined pictures. Nor is old Delft ware so intense in coloring
+as its descendants of to-day. Comparing them side by side on a plate
+rail, or hanging on the wall, old Delft is told by its soft, beautiful
+blue. Then there is the charm of association. Coming from a nation of<span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span>
+thrift and exemplary housekeeping, Delft, much more than fragile glass,
+aristocratic china, or curious foreign objects, appeals to the collector
+as a cheerful, comfortable, homelike thing to collect.</p>
+
+<p>There are undoubtedly many good specimens in this country to-day, but
+many more are inaccessible. Connecticut, as well as New England
+generally, has considerable, for the merchant princes who brought so
+many other treasures to Eastern ports brought also Delft. How much more
+of this charming old ware is hidden under peaked roofs of
+story-and-a-half farmhouses in some of the old Dutch settlements along
+the Hudson and on Long Island, is unknown, but perhaps we shall know in
+another generation or so.</p>
+
+<p>Among our specimens we find more of the English than the Dutch Delft.
+The latter, which is the original ware, took its name from the town of
+Delft, where the ware was first produced, and which, for several
+centuries, continued to be the chief center of the Delft industry.
+Although it was probably made as early as the latter part of the
+fifteenth century, but little is known of it until about one hundred
+years later. Its origin was an attempt on the part of Dutch potters to
+imitate, in a cheaper form, Chinese and Japanese wares. At that time<span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span>
+were made large importations of Eastern wares, and Holland, as the only
+European power allowed a port by Japan, had a great variety of types to
+copy. The first potteries were established at Delft about the year 1600,
+and almost from its inception the industry was protected by a trust. For
+nearly one hundred and fifty years, the protection of this trust or
+"Guild of St. Luke" made Delft an important manufacturing center, giving
+employment to nearly one twelfth of its inhabitants. The best examples
+of this old Dutch Delft are beautiful copies of Chinese and Japanese
+porcelain, which are hardly distinguishable from the Oriental.</p>
+
+<p>A fact worth noting in connection with the rapid rise and great
+popularity of Delft is that the combination or Guild which was
+instrumental in the prosperity of the industry was also at least partly
+responsible for its downfall. In Holland, an independent maker could not
+flourish, but the progressive English made it very well worth while for
+workmen to emigrate.</p>
+
+<p>There was another and perhaps more potent factor in the decline of the
+Dutch Delft industry; the very success of Delft potters became their
+ruin. The market was glutted with their products, and there ceased to be
+the same demand<span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span> for it as formerly. Gradually, the English ware, made
+of better clay, although cheaper in price, supplanted the Dutch ware,
+even in Holland, and as early as 1760 the struggle for existence began
+among the Dutch potteries. Of the thirty establishments existing in the
+beginning of the century, only eight were working in 1808, and most of
+these soon after stopped.</p>
+
+<p>The most common pieces made, in point of numbers, were the Delft plates.
+Some excellent examples of these are found in the Page collection at
+Newburyport, one, a peacock plate, being a good example of Dutch Delft
+in one of its most popular patterns. Another shows the design of a
+basket of flowers, and this same adornment is on an old English platter,
+a piece that deserves not only a compliment to its beauty, but also a
+tribute to its Dutch-English durability, since within a few years it has
+been used to hold all of a New England boiled dinner.</p>
+
+<p>Delft tile was produced almost as commonly as plates, although at first
+it was used to illustrate many designs essentially Dutch, and also
+religious subjects. It is on record that the <i>Boston News Letter</i> of
+1716 advertised the first sale of "Fine Holland Tile" in America, and in
+that same paper,<span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span> three years later, is a notice of "Dutch Tile for
+Chimney." From that date on, all through the century, one may find
+recurring advertisements of chimney tiles, on the arrival of every
+foreign ship. They must have been imported in vast numbers in the
+aggregate, and they were not expensive, yet they are rare in New
+England.</p>
+
+<p>Americans have always been patrons of Delft ware, and as a result a
+representative lot of the very best types is found here, and while it is
+to be regretted that the old tiles are not included in any great numbers
+in this list, yet those preserved are eminently satisfactory.</p>
+
+<p>An English writer has said that controversy always makes a subject
+interesting. Lowestoft was already so enchanting a topic that the
+searchlight of exposition was scarcely needed to reveal additional
+charms.</p>
+
+<p>Of the several wares that have been labeled Lowestoft, there seem to be
+four distinct varieties. There is the Simon-pure, soft-paste, Lowestoft
+china, made and decorated in the town of Lowestoft; there is the
+so-called Lowestoft, which is purely Oriental, being both made and
+decorated in China; there is probably ware made in China and decorated
+in Lowestoft; and there is probably<span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span> ware made in Holland and decorated
+in Lowestoft. All of these may bear the printed name of the town, since
+members of the company which traded in them resided at that place. Doubt
+has been cast upon every one of these four wares, but the first two, at
+least, seem to be cleared of all uncertainty.</p>
+
+<p>For the last half of the eighteenth century, a factory existed at
+Lowestoft. This is true, beyond the shadow of a doubt. It was, however,
+a small factory, employing at its best but seventy hands, and having but
+one oven and one kiln. It is simply impossible that great quantities of
+hard-glaze porcelain should have been brought from overseas, to be
+decorated, and then fired in this one small kiln. If the whole output
+charged up to Lowestoft had been really hers, the factory must needs
+have been the largest in England, which it certainly was not.</p>
+
+<p>The first ware produced was of a dingy white, coarse, and semi-opaque.
+The glaze was slightly "blued" with cobalt, and speckled with bubbles
+and minute black spots, which seemed to show careless firing. When
+viewed by transmitted light, the pieces had a distinctly yellowish
+tinge. There was never any distinctive mark, as in the case of Crown
+Derby.<span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span></p>
+
+<p>About 1790 a change for the better took place in the character of the
+ware. Certain French refugees, driven from their own country by the
+lawlessness of the great Revolution, began to come into England. One of
+these men, who was named Rose, obtained employment at the Lowestoft
+works, where he soon became head decorator, and introduced taste as well
+as delicacy of touch into the product. Underneath many Lowestoft handles
+will be found a small rose, which denotes that the work was done by him.
+The rose is his mark, but before this was known, people supposed that it
+merely represented the coat of arms for Lowestoft borough, which was the
+Tudor rose.</p>
+
+<p>Roses set back to back appear on the highest grade of Lowestoft china;
+and at its best the ware was finer than any sent out by Bow and Chelsea.
+The Lowestoft red is of a peculiar quality, varying from carmine to
+ashes of roses, and often approaching a plum color. Roses and garlands
+of roses in these lovely hues of pink and purple distinguish this china.
+Dainty and familiar are the flowers and sprigs in natural colors, with
+delicate borders in color and gold.</p>
+
+<p>A familiar style of decoration was that of the dark blue bands, or dots,
+or other figures, heavily overlaid<span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span> with gold and often with coats of
+arms. This ware is a hard-paste porcelain, and was doubtless made and
+decorated in China. The fact that some of it bears the mark of "Allen
+Lowestoft," and that Mr. Allen was manager of the Lowestoft works at
+this time, proves nothing beyond the fact that when the dealer sent his
+order to China to be filled, he ordered his name marked on the bottom.
+Small quantities of undecorated ware may have been brought from China
+and Holland to be painted, but we have no record of any such
+transactions; the duty was heavy, and the amount of such ware imported
+must have been inconsiderable. China was doing this same work for other
+countries, and it is only reasonable to suppose that the managers of the
+Lowestoft factory sent the greater part of their orders to China to be
+filled by Chinese workmen upon Chinese material.</p>
+
+<p>This also explains the failure of the company. It is recorded upon good
+authority that the ruin resulted partly from the sharp competition with
+the Staffordshire wares, but was precipitated in 1803 by the wreck of
+one of the vessels carrying a cargo of porcelain, and by the burning of
+the Rotterdam warehouse by the French army.</p>
+
+<p>Rotterdam, where Lowestoft ware was stored,<span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span> was the seat of an immense
+commerce between Holland and China. It seems but natural that their
+trade in common Delft wares should lead the Lowestoft company into
+communication with wholesale importers of Chinese porcelain, from whom
+they could purchase large supplies; and should also lead them into the
+establishment, in England, of a more highly remunerative branch of their
+business, through underselling the Dutch East India Company.</p>
+
+<p>It was customary for the Dutch firms to send over to their foreign
+settlements shapes and designs obtained from European sources, to be
+reproduced by native hands. The Lowestoft people did what all other
+merchants had done before them, and through the same channel forwarded
+to China the designs of coats of arms, English mottoes, and initials
+that were to be printed upon the porcelain which they had undertaken to
+supply.</p>
+
+<p>And so the great conflagration of the Lowestoft controversy was
+furnished with fuel, and there is no knowing where it will end, because
+conclusive proof is so slight in each case and the partisans so eager
+and aggressive. Meantime, our grandmother's sprigged china remains a joy
+and a delight, whether or no we dare to call it genuine Lowestoft.<span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span></p>
+
+<p>There is no mystification about Crown Derby, but the old ware, which
+along with Lowestoft was beloved of the colonists, is as distinctive as
+any, and fortunate indeed is the individual who can boast of having in
+his possession a specimen. The works of Derby were established by a
+French refugee, named Planche, who had been sojourning in Saxony until
+the death of his father, when he came to Derby in 1745, bringing with
+him the secret of china manufacture, as he had learned it in Saxony. We
+have reason to suppose that he made in Derby many china figures of cats,
+dogs, shepherdesses, Falstaffs, Minervas, and the like, which William
+Duesbury, who was an expert enameler in London, colored for him.
+Unfortunately, none of this early output of the factory was marked, and
+in consequence it has become sadly confused, not only with the work of
+Bow and Chelsea, but with that of Lowestoft as well. After 1770, a mark
+was adopted, and the ware after that date is easily distinguishable.</p>
+
+<p>William Duesbury bought out Planche's interest in the Derby works,
+though he did not dispense with Planche's services. Keenly artistic,
+with a taste at once discriminating and appreciative, Duesbury combined
+a winning personality with his<span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span> intellectual gifts. He possessed the
+faculty of securing the services of potters of unusual worth, and
+throughout his management, which continued until his death in 1796, he
+maintained in his output a standard of pure English art work of the
+highest order.</p>
+
+<p>Prominent in the group of potters in his employ stands the name of
+William Billingsley, who was connected with the factory from 1774 to
+1796. At Derby he established his reputation as a painter of exquisite
+flowers, and his work is characterized by a singularly true perception
+of intrinsic beauty and decorative value, being original and unhampered
+by traditional technique. The rose was his favorite flower; he
+invariably painted the back of a rose in his groups, and his justly
+famed "Billingsley Roses" are exceedingly soft in their treatment.
+Another favorite of his is the double-flowered stock, either yellow or
+white, and always shaded in gray.</p>
+
+<p>In 1785 Duesbury associated with himself his son, the second William
+Duesbury, and then followed the most successful period of the work,
+being in reality the Crown Derby epoch <i>par excellence</i>. After the death
+of the elder Duesbury, the second William Duesbury became sole owner of
+the Derby works, but failing health compelled him<span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span> to take Michael Kean
+into the firm as partner. After the death of the younger Duesbury, Kean
+assumed control of the whole works, but his mismanagement soon resulted
+in the sale of the factory to Robert Bloor in 1810.</p>
+
+<p>This marked the commencement of a new dispensation, and after this date
+the trademark became "Bloor-Derby." For a time things went on in the old
+way, but soon Bloor, in his eagerness to amass a fortune, yielded to
+temptation and began to put on the market ware that had been
+accumulating in the storehouse for sixty years, and which Planche and
+the Duesburys had considered of inferior quality and discarded. This
+ware he decorated with so-called Japan patterns, to hide defects and, to
+make a bad matter worse, he used for coloring the flowing under-glaze
+blue, which was wholly unsuited to the soft glaze of the Delft ware, and
+was sure to "run" in the glost oven.</p>
+
+<p>The train of ruin was now well laid, and by 1822 Bloor was forced to
+resort to auction sales in the factory, in order to dispose of his
+output. The result was an utter loss of reputation for factory and
+product, and before the manufacture had reached the century mark of its
+existence, Derby china was relegated to the past.<span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span></p>
+
+<p>Many beautiful specimens of Crown Derby were imported to this country,
+one of the finest being in Mrs. William C. West's collection at Salem,
+showing the head of Bacchus with grapevine and wreath decoration, the
+whole beautifully colored.</p>
+
+<p>Expressive of the greatest heights which English pottery reached, is the
+ware of Wedgwood, and a review of his achievements forms the most
+interesting chapter in the history of England's ceramic art. Of a family
+of potters, Josiah Wedgwood early exhibited the traits which later made
+him so justly famous, and a review of his life from the age of eleven
+years, when he was put to work in the potworks, as a thrower, until his
+death in 1795, covering a period of fifty-four years, is a review of the
+most remarkable story of progressiveness in a chosen profession ever
+recorded.</p>
+
+<p>During the early days of his pottery making, about five years after his
+apprenticeship had expired, Wedgwood became associated with Thomas
+Whieldon, a potter who had attained considerable success in the
+manufacture of combed and agate wares, and the period of their
+partnership, which ended in 1759, was of benefit to both. One of
+Wedgwood's first successes was made at this time, in the invention of a
+green glaze which Whieldon<span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span> used with excellent effect on his
+cauliflower ware.</p>
+
+<p>With the expiration of this partnership, Wedgwood returned to Burslem,
+where he soon purchased an interest in the Ivy Works, where he worked
+independently, and laid the foundation for many of his future successes.
+Among other things he experimented in perfecting the coarse cream wares
+then on the market, and six years after his coming to the Ivy Works he
+succeeded in producing his first real achievement, "Queen's Ware."</p>
+
+<p>The success of this ware was most pronounced, and its popularity caused
+Wedgwood to realize that a division of labor which would allow him to
+look after the creative part and supply some one else to care for the
+commercial side of the undertaking was most important. In 1768, Thomas
+Bentley was taken on for this purpose, and at the new works, to which
+Wedgwood had previously removed, and known as the Bell House or Brick
+House, the new r&eacute;gime went into effect. The popularity of Queen's Ware
+had netted him enough to allow him to make finer productions, and after
+the finish of several schemes, in 1769, he removed to the famous factory
+known as Etruria, where his finest<span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span> work was accomplished, and at
+which place he remained until his death.</p>
+
+<p>The several wares he manufactured are as varied as they are beautiful,
+and, in addition, he possessed the power to reproduce in a remarkable
+degree. This is best exemplified in his replica of the famous Portland
+Vase, which is so perfect that it has often deceived even connoisseurs.
+An amusing incident is related in connection with one of his
+reproductions, a Delft piece of a dinner set, which had become broken,
+and which he fashioned and sent to the owner by a messenger. The
+messenger started for his destination, which was but a short distance,
+but he did not appear again for a week. Upon his return, Wedgwood
+questioned him, and learned that the family was so delighted with the
+reproduction that they had kept the messenger, feasting him the entire
+time.</p>
+
+<p>While old Wedgwood in all its forms is appreciated in this country, for
+some reason or other cream ware and jasper ware are especially favored
+among American collectors. Fine pieces of both are included in the
+Rogers collection at Danvers, the jasper piece being an especially fine
+specimen.</p>
+
+<p>A review of old china would not seem complete without including the
+luster wares, several excellent<span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span> examples of which are in American
+collections. Silver-tinted comes first in point of rarity, though the
+rose-spotted Sunderland luster is a close second in this respect, and
+really commands a higher price. Originally, silver luster was a cheap
+imitation of silver, and first specimens were lustered inside as well as
+out, to further increase the deception. When the ware became common, and
+the deception was well known, silver luster was used only on the
+exterior of vessels in decorations, and occasionally in conjunction with
+gold luster. After 1838, which year marked the introduction of
+electroplating, silver luster declined in favor, and shortly after the
+completion of the first half of the nineteenth century ceased to be
+manufactured. Numberless beautiful articles were made of this ware,
+including quaint candlesticks, teapots, cream jugs, bowls, salt cellars,
+and vases.</p>
+
+<p>Copper and gold luster are likewise shown in a variety of attractive
+forms, and these, unlike silver luster, were never made as shams.
+Wedgwood is credited with having first made the copper-and gold-lustered
+wares, but authentic proof of this is lacking. Jugs were often lustered
+with gold and copper, the latter usually characterized by bands of
+brilliant yellow or colored flowers, sometimes<span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span> printed and sometimes
+painted. The gold luster was especially fine, and it is this type,
+together with copper luster, that is most commonly found. Excellent
+specimens of gold-lustered ware are found in a collection at Lynn, one
+piece of exceptional interest having been secured at the time of the
+Civil War by a party of Northern soldiers while devastating a Southern
+plantation.<span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XV" id="CHAPTER_XV"></a>CHAPTER XV</h2>
+
+<h3>OLD GLASS</h3>
+
+<p>Of all the old-time wares, glass, until recently, has been most rarely
+collected, and in consequence, whereas specimens of silver and pewter
+are comparatively abundant, examples of glass are scarce. There are
+several reasons for this, the principal being its fragility; and then,
+too, the date of its manufacture is very uncertain. To be sure, the
+shape and finish of a glass piece determines in a measure the period of
+its make, but it is not proof positive, any more than are the traditions
+handed down in families as to the time of purchase of certain specimens.
+Yet, notwithstanding all this, the price of old glass is constantly
+increasing, and within the last few years has almost doubled.</p>
+
+<p>The first glass made was of a coarse type, crude in shape, and of
+greenish coloring, with sand and bubbles showing on its surface,
+detracting from its finish. Examples of this type are very scarce
+to-day, bringing prices wholly at variance with their attractiveness. Up
+to the eighteenth century, all<span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span> glass was very expensive, making it
+prohibitive to all but the wealthy classes, but since that time its cost
+has been greatly reduced, and beautiful specimens, of exquisite design,
+can now be purchased at prices within the means of almost every one. Of
+course, these later specimens do not possess the quaintness of old-time
+pieces, and to the collector they are of no interest whatever. The fad
+of collecting has brought into favor the old types, and throughout the
+country the regard for old glassware is constantly increasing, although
+it will be some time before it comes into prominence here in the same
+measure that it has in England.</p>
+
+<div class="figleft" style="width: 308px;"><a name="ILL_057" id="ILL_057"></a>
+<img src="images/ill_057.jpg" width="308" height="600" alt="Plate LVII.&mdash;Venetian and English Decanters; Toddy glasses, about 1800; English Glass with Silver Coasters. Very old." title="" />
+<span class="caption">Plate LVII.&mdash;Venetian and English Decanters; Toddy glasses, about 1800; English Glass with Silver Coasters. Very old.</span>
+</div>
+
+<p>While the origin of glass is not definitely certain, yet specimens are
+in existence which are known to have been made before the coming of
+Christ, such as the celebrated Portland Vase, a Roman product, now seen
+in the British Museum. After the decline of glass making in Rome, the
+craft was gradually taken up in Venice and Bohemia, the output of the
+former country ranking among the finest made, and including, among other
+things, the exquisite Venetian drinking cups, which are unrivaled in
+beauty.</p>
+
+<p>So important was the craft considered in these early times that
+manufacturers received great<span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span> attention from the government, were dubbed
+"Gentlemen," and were looked upon with awe by the common people.
+Naturally, great secrecy surrounded the plying of the craft, and this
+secrecy led to the circulation of mysterious tales. One legend was that
+the furnace fire created a monster called the salamander, and it was
+firmly believed that at stated intervals he came out of the furnace, and
+carried back with him any chance visitor. People who glanced fearfully
+into the furnace declared that they saw him curled up at one side of his
+fiery bed, and the absence of any workmen was at once attributed to this
+monster's having captured him.</p>
+
+<p>The early green glass of the Rhine and Holland, while made by
+German-speaking people, cannot be considered as characteristic of German
+glass. These people lived on either side of the mountains which gird
+Bohemia on three sides, and divide that kingdom from Silesia, Saxony,
+and Bavaria respectively, and the glass they made was painted in
+beautiful colors, the finer kind being engraved in the upland countries,
+where water was abundant. Gilding was also much employed by them, and we
+learn that in the seventeenth and eighteenth centuries this decoration
+was fixed by a cold<span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span> process; that is, by simply attaching the gold leaf
+by means of varnish. This form of decoration was only lasting when
+applied to the sunken parts of the glass.</p>
+
+<div class="figright" style="width: 386px;"><a name="ILL_058" id="ILL_058"></a>
+<img src="images/ill_058.jpg" width="386" height="600" alt="Plate LVIII.&mdash;Russian Glass Decanter and Tumblers; Note the exquisite cutting on this Decanter." title="" />
+<span class="caption">Plate LVIII.&mdash;Russian Glass Decanter and Tumblers; Note the exquisite cutting on this Decanter.</span>
+</div>
+
+<p>Very little of this glass was used in the section where it was
+manufactured, nearly the whole product being exported to Austria,
+Germany, Italy, the East, and even to America. The industry was popular
+in Bohemia, for it furnished labor to a part of the population, helping
+to keep them from want, and it procured for the rich landowners a
+revenue from the use of their woods.</p>
+
+<p>The factories, which were rudely built, were located in the center of
+forest tracts, and they produced, in addition to ordinary glass pieces,
+articles that were intended to be highly worked or richly engraved, also
+colored glass, decorated with gilding and painting. Long experience in
+the manufacture of colored glass had made these workmen expert in this
+branch, and any advice they needed, they obtained from men of
+information who made their living by seeking out and selling secrets
+concerning processes and improvements in glass manufacture. All capital
+required was advanced by rich lords, who were eager to insure the
+success of industries established upon their premises.<span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span></p>
+
+<p>Glass cutting and luster making were regarded as special trades, being
+carried on in huts beside small streams; and engraving, gilding, and
+painting likewise formed separate branches, all paid by the very lowest
+wages. Products of all the factories were collected by agents from
+commercial houses, and by them distributed among the various markets.</p>
+
+<p>Comparison between the Bohemian product and the older glass upon the
+market resulted strongly in favor of the former. It was clear, white,
+light, and of agreeable delicacy to the touch, and no other glass as
+purely colorless was made until the modern discovery of flint glass,
+made by the use of lead.</p>
+
+<p>Through the invention of one Gasper Lehmann, improved engraving on
+Bohemian glass became possible, opening a field for decorative art that
+hitherto had been undreamed of. With his pupil George Schwanhard, he
+improved designs, and the world went engraved-glass mad. Nothing but
+this type would sell, and as material became scarce, Venetian pieces,
+already a hundred years old, were brought into requisition and engraved.</p>
+
+<p>At the commencement of the seventeenth century, some of the Bohemian
+manufacturers were producing vases of various shapes enriched with<span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span>
+engraved ornaments, representing scenes, and frequently portraits. Some
+of the former type are shown in the wonderful collection owned by Mr. W.&nbsp;J.
+Mitchell at Manchester, Massachusetts. With the pronounced popularity
+of the Bohemian engraved vases, artists in other countries began
+decorating their ware in like fashion, those of France employing
+interlaced flowers. These were etched on, rather than engraved, however,
+and cheapened the ware; in other countries the results obtained were no
+better, all failing to compare with the Bohemian specimens, for the art
+of engraving here had been learned from long experience by workmen who
+were experts in their line.</p>
+
+<p>Many Bohemian pieces showed an original decoration in the way of
+ornamentations in relief on the outside, while the art of cameo
+incrustation was also first used by Bohemian workers, who sometimes
+varied it to obtain odd and pleasing effects by engraving through an
+outer casing of colored glass into an interior of white, transparent, or
+enameled glass. One such specimen, a salt cellar, is shown in the
+Mitchell collection.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_059" id="ILL_059"></a>
+<img src="images/ill_059.jpg" width="600" height="378" alt="Plate LIX.&mdash;English Cut Class Decanter, about 1800; Typical Red Bohemian Glass Decanter; American Glass Bottle, Jenny Lind, about 1850." title="" />
+<span class="caption">Plate LIX.&mdash;English Cut Class Decanter, about 1800; Typical Red Bohemian Glass Decanter; American Glass Bottle, Jenny Lind, about 1850.</span>
+</div>
+
+<p>Ruby coloring was a characteristic of many fine Bohemian pieces, and its
+acquirement was a source of despair to any number of workers, it being
+hard<span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span> to hit on just the right combination to produce the desired shade.
+So important did this feature become that we learn of one Kunckel, an
+artist, being given sixteen hundred ducats by the elector of Brandenburg
+to assist in attaining perfection in this shade of coloring. The ware of
+this type was made in the last half of the seventeenth century, and
+specimens were the admiration of all beholders.</p>
+
+<p>It is a ware that possesses a strange attraction. No other type of glass
+is more a favorite with collectors than this, and no other encourages
+the amateur to greater endeavor in its pursuit, no matter how
+discouraging it may be at first. Then, too, no matter how large the
+collection may be, it is never monotonous, for the various specimens
+show a great diversity of form and ornamentation.</p>
+
+<p>The collection of Bohemian glass shown at the Mitchell house at
+Manchester, contains some wonderful examples of the art, including
+decanters with long and slender stems, odd salt cellars in frames of
+silver, bonbon dishes, and numerous other pieces, some in the rare ruby
+coloring, and others in white and gilt.</p>
+
+<div class="figleft" style="width: 329px;"><a name="ILL_060" id="ILL_060"></a>
+<img src="images/ill_060.jpg" width="329" height="600" alt="Plate LX.&mdash;Bohemian Glass. The center one is rare, showing figure of Peacock in Red and White; English Cut Glass Wineglasses, 1790; English Glass Decanters. Very fine and rare." title="" />
+<span class="caption">Plate LX.&mdash;Bohemian Glass. The center one is rare, showing figure of Peacock in Red and White; English Cut Glass Wineglasses, 1790; English Glass Decanters. Very fine and rare.</span>
+</div>
+
+<p>Other fine pieces are found at the Nichols house on Federal Street,
+Salem, and in the Atkinson collection, also at Salem, while at Andover,
+at<span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span> the old Kittredge house, many rare bits are to be seen. All of
+these specimens are heirlooms, those in the Kittredge house having been
+in the family since the home was erected, in the latter part of the
+eighteenth century.</p>
+
+<p>While examples of all types of glass are to be found in America, perhaps
+the most common specimens are of English make, brought to the new
+country after business had become firmly established, along with the
+other fine household equipments. Among these are many fine decanters and
+tumblers of various designs, particularly interesting from the part they
+shared in the long accepted belief that glass drinking vessels of every
+kind, made under certain astronomical influences, would fly to pieces if
+any poisonous liquid was placed in them; and also that drinking glasses
+of colored ware added flavor to wine, and detracted materially from its
+intoxicating quality. Some of these drinking glasses, known in England
+as toddy glasses, were the forerunners of our present tumblers.</p>
+
+<p>English collections, of course, include much earlier specimens of the
+ware than do American, for it was not until the latter part of the
+eighteenth century, when the seaport towns of New England were at the
+height of their prosperity, that sea<span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span> captains brought here from England
+and other ports all kinds of glass. Some of the finest of this found its
+way to Salem, and in the Waters house, on Washington Square, are stored
+some of the rarest of these specimens. These have all been collected by
+Mr. Fitz Waters, who has devoted years in research of old-time things,
+and they represent not only the different periods of manufacture, but
+the output of the different countries as well. Included are many
+engraved pieces, decanters which cannot be duplicated, and rare and
+wonderful bits, such as toddy glasses and numberless other glasses of
+varying kinds, many of them beautifully engraved with delicate tracery
+and the tulip of Holland.</p>
+
+<p>Many beautiful wine glasses and tumblers can be classified by their
+name, such as the white twist stem, made between 1745 and 1757,&mdash;the
+twisted appearance of the stem being the result of a peculiar
+process,&mdash;the baluster stem, and the air twist stem, some of the latter
+showing domed feet.</p>
+
+<p>Several of the best types of glasses are shown in the West collection in
+Salem. The cutting of the stems of several of these fix the date of
+manufacture at about 1800, while others of unusual shapes<span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span> show bird and
+shield designs, also the wreath and flower. It is by the design more
+than anything else that the date of manufacture is fixed, determining
+the choiceness of the piece, and the money it should bring.</p>
+
+<p>While England has furnished most of the pieces shown here to-day, yet in
+the Northend collection in Salem are several fine Russian specimens.
+These are deeply cut, and were brought to this country from Russia by
+one John Harrod about the year 1800. For many years they were stored in
+the old Harrod house at Newburyport, finding their way to their present
+abode when the Harrod dwelling was dismantled, the owner being a
+descendant of this family. One piece, which is most unusual, is a deep
+punch bowl with a cover.</p>
+
+<p>Curiously enough, the first industrial enterprise undertaken in America
+was a factory for the manufacture of glass bottles. It was built very
+early in the history of the Virginia colony, and stood about a mile from
+Jamestown, in the midst of a woodland tract. Later, other factories were
+erected, many of them manufacturing glass beads to be used in trading
+with the Indians. The oldest glass plant still doing business, which has
+been continuous since its beginning, is located at Kensington<span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span> in
+Philadelphia, having been established in 1711.</p>
+
+<p>To many it may be still unknown that Bohemian glassware has been
+manufactured in this country, and at a very early period. From Mannheim,
+in Germany, in the year 1750, came a certain Baron Steigel, whose
+parents had dubbed him William Henry. He laid out, in Pennsylvania, the
+village which bears the name of his native place, and there he
+established ironworks and glassworks, and deeded a plot of ground to the
+Lutheran congregation, in consideration of their annual payment,
+forever, of one red rose. The glasshouse was dome-shaped, and so large
+that a coach-and-six could enter at the doorway, turn around inside, and
+drive out again. He brought skilled workmen from the best factories in
+Europe, and made richly colored bowls and goblets, which have the true
+Bohemian ring, and which are now in the possession of local collectors.</p>
+
+<p>His works did not continue for any length of time, as he failed in
+business about five years after he started, but the old Steigel house is
+still standing in the heart of the town, distinguished by the red and
+black bricks of which it is built. And there still, in the month of
+June, is often celebrated the<span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span> Feast of Roses, one feature of which is
+the payment of a great red rose by a church officer to the baron's
+descendants.</p>
+
+<p>But of all the old glass made here, perhaps the bottles form the most
+interesting portion. For the first seventy years of the nineteenth
+century, fancy pocket flasks and bottles were manufactured in the United
+States. The idea of the decorations probably came, in the first place,
+from the fact that English potters were decorating crockery with local
+subjects, in order to catch the American trade. This glassware, however,
+was wholly the result of our own enterprise. The objects here shown were
+blown in engraved metal molds, which had been prepared by professional
+mold cutters.</p>
+
+<p>Colors and sizes vary too much to be a test of age. The scarred base and
+the sheared neck are the surest sign of age. In all the older forms, the
+neck was sheared with scissors, leaving it irregular and without
+finishing band; also, the base always showed a rough, circular scar,
+left by breaking the bottle away from the rod which held it while the
+workman was finishing the neck.</p>
+
+<p>Smooth and hollow bases were made between 1850 and 1860 by means of an
+improvement called a "snap" or case, which held the bottle. At<span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span> the same
+time, a rim was added to the mouth. The designs were worked out in
+transparent white, pale blue, sapphire blue, light green, emerald green,
+olive, brown, opalescent, or claret color. Twenty-nine of these historic
+flasks bear for ornament some form of the American eagle; nineteen
+different designs display the head of Washington, and twelve the head of
+Taylor.</p>
+
+<p>Their shapes varied with the passing of time. The very earliest were
+slender and arched in form, with edges horizontally corrugated; then
+came in vogue oval shapes, with edges ribbed vertically. The next
+pattern was almost circular in form, with plain, rounded edges; and at
+this time some specimens show a color at the mouth. Then appeared the
+calabash, or decanter form, no longer flattened and shallow, as the
+others had been, but almost spherical, with edges that showed vertical
+corrugation, ribbing, or fluting; with long, slender neck, finished with
+a cap at the top; with smoothly hollowed or hollowed and scarred base.</p>
+
+<p>These were superseded by bottles arched in form, deep and flattened,
+having vertically corrugated edges, a short and broad neck, finished
+with a round and narrow heading, and a base either scarred or flat. Last
+of all appeared the modern<span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span> flask shape, also arched in form, with a
+broad shoulder, a narrow base, plainly rounded edges, and a return to
+the flattened and shallow type of the earliest manufactures. The neck
+had a single or double beading at the top, and the base was either flat
+or smoothly hollowed.</p>
+
+<p>All the Kossuth and Jenny Lind bottles were made about 1850. The Taylor
+or Taylor and Bragg bottles belong to the period of the Mexican War, and
+were probably blown in 1848. One of these bears Taylor's historic
+command, "A little more grape, Captain Bragg," as delivered at the
+battle of Buena Vista. Another has a portrait of Washington upon one
+side, and that of Taylor upon the other, with the motto, "Gen. Taylor
+never surrenders." This shows the circular, canteen shape.</p>
+
+<p>One of the very oldest forms known to have been decorated in this
+country is the one which bears in relief a design of the first railroad,
+represented by a horse drawing along rails a four-wheeled car heaped
+with cotton bales and lumps of coal. This picture runs lengthwise of the
+bottle and bears the legend "Success to the Railroads" about the margin
+of the panel. This could not have been produced earlier than 1825. Some
+of the Washington<span class='pagenum'><a name="Page_208" id="Page_208">[Pg 208]</a></span> designs belong to earlier periods, as do the eagle
+and United States flag. Most of the Masonic decorations belong between
+1840 and 1850.</p>
+
+<p>The log cabin designs are connected with the notable Harrison "hard
+cider" campaign of 1840, as are the inkstands made in the form of log
+cabins, cider barrels, and beehives. The dark brown whisky bottles in
+the shape of a log cabin are souvenirs of the same period of political
+excitement, and were made by a New Jersey glass firm for a certain
+liquor merchant in Philadelphia.</p>
+
+<p>The Jackson bottles belong to the period of the stormy thirties. The
+"Hero of New Orleans" is represented in uniform, wearing a
+throat-cutting collar which entirely obscures his ear.</p>
+
+<p>A Connecticut firm, in the late sixties, sent out a bottle of modern
+shape, decorated with a double-headed sheaf of wheat, with rake and
+pitchfork, having a star below. At about the same time a firm in
+Pittsburg put upon the market a highly decorated flask, similarly modern
+in outline, having upon one side an eagle, monument, and flag; upon the
+reverse, an Indian with bow and arrow, shooting a bird in the
+foreground, with a dog and a tree in the background.</p>
+
+<p>Some bottles of unknown origin were decorated<span class='pagenum'><a name="Page_209" id="Page_209">[Pg 209]</a></span> with horns of plenty,
+vases of flowers, panels of fruit, sheaves of wheat, a Masonic arch and
+emblems, ship and eight-pointed star, and a bold Pikes Peak pilgrim with
+staff and bundle to celebrate the passage of the Rocky Mountains.</p>
+
+<p>Among the early curio bottles shown are numerous fancy designs in the
+form of animals, fishes, eggs, pickles, canteens, cigars, shells,
+pistols, violins, lanterns, and the like. To this class belongs the
+Moses bottle, which also goes by the name of Santa Claus. It is of clear
+and colorless glass, with a string fastened about the neck and attached
+to each end of a stick which crosses the top.</p>
+
+<p>Should the collector enlarge his fad so as to take in bottles from
+foreign lands, he would find that his collection would gain much in
+beauty. In the Metropolitan Museum of New York there is a very
+comprehensive exhibit of rare Venetian glass bottles and vials, which
+was the gift of James Jackson Jarves. These are the most brilliant and
+elegant types of their kind, graceful and refined, dainty and ethereal.<span class='pagenum'><a name="Page_210" id="Page_210">[Pg 210]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XVI" id="CHAPTER_XVI"></a>CHAPTER XVI</h2>
+
+<h3>OLD PEWTER</h3>
+
+<p>There is a charm about old pewter that is well-nigh irresistible to the
+collector of antiques, its odd shapes, mellow tints, and, above all, its
+rarity, luring one in its pursuit. In the days when it was in general
+use,&mdash;after the decline in favor of the wooden trencher,&mdash;it was but
+little valued, and our forbears quaffed their foaming, home-made ale
+from pewter tankards, and ate their meals from pewter dishes with little
+thought of the prominence this ware would one day attain, or the prices
+it would command. To-day pewter represents a lost art, and the tankards
+and plates and chargers which our ancestors used so carelessly are now
+pursued with untiring energy, and, if secured, are treasured as prizes
+of priceless worth.</p>
+
+<p>Intrinsically, the metal is of little value, being nothing more than an
+alloy of tin and lead, with sometimes a sprinkling of copper, antimony,
+or bismuth, but historically it is hugely interesting.<span class='pagenum'><a name="Page_211" id="Page_211">[Pg 211]</a></span> Like many other
+old-time features, records of its early history are scanty, affording
+but little knowledge of its origin, though proving beyond a doubt that
+it was in use in very early times. When it was first used in China and
+Japan,&mdash;those countries to which we are forced to turn for the origin of
+so many of the old industries,&mdash;it is impossible to ascertain, but it is
+certain that pewter ware was made in China two thousand years ago, and
+there are to-day specimens of Japanese pewter in England, known to be
+all of eleven hundred years old, these latter pieces being very like
+some shown in the Museum of Fine Arts in Boston. Some old chroniclers
+claim that the ware was used by the Ph&oelig;nicians and early Hebrews, and
+all agree that it was manufactured, in certain forms, in ancient Rome.
+Proof positive of this fact was gleaned some years ago, when quantities
+of old pewter seals of all shapes and sizes were discovered in the
+county of Westmoreland, in England, where they had evidently been left
+by the Roman legions centuries before. It is indeed deplorable that,
+owing to their making excellent solder, all these seals should have been
+destroyed by enterprising tinkers in the neighborhood.</p>
+
+<p>As early as the fourteenth and fifteenth centuries,<span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span> pewter was produced
+in quantities, in France, Germany, Holland, and Switzerland, and a very
+little in Italy and Spain. The year 1550 marked the period of the most
+showy development in the first-named country, of which Francis Briot was
+the most celebrated worker. His most noted productions were a flagon and
+salver, with figures, emblems, marks, and strapwork. These exquisite
+pieces were cast in sections, joined together, and then finished in the
+most careful manner, in delicate relief. Briot was followed by Gasper
+Enderlein, Swiss, and by the year 1600 the Nuremberg workers entered the
+field with richly wrought plates and platters. France continued to hold
+high rank in pewter manufacture until 1750, after which time the quality
+of her output considerably deteriorated.</p>
+
+<p>In the sixteenth century the trade sprang up in Scotland, many excellent
+pieces of the ware being produced here, and during the seventeenth
+century Dutch and German pewter came to the fore, being considered,
+during this period, the best made. Nuremberg and Ausberg were the
+centers of the industry in Germany, while in Scotland, Edinburgh and
+Glasgow appear to have been the chief trade centers. The ware made in<span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span>
+Spain never seems to have attained any great degree of perfection, and
+records of its progress in this country are extremely scarce. Barcelona
+seems to have been the center of the industry, but just when or where
+the craft had its inception, research has been unable to disclose.
+Certain it is that no trace of any corporation or guild has been found
+prior to the fifteenth century.</p>
+
+<p>English pewter dates back as far as the tenth century, though few pieces
+are now in existence that antedate the seventeenth century. Here, as in
+other European countries, the ware was at first made solely for
+ecclesiastical purposes, its manufacture for household use not becoming
+popular until many years later. From the twelfth to the fifteenth
+centuries, the ware gradually grew in importance through northern
+Europe, though domestic pewter was used only by the clergy and nobility
+up to the fourteenth century. Just when it became popular for table and
+kitchen use is not definitely known, though it is certain that it
+supplanted wooden ware some time in the fifteenth century.</p>
+
+<p>Pewter reached the height of its popularity during the sixteenth and
+seventeenth centuries, though its use for household purposes continued<span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span>
+throughout the eighteenth and the first part of the nineteenth
+centuries. In the sixteenth century the artistic quality of the ware was
+greatly improved, for by an act of James VI the ware was divided into
+two grades, the best to be marked with a crown and hammer, and the
+second with the maker's name. Specimens of this century are to-day
+extremely scarce, those few examples that do remain being for the most
+part found in museums or in old English castles, where they have
+remained in the same family from generation to generation. No doubt,
+specimens would have been more plentiful had not the greater part of the
+church plate in England and Scotland been destroyed during the
+Reformation.</p>
+
+<p>After 1780 pewter was but little used among the wealthy classes, except
+in their kitchens and servants' quarters, where it held sway for a
+considerable length of time. In fact, in some of the larger
+establishments, it continued to be used regularly until within the last
+thirty-five years, and even now it is used in the servants' hall in two
+or three of the large old country houses. It lingered longest in the
+taverns and inns, and in the London chop-houses, being used in the last
+named until they were forced out of business through the introduction of
+coffee palace and tea rooms.<span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span></p>
+
+<p>English pewter differs materially from that made in other countries, the
+workmen employing designs characterized by a sturdiness and sedate
+dignity that raised the ware above that made in other lands. Almost
+every conceivable domestic utensil was made of pewter as well as garden
+ornaments, and it is interesting to note, in connection with the latter,
+that several urns were designed by the brothers Adam.</p>
+
+<p>The history of pewter making in England might almost be said to be that
+of the London Guild or Worshipful Company of Pewterers, so closely is
+the ware allied with it. For a long time this company or guild
+controlled the manufacture and sale of the ware in England, and during
+the days of its greatest influence it did much to improve the quality.
+At one time it attempted to make general the employment and recording or
+marks, but the rule was not enforced, and an excellent opportunity of
+insuring the exact date of manufacture of a certain piece was thus lost.</p>
+
+<p>Several private touch marks were registered at Pewterers' Hall, but
+these, together with important records that the company had compiled,
+were destroyed in the great London fire of 1666. Very few pieces now in
+existence bear any of these<span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span> touch marks, though occasionally a piece
+will be found that shows the regulation London Guild quality mark, a
+rose with a crown. The touch mark was the mark of the maker. This was
+generally his name alone, though sometimes his name was combined with
+some device, like an animal or flower.</p>
+
+<p>Scotland boasted a guild at Edinburgh that at one time enjoyed a fame
+second only to that of the celebrated London Company. Touch plates of
+the pewterers that were registered here are no longer in existence, and,
+indeed, much of the pewter made in this country bears no mark at all.
+The usual hallmark was a thistle and a crown, though there were several
+local marks that were frequently used, which are sometimes found on
+Scotch pieces.</p>
+
+<p>France, too, had its guilds, but they were abolished by Turgot on the
+ground that the free right to labor was a sacred privilege of humanity.
+Gradually the influence of all the guilds was less keenly felt, and in
+time the majority were abolished. After this the quality and use of
+pewter steadily declined, and with the coming into favor of china and
+other ware, pewter grew to be considered old-fashioned, and its use was
+discontinued during the first years of the nineteenth century.<span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span></p>
+
+<div class="figright" style="width: 359px;"><a name="ILL_061" id="ILL_061"></a>
+<img src="images/ill_061.jpg" width="359" height="600" alt="Plate LXI.&mdash;Pewter half-pint, pint and quart Measures, one hundred years old; Three unusual-shaped Pewter Cream Jugs; German Pewter, Whorl pattern." title="" />
+<span class="caption">Plate LXI.&mdash;Pewter half-pint, pint and quart Measures, one hundred years old; Three unusual-shaped Pewter Cream Jugs; German Pewter, Whorl pattern.</span>
+</div>
+
+<p>The old-time metal played a prominent part in the first colonial
+households in America, it being in many cases the only available ware,
+but after a time, as the population and strength of the young colonies
+increased, it had to give way, as in England, to the introduction and
+steadily increasing popularity of china. During the seventeenth century
+several English pewterers came to America to find employment, settling
+principally in Boston, Salem, and Plymouth County, and during the
+eighteenth century the manufacture of the ware here became quite common.
+It is interesting to note that the greater part of the American-made
+pieces bear the name of the maker.</p>
+
+<p>English and Continental pewter was also extensively used here, and, in
+consequence, American collections of the present include specimens from
+these countries. Most of the pieces now preserved belong to the
+eighteenth and early nineteenth centuries, though there are some few
+pieces which are of earlier manufacture.</p>
+
+<p>The value of pewter, like all other antiques, varies, and a piece is
+really worth what one can obtain for it. In England, the highest prices
+are paid for sixteenth-century pewter, while in our own country the
+product of the eighteenth<span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span> century is that most sought after, and the
+best prices are paid for pieces of this period. Ecclesiastical pewter is
+rare here, and therefore is valuable, but it does not hold such high
+favor in the collector's regard as do the simple pieces that once graced
+the quaint dressers in colonial homes.</p>
+
+<p>The fad for pewter has been productive of much imitation ware. This is
+especially true of certain types which are particularly popular, and,
+indeed, were it not for this demand, it would hardly pay to imitate the
+old metal, even at the prices now paid for the same. It costs
+considerable to make up spurious bits that are almost entirely like the
+old-time pieces, in composition, and, besides, they must be put through
+several processes to make them look old. Consequently, it is safe to
+assume that at the present time the number of imitation pieces on the
+market is comparatively small, and in this country there are really few
+pieces that are entirely counterfeit. To be sure, plain pieces of the
+genuine metal are sometimes ornamented to increase their value, but
+lately collectors seem to regard plain pieces with the greatest favor,
+and this form of counterfeiting will no doubt soon disappear.</p>
+
+<p>To-day, in America, there is one manufacturer,<span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span> and perhaps more, who is
+reviving some of the original forms and producing pewter reproductions
+which are being put on the market as such. For the modern colonial
+dining-room these are especially attractive, serving in every particular
+the purpose of decoration, but to the collector they are of no interest.</p>
+
+<p>America boasts of several fine collections of this ware, especially in
+the New England states, where the chief ports for the trade were
+located. The Bigelow collection at Boston includes, besides plates and
+platters, rare bits of odd design, many of them characterized by
+markings. One such piece is a hot-water receptacle, showing a shield
+decoration on which are marked the initials "H.&nbsp;H.&nbsp;D." and the date
+"1796." The lid is ornamented with two lines and the initials "R.&nbsp;G."
+Several quaint lamps are other prized possessions in this collection,
+some of them made about 1712, and most of them of American manufacture.
+One of them, the smallest of the group, is marked "N.&nbsp;Y. Molineux."
+Tankards of the "tappit hen" type are also preserved here, though they
+are not precisely the same shape as the measures of Scotch make which
+went by that name; other pieces included in the collection are cream
+jugs, milk pitchers,<span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span> spoons, forks, a water urn, and several odd
+tankards.</p>
+
+<p>Equally as interesting is the Caliga collection at Salem. Here are to be
+seen quantities of this rare old ware, worked up into almost every
+conceivable device, and several of the pieces are numbered among the
+choicest in the country. A squatty little teapot with wooden handle is
+among the most interesting specimens, and its history is in keeping with
+its quaintness. It was secured by Mr. Caliga in a little German town
+during his residence abroad, and soon after it came into his possession,
+it was much sought after by a collector, who offered a large sum of
+money for its acquirement. Mr. Caliga refused to part with it, and later
+he learned that it was indeed a very rare piece, being a part of a set
+which the collector was endeavoring to obtain for the Duke of Baden, who
+owned one of the three pieces, the would-be purchaser having the second.
+This teapot has for a hallmark an angel; a quaint sugar bowl of like
+design, also in this collection, shows a crown and bird.</p>
+
+<p>An odd pewter lamp, known as a Jewish or Seven Days' lamp, is included
+in this collection, the receptacle for oil being in the lower portion.<span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span>
+There are two large pewter plates, also, one of which has the royal coat
+of arms in the center, and is surrounded by the whorl pattern. These
+plates measure about twenty inches across, and one has the hallmark of
+three angels on the back.</p>
+
+<p>Perhaps the rarest bit of pewter in existence to-day is that owned by a
+Massachusetts lady. It is of Japanese manufacture, and is a family
+heirloom, through generations back. It first came into possession of the
+owner's ancestors in 1450; even at that date it had a history, and,
+indeed, its battered sides speak eloquently and forcibly of a past. It
+is said to have been the possession of a French nobleman, who, for some
+cause or other, was compelled to flee from his native land, and who
+sought refuge in England, where he met and married an English girl. The
+precious bit remained with his descendants until the year above
+mentioned, when the last of his race, dying without issue, bequeathed
+the old relic to his dearest friend, of whom its present owner is a
+direct descendant.</p>
+
+<p>But whatever its type and origin, the old ware is always interesting. To
+be sure, even at its best it is plain, relying on its form for its
+pleasing appearance, but no other metal better repays its owner for the
+care expended upon it. No doubt<span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span> it costs an effort or two to keep it
+bright and shining, but who does not feel repaid for the time and energy
+expended, when the slow gleams of silver-like hue that gradually appear
+on the surface greet one in appreciation, like the smile of an old
+friend!<span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2><a name="CHAPTER_XVII" id="CHAPTER_XVII"></a>CHAPTER XVII</h2>
+
+<h3>OLD SILVER</h3>
+
+<p>There is a widespread and growing interest in all old silver, especially
+in such pieces as can be traced back to colonial origin. Salem, whose
+commercial prosperity was well established by the middle of the
+seventeenth century, has some wonderfully good pieces of colonial
+silver, many of which are family heirlooms.</p>
+
+<p>The early American silverware, like our early furniture and
+architecture, is thoroughly characteristic of the tastes and mode of
+life peculiar to that period in America. It is simple in design and
+substantial in weight, thus reflecting the mental attitude of the
+people. Social conditions here would not warrant any imitation of the
+magnificent baronial silver which was then being made and used in
+England. Many of the pieces in these collections come to us hallowed by
+a hundred associations and by traditions recalling the lives of our
+forefathers in all their manifold phases. The sight of the silver
+communion service recalls<span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span> the early history of our New England
+churches, and reminds us of the devotion of the people to the
+institutions about which revolved both the social and political life.</p>
+
+<p>Only the identity of the maker is revealed by the hallmark on American
+silver. There is no trace of the date letter, so prevalent upon English
+pieces of the same period, although various emblems appear, which were
+used as trademarks, peculiar to the owner. In cases where the crown
+appears above the initials, it was merely a passing fad to copy the mark
+of certain English silversmiths who enjoyed royal patronage.</p>
+
+<p>The business of making silverware in the colonies seems to have been
+profitable from the first. The earliest silversmith of whom we have any
+record is John Hull, born in 1624 and dying in 1683, who amassed much
+wealth through his appointment as mintmaster for Massachusetts in the
+old days of the pine-tree shillings. His name, together with that of his
+daughter Betsey, has been immortalized by Hawthorne.</p>
+
+<p>That Captain Hull did not have a monopoly of his trade is proved by the
+fact that a beaker, which was presented to the Dorchester church in
+1672, was made by one David Jesse. Also, a<span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span> certain Jeremiah Dummer,
+brother of Governor William Dummer, was apprenticed to John Hull, to
+learn the silversmith's trade, in 1659, and sent out much work stamped
+with his own name. He also taught his trade to his brother-in-law, John
+Cony, who engraved the plates for the first paper money that was ever
+made in America.</p>
+
+<p>Most famous of all New England silversmiths was Paul Revere. Besides the
+historic associations connected with his name, his works are most
+attractive in themselves, showing an exquisite finish and great beauty
+of workmanship; there are no certain marks to distinguish his work from
+that of his father, as each used the stamp "P. Revere."</p>
+
+<p>Of the many silversmiths of New York, none are so early in point of time
+as these New England men whom I have mentioned. Not until the middle of
+the eighteenth century did a certain George Ridout come over from
+London, and set up business "near the Ferry stairs." He has left us
+beautiful candlesticks, marked with his name, and by these he is
+remembered. At about the same time Richard Van Dyck, tracing his lineage
+to the Knickerbockers, made very handsome flat-chased bowls, and Myer
+Myers, seemingly of<span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span> similar origin, set his stamp upon finely
+proportioned pint cans, having an ear-shaped handle and a pine-cone
+finial.</p>
+
+<p>At a later date, shortly subsequent to the Revolution, a silversmith
+named Tragees made beautiful sugar bowls with urn-shaped finials; and
+Cary Dunn, who held a position in the custom house, designed exquisitely
+engraved teapots, having the cover surmounted by a pineapple as the
+emblem of hospitality. These early makers stamped their names plainly
+upon their work, so that the task of approximating their age is thus
+rendered easy.</p>
+
+<p>In most families silver spoons of various patterns have been preserved
+for generations. Some of these were brought from England with other
+treasures of family silver, and are excellent examples of
+seventeenth-century ware. Up to that time, teaspoons had been made with
+very deep round or pear-shaped bowls and very short handles. Toward the
+middle of the seventeenth century, they assumed more nearly their
+present form, having handles twice as long as they had previously
+possessed, and bowls oval or elliptical. The new style was sometimes
+dubbed the "rat-tail spoon," in derisive comment upon its long and<span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span>
+slender handle. It will be observed that many of our earliest teaspoons
+were no larger than the present after-dinner coffee spoons.</p>
+
+<p>It is probable that no other type of spoon possesses the interest, not
+to say the money value, of the old Apostle spoons, which came into
+fashion in the sixteenth century. At that time it was an English custom
+for the sponsors to present these spoons, as baptismal gifts, to the
+children for whom they made themselves responsible. A wealthy godparent
+would give a complete set of thirteen, but a poor man generally
+contented himself with giving simply the one spoon which bore the figure
+of the child's patron saint.</p>
+
+<p>The complete set consisted of the "Master" spoon and twelve others. The
+"Master" spoon has upon the handle a figure of Christ, holding in one
+hand the sphere and cross, while the other hand is extended in blessing.
+A nimbus surrounds the head, in all these spoons. Each apostle is
+distinguished by some emblem. Saint Paul has a sword, Saint Thomas a
+spear, and Saint Andrew a cross. Saint Matthias carries an ax or
+halberd, Saint Jude a club, Saint Bartholomew a butcher's knife, and
+Saint Philip a long staff with a cross in the T. Saint Peter appears
+with a<span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span> key, Saint James the Greater with a pilgrim's staff, Saint James
+the Less with a fuller's hat, and Saint Matthew with a wallet. Saint
+John has one hand raised in blessing, while the other holds the cup of
+sorrow.</p>
+
+<p>Whole sets of these spoons are very rare. In fact, there are said to be
+but two whole sets in existence, with another set of eleven. One of
+these sets sold in 1903 for twenty-four thousand five hundred dollars,
+while another set of less ancient date brought five thousand three
+hundred dollars. A single Apostle spoon, bearing upon its handle a
+figure of Saint Nicholas, and upon its stem the inscription, "Saint
+Nicholas, pray for us," sold in London for three thousand four hundred
+and fifty dollars, a few years ago. This is said to be the highest price
+ever paid for one single spoon.</p>
+
+<p>The oldest hallmarked Apostle spoon is dated 1493, while the most modern
+of which we have any record bears the date of 1665. It is probable that
+the custom of giving these baptismal presents began to go out of fashion
+at that period.</p>
+
+<p>Other spoons of great interest, although not so old as the earliest
+Apostle spoons, are the curious little "caddy spoons," which came into
+vogue<span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span> with the first popularity of tea drinking more than two centuries
+ago. The tea was at first kept in canisters, whose lids served as a
+measure. Then came into use the quaint and dainty tea caddy, with its
+two-lidded and metal-lined end compartments, and a central cavity to be
+used as a sugar bowl. A favorite and poetic custom of the old sea
+captains, upon visiting China, was to have their ships painted upon
+China caddies by Chinese artists, as gifts for wives or sweethearts at
+home.</p>
+
+<p>Now since the sugar bowl was a part of the tea caddy, the use of the
+caddy spoon or scoop became immediately popular. All of these spoons
+have very short stems and handles, with bowls of fanciful design,
+perforated, or shell-shaped, or fluted. A few were made like miniature
+scoops, with handles of ebony; while others were perfect imitations of
+leaves, the leaf stem curling around into a ring, to make the handle.</p>
+
+<p>In this country, caddy spoons came into use after the Revolution. Until
+very recently, they have been neglected by collectors, and were to be
+bought at a low figure; but all that is changed, and the price is from
+fifteen dollars upward in most cases, besides which the purchaser must<span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span>
+take his chances as to the genuine worth of his bargain, as many
+imitations are being put upon the market. It is no proof of genuine
+worth that the spoon may be bought in an antique shop on a quiet street
+of some sleepy old seaport town. This is just the spot likely to be
+chosen for perpetrating a fraud. The most common counterfeit is made by
+joining a perfectly new bowl to the handle of a genuine Georgian
+teaspoon that bears an irreproachable hallmark. The unusual length of
+handle betrays the cheat, which can be further proved by the presence of
+a flattened spot similar to a thumb print, where the bowl joins the
+handle.</p>
+
+<p>Still another fraudulent specimen has a false hallmark. These
+counterfeits were probably made outside of this country, perhaps not
+even in England. The hallmark is the stamp of a head that bears no
+particular resemblance to George III, for whom it is possibly intended;
+a lion that may, perhaps, be near enough in design to pass for the royal
+British brute; and signs and letters, half-effaced, which, in
+conjunction with the king's head and the lion, make up an imitation of
+the Birmingham hallmark. Of course it would not deceive, for an instant,
+the experienced buyer in<span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span> a good clear light; but the shops are often
+darkened to a kind of twilight, and the inexperienced amateur detects
+nothing wrong about the spoon, which is usually made after some uncommon
+and attractive style.</p>
+
+<p>As this fraud is of recent date, no examination would be necessary for
+spoons known to have been in a certain family for some years. These
+spoons were made of Wedgwood ware, china, glass, agate, or
+tortoise-shell, as well as of silver. There are beautiful silver ones in
+the shape of a hand or of a flower. In two cases, I have seen the spoon
+made to match the caddy. One of these sets was of decorated china, and
+the other of tortoise-shell set in silver.</p>
+
+<p>Another spoon, which passed out of date with the caddy ladle, was the
+so-called caudle spoon. It might be well to explain to the present
+generation that caudle was a preparation of wine, eggs, and spices which
+was commonly fed to invalids, in the latter part of the eighteenth
+century. The caudle spoon, perforated or entire, but with a longer
+handle and smaller bowl than the caddy spoon, was employed to stir the
+mixture. It is now obsolete, as is the snuff spoon, another relic of the
+whimsical customs of yore. There was a<span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span> season when it was stylish to
+carry a snuffbox, and to take a pinch one's self, now and then, or to
+offer it to a friend. The snuff spoon was used to avoid dipping the
+fingers into the powder, which would of course stain both finger nails
+and cuticle.</p>
+
+<p>As the caddy was the companion piece of the caddy spoon, so the caudle
+bowl is associated with the caudle spoon. A Salem specimen stands six
+inches high, and has a capacity of three pints. It has two handles, and
+is embellished by a broad chasing at the base, and by fluted chasing
+about the body. The caudle cup used with it is severely plain, but has a
+good outline.</p>
+
+<p>Tankards both with and without covers were in common use, toward the
+close of the seventeenth century. In size, they varied from a capacity
+of one quart to three. They were often fitted with a whistle, by the
+blowing of which the butler's attention could be called to the fact that
+the tankard needed filling. From this custom arose the old saying, "Let
+him whistle for it." The singular expression, "A plate of ale" comes
+from the fact that in old inventories, tankards are listed as "ale
+plates."</p>
+
+<p>The largest Salem specimen has a capacity of one quart only, and is
+beautifully chased around<span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span> the body and upon the cover in a
+rose-and-pineapple design. This chasing is much worn, not only by the
+passage of time, but also by the pitiless polishing of the methodical
+New England housekeeper. This is a straight-sided tankard, with a
+well-curved top, which necessitates a long and tapering thumb piece. The
+handle is large and well-tapered, extending well above the rim. All
+these specimens belong to the Revolutionary epoch.</p>
+
+<div class="figcenter" style="width: 600px;"><a name="ILL_062" id="ILL_062"></a>
+<img src="images/ill_062.jpg" width="600" height="298" alt="Plate LXII.&mdash;Old Silver Coffee Urn with Pineapple finial; Sheffield Plate Teapot, formerly owned by Thomas Jefferson; Tall Silver Pitcher, of flagon influence." title="" />
+<span class="caption">Plate LXII.&mdash;Old Silver Coffee Urn with Pineapple finial; Sheffield Plate Teapot, formerly owned by Thomas Jefferson; Tall Silver Pitcher, of flagon influence.</span>
+</div>
+
+<p>The style of silver made and used in this country during the first half
+of the nineteenth century is well typified by the sugar, creamer, and
+teapot contained in an old-time collection. The teapot and sugar bowl
+are adorned with a pineapple finial. This style was originated by Cary
+Dunn of New York at the close of the Revolution, and won immense
+popularity. The pineapple, which is its most notable decoration, has
+always been accepted as the emblem of hospitality; while the primrose
+pattern about base and body is neat and tasteful. The lines in these
+designs are less severely simple than in some, but are excellent,
+nevertheless.</p>
+
+<p>Another favorite style of this same period is shown in a graceful little
+pitcher in another collection,<span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span> having for sole ornament a rosette where
+the handle joins the body. Rosettes were high in favor in the early part
+of the nineteenth century, and were shown in the furniture of that day
+as well as in the silverware.</p>
+
+<p>Another charming pitcher which stands upon three legs is a veritable
+prize, literally as well as figuratively. During the War of 1812, our
+Salem privateers seized many a valuable cargo. Among the confiscated
+treasures was this dainty little silver pitcher, handsomely engraved,
+and bearing the coat of arms of a prominent English family. In the
+division of the confiscated goods, this article fell to an ancestor of
+the owner, who received it by inheritance.</p>
+
+<div class="figright" style="width: 368px;"><a name="ILL_063" id="ILL_063"></a>
+<img src="images/ill_063.jpg" width="368" height="600" alt="Plate LXIII.&mdash;Several old Silver pieces; Collection of Salem Silver, almost all inherited; Wonderfully fine Silver Bowl." title="" />
+<span class="caption">Plate LXIII.&mdash;Several old Silver pieces; Collection of Salem Silver, almost all inherited; Wonderfully fine Silver Bowl.</span>
+</div>
+
+<p>Another interesting bit of silver, belonging to the same period as the
+pitcher, is a cruet stand. Fifty years ago these were in common use upon
+the tables of our ancestors. Fashion has relegated them to the sideboard
+or to the top shelf, where the old-fashioned, high silver cake basket
+keeps them company in exile. To the same period belongs the teapot
+showing a rosette bowl, and mushroom-shaped finial, which was among the
+bride's presents at a wedding in 1804, while the sugar and creamer
+included in the same collection<span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span> belong to a later date, as they were
+bridal presents received in 1867. The beauty of the lines in these two
+specimens falls far short of the standard set by American manufacturers
+of colonial times.</p>
+
+<p>Still in use and highly prized is the wonderful old bowl which is in
+another collection. For many years this bowl was lost, and though
+diligent search was made for it, it was not discovered until one day the
+owner and some friends, riding through a rural district, stopped at a
+well in a farmhouse yard for a drink. Close at hand a pig was eating
+from a peculiar-looking receptacle, which, though blackened and
+mud-stained, yet showed an interesting contour. Negotiations were
+entered into with the house owner for the purchase of this receptacle,
+and it was secured for twenty-five cents. When polished, it was found to
+be the long-missing bowl, which has since then been called the hog bowl.</p>
+
+<p>Other specimens still preserved include a tall sugar bowl, mounted upon
+a standard, which is more than a hundred years old, as are the tongs
+used with it, with their delicate acorn-cup pattern. In the larger
+piece, the rings which form the handles pass through the mouth of a
+dog's head,<span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span> upon each side. The feet which support the standard suggest
+the work done in the furniture of that day by Chippendale, Sheraton, and
+their followers. To the latter days of the eighteenth century belong an
+endless yet interesting variety of patterns of porringers, salvers,
+sugar bowls, perforated baskets for loaf sugar, tea and coffee pots, and
+innumerable table utensils.</p>
+
+<p>Another article which is now found but rarely is the nutmeg holder or
+spice box. The interior of the lid was roughed for use as a grater, and
+few were the "night caps" but had a final touch added through its use.
+While the usefulness of the spice box and the snuffbox has long since
+passed away, yet they are treasured because of the pictures they bring
+to the mind's eye of the old days of the Georges. No product of the
+present can outvie the charms of such old silver.</p>
+
+<p>All things colonial, whether house or accessory, are distinctive, and to
+the designers and craftsmen of that period the world owes a debt that no
+amount of tribute can ever wholly repay. Colonial is synonymous of the
+best, and objects created during its influence are always of a higher
+degree of perfection than the best of other periods. Looking about for a
+reason for this, we are confronted<span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span> with the realization that the work
+of that time was carefully planned and carefully finished, craftsmen
+giving to their output the best their brains could devise, and allowing
+no reason, however urgent, to interfere with the completion of a certain
+object as they had originally planned it to be. Therein lies the real
+reason of the superiority of things colonial. Later-day artisans
+sacrificed quality to quantity; they complied with the demand of public
+opinion, and as that demand became more urgent, carelessness of detail
+became more marked. The simplicity of the colonial era gave way to the
+highly decorative and often ugly ornamentation characteristic of late
+nineteenth-century manufacture, and it was not until a few craftsmen
+found courage to revive colonial features that the beauty of that type
+of construction was truly appreciated. To-day, colonial influence is
+again dominant, and it is a relief to note that in modern homes it is
+usurping in favor its hitherto prized successors. It is only to be hoped
+that its influence will be lasting, for surely of all types it is the
+most worthy of emulation.<span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span></p>
+
+<hr style="width: 65%;" />
+<h2>INDEX</h2>
+
+<p>
+<span style="margin-left: 1em;">Abbot, General, <a href='#Page_25'><b>25</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_78'><b>78</b></a>, <a href='#Page_109'><b>109</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 1em;">Adam brothers, <a href='#Page_98'><b>98</b></a>, <a href='#Page_103'><b>103</b></a>, <a href='#Page_128'><b>128</b></a>, <a href='#Page_140'><b>140</b></a>, <a href='#Page_215'><b>215</b></a>.</span><br />
+<span style="margin-left: 1em;">Adams, Abraham, <a href='#Page_95'><b>95</b></a>, <a href='#Page_138'><b>138</b></a>.</span><br />
+<span style="margin-left: 2em;">family, <a href='#Page_95'><b>95</b></a>, <a href='#Page_138'><b>138</b></a>.</span><br />
+<span style="margin-left: 2em;">John, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 2em;">the decorator, <a href='#Page_69'><b>69</b></a>.</span><br />
+<span style="margin-left: 1em;">Albree, John, <a href='#Page_152'><b>152</b></a>.</span><br />
+<span style="margin-left: 1em;">Alden, John, <a href='#Page_111'><b>111</b></a>.</span><br />
+<span style="margin-left: 1em;">Allen, John Fiske, <a href='#Page_51'><b>51</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_51'><b>51</b></a>, <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 2em;">of Lowestoft, <a href='#Page_182'><b>182</b></a>.</span><br />
+<span style="margin-left: 1em;">Amesbury, Mass., <a href='#Page_37'><b>37</b></a>.</span><br />
+<span style="margin-left: 1em;">Andirons, <a href='#Page_67'><b>67</b></a>-<a href='#Page_69'><b>69</b></a>.</span><br />
+<span style="margin-left: 1em;">Andrews, John, <a href='#Page_21'><b>21</b></a>, <a href='#Page_101'><b>101</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_13'><b>13</b></a>, <a href='#Page_21'><b>21</b></a>, <a href='#Page_84'><b>84</b></a>, <a href='#Page_85'><b>85</b></a>.</span><br />
+<span style="margin-left: 1em;">"Angel Gabriel" (ship), <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 1em;">Appleton, John, <a href='#Page_163'><b>163</b></a>.</span><br />
+<span style="margin-left: 1em;">Architects, English, <a href='#Page_8'><b>8</b></a>.</span><br />
+<span style="margin-left: 1em;">Architecture, Dutch, <a href='#Page_2'><b>2</b></a>.</span><br />
+<span style="margin-left: 2em;">Gothic, <a href='#Page_4'><b>4</b></a>.</span><br />
+<span style="margin-left: 1em;">Architrave, decoration of, <a href='#Page_18'><b>18</b></a>.</span><br />
+<span style="margin-left: 1em;">Argand, Mons., <a href='#Page_168'><b>168</b></a>.</span><br />
+<span style="margin-left: 1em;">Assembly house, <a href='#Page_18'><b>18</b></a>, <a href='#Page_24'><b>24</b></a>.</span><br />
+<span style="margin-left: 1em;">Atkinson collection, <a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 1em;">Ausberg, Germany, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 1em;">Austria, <a href='#Page_197'><b>197</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Bagnall, Benjamin, <a href='#Page_147'><b>147</b></a>.</span><br />
+<span style="margin-left: 2em;">Samuel, <a href='#Page_148'><b>148</b></a>.</span><br />
+<span style="margin-left: 1em;">Barcelona, Spain, <a href='#Page_213'><b>213</b></a>.</span><br />
+<span style="margin-left: 1em;">Barnard, Dr. Thomas, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 1em;">Bartol, Dr. Cyrus, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 1em;">Bavaria, <a href='#Page_196'><b>196</b></a>.</span><br />
+<span style="margin-left: 1em;">Bay of Biscay, <a href='#Page_135'><b>135</b></a>.</span><br />
+<span style="margin-left: 1em;">Bedrooms, <a href='#Page_122'><b>122</b></a>, <a href='#Page_125'><b>125</b></a>.</span><br />
+<span style="margin-left: 1em;">Beds, accessories of, <a href='#Page_124'><b>124</b></a>.</span><br />
+<span style="margin-left: 2em;">Adam, <a href='#Page_128'><b>128</b></a>.</span><br />
+<span style="margin-left: 2em;">antique, <a href='#Page_120'><b>120</b></a>.</span><br />
+<span style="margin-left: 2em;">bunk, <a href='#Page_126'><b>126</b></a>, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 2em;">carved, <a href='#Page_27'><b>27</b></a>.</span><br />
+<span style="margin-left: 2em;">Chippendale, <a href='#Page_127'><b>127</b></a>, <a href='#Page_128'><b>128</b></a>.</span><br />
+<span style="margin-left: 2em;">cupboard, <a href='#Page_122'><b>122</b></a>, <a href='#Page_126'><b>126</b></a>.</span><br />
+<span style="margin-left: 2em;">Egyptian, <a href='#Page_121'><b>121</b></a>.</span><br />
+<span style="margin-left: 2em;">Field, <a href='#Page_131'><b>131</b></a>.</span><br />
+<span style="margin-left: 2em;">Flemish, <a href='#Page_121'><b>121</b></a>.</span><br />
+<span style="margin-left: 2em;">folding, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 2em;">four-poster, <a href='#Page_123'><b>123</b></a>-<a href='#Page_131'><b>131</b></a>.</span><br />
+<span style="margin-left: 2em;">"Great Bed of Ware," <a href='#Page_122'><b>122</b></a>, <a href='#Page_123'><b>123</b></a>.</span><br />
+<span style="margin-left: 2em;">Greek, <a href='#Page_121'><b>121</b></a>.</span><br />
+<span style="margin-left: 2em;">hangings, <a href='#Page_124'><b>124</b></a>.</span><br />
+<span style="margin-left: 2em;">Hepplewhite, <a href='#Page_128'><b>128</b></a>, <a href='#Page_130'><b>130</b></a>.</span><br />
+<span style="margin-left: 2em;">inlaid, <a href='#Page_128'><b>128</b></a>.</span><br />
+<span style="margin-left: 2em;">mahogany, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 2em;">oak, <a href='#Page_122'><b>122</b></a>.</span><br />
+<span style="margin-left: 2em;">paneled, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 2em;">"Presse," <a href='#Page_126'><b>126</b></a>, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 2em;">primeval, <a href='#Page_121'><b>121</b></a>.</span><br />
+<span style="margin-left: 2em;">Queen Anne, <a href='#Page_126'><b>126</b></a>.</span><br />
+<span style="margin-left: 2em;">Roman, <a href='#Page_121'><b>121</b></a>.</span><br />
+<span style="margin-left: 2em;">Sheraton, <a href='#Page_128'><b>128</b></a>.</span><br />
+<span style="margin-left: 2em;">"slaw-back," <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 2em;">"Wild Bill" or one-poster, <a href='#Page_126'><b>126</b></a>.</span><br />
+<span style="margin-left: 1em;">Benson house, <a href='#Page_109'><b>109</b></a>.</span><br />
+<span style="margin-left: 1em;">Bigelow collection, <a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 1em;">Billingsley, William, <a href='#Page_187'><b>187</b></a>.</span><br />
+<span style="margin-left: 2em;">roses, <a href='#Page_187'><b>187</b></a>.</span><br />
+<span style="margin-left: 1em;">Bishop, Bridget, <a href='#Page_26'><b>26</b></a>.</span><br />
+<span style="margin-left: 1em;">Black Point, Maine, <a href='#Page_43'><b>43</b></a>.</span><br />
+<span style="margin-left: 1em;">Blankets, home-made, <a href='#Page_124'><b>124</b></a>.</span><br />
+<span style="margin-left: 1em;">Bloor, Robert, <a href='#Page_188'><b>188</b></a>.</span><br />
+<span style="margin-left: 1em;">Bohemia, <a href='#Page_196'><b>196</b></a>, <a href='#Page_197'><b>197</b></a>.</span><br />
+<span style="margin-left: 1em;">Boston, Mass., <a href='#Page_5'><b>5</b></a>, <a href='#Page_43'><b>43</b></a>, <a href='#Page_71'><b>71</b></a>, <a href='#Page_74'><b>74</b></a>, <a href='#Page_147'><b>147</b></a>, <a href='#Page_148'><b>148</b></a>, <a href='#Page_149'><b>149</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 1em;">Bottles, <a href='#Page_203'><b>203</b></a>, <a href='#Page_205'><b>205</b></a>-<a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 2em;">arched, <a href='#Page_206'><b>206</b></a>.</span><br />
+<span style="margin-left: 2em;">bases of, <a href='#Page_205'><b>205</b></a>.</span><br />
+<span style="margin-left: 2em;">calabash, <a href='#Page_206'><b>206</b></a>.</span><br />
+<span style="margin-left: 2em;">canteen, <a href='#Page_207'><b>207</b></a>.</span><br />
+<span style="margin-left: 2em;">circular, <a href='#Page_206'><b>206</b></a>.</span><br />
+<span style="margin-left: 2em;">curio, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 2em;">decorated, <a href='#Page_207'><b>207</b></a>-<a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 2em;">designs on, <a href='#Page_206'><b>206</b></a>.</span><br />
+<span style="margin-left: 2em;">flask, <a href='#Page_207'><b>207</b></a>.</span><br />
+<span style="margin-left: 2em;">Jackson, <a href='#Page_208'><b>208</b></a>.</span><br />
+<span style="margin-left: 2em;">Jenny Lind, <a href='#Page_207'><b>207</b></a>.</span><br />
+<span style="margin-left: 2em;">Kossuth, <a href='#Page_207'><b>207</b></a>.</span><br />
+<span style="margin-left: 2em;">liquor, <a href='#Page_208'><b>208</b></a>.</span><br />
+<span style="margin-left: 2em;">Moses, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 2em;">oldest American, <a href='#Page_207'><b>207</b></a>.</span><br />
+<span style="margin-left: 2em;">oval, <a href='#Page_206'><b>206</b></a>.</span><br />
+<span style="margin-left: 2em;">rim of, <a href='#Page_206'><b>206</b></a>.</span><br />
+<span style="margin-left: 2em;">Santa Claus, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 2em;">signs of age in, <a href='#Page_205'><b>205</b></a>.</span><br />
+<span style="margin-left: 2em;">spherical, <a href='#Page_206'><b>206</b></a>.</span><br />
+<span style="margin-left: 2em;">Taylor and Bragg, <a href='#Page_207'><b>207</b></a>.</span><br />
+<span style="margin-left: 2em;">Venetian, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 1em;">Bow, England, <a href='#Page_183'><b>183</b></a>, <a href='#Page_186'><b>186</b></a>.</span><br />
+<span style="margin-left: 1em;">Bradford, Governor, quoted, <a href='#Page_42'><b>42</b></a>.</span><br />
+<span style="margin-left: 1em;">Bricks, Dutch, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 2em;">gray-faced, <a href='#Page_13'><b>13</b></a>, <a href='#Page_14'><b>14</b></a>.</span><br />
+<span style="margin-left: 1em;">Briot, Francis, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 1em;">Bristol, R.&nbsp;I., <a href='#Page_12'><b>12</b></a>, <a href='#Page_60'><b>60</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_131'><b>131</b></a>.</span><br />
+<span style="margin-left: 1em;">Brown Inn, <a href='#Page_173'><b>173</b></a>.</span><br />
+<span style="margin-left: 1em;">Bumstead, <a href='#Page_6'><b>6</b></a>, <a href='#Page_80'><b>80</b></a>.</span><br />
+<span style="margin-left: 1em;">Byfield, Mass., <a href='#Page_95'><b>95</b></a>, <a href='#Page_126'><b>126</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_173'><b>173</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Cabins, log, <a href='#Page_2'><b>2</b></a>.</span><br />
+<span style="margin-left: 1em;">Cabot, Mr., <a href='#Page_141'><b>141</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_7'><b>7</b></a>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_53'><b>53</b></a>.</span><br />
+<span style="margin-left: 2em;">Joseph, <a href='#Page_7'><b>7</b></a>, <a href='#Page_22'><b>22</b></a>.</span><br />
+<span style="margin-left: 1em;">Caliga collection, <a href='#Page_220'><b>220</b></a>.</span><br />
+<span style="margin-left: 1em;">Cambridge, Mass., <a href='#Page_37'><b>37</b></a>.</span><br />
+<span style="margin-left: 1em;">Candelabra, <a href='#Page_167'><b>167</b></a>, <a href='#Page_169'><b>169</b></a>, <a href='#Page_170'><b>170</b></a>.</span><br />
+<span style="margin-left: 1em;">Candle, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 2em;">bowl, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 2em;">cup, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 2em;">spoon, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 1em;">Candles, <a href='#Page_159'><b>159</b></a>, <a href='#Page_160'><b>160</b></a>-<a href='#Page_165'><b>165</b></a>.</span><br />
+<span style="margin-left: 2em;">bayberry, <a href='#Page_164'><b>164</b></a>.</span><br />
+<span style="margin-left: 2em;">dip, <a href='#Page_165'><b>165</b></a>.</span><br />
+<span style="margin-left: 2em;">makers, <a href='#Page_166'><b>166</b></a>.</span><br />
+<span style="margin-left: 2em;">making, <a href='#Page_163'><b>163</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_165'><b>165</b></a>.</span><br />
+<span style="margin-left: 2em;">molds, <a href='#Page_165'><b>165</b></a>.</span><br />
+<span style="margin-left: 2em;">sperm, <a href='#Page_163'><b>163</b></a>.</span><br />
+<span style="margin-left: 2em;">suet, <a href='#Page_161'><b>161</b></a>.</span><br />
+<span style="margin-left: 2em;">tallow, <a href='#Page_161'><b>161</b></a>, <a href='#Page_165'><b>165</b></a>.</span><br />
+<span style="margin-left: 2em;">wickless, <a href='#Page_161'><b>161</b></a>.</span><br />
+<span style="margin-left: 1em;">Candlesticks, <a href='#Page_159'><b>159</b></a>, <a href='#Page_167'><b>167</b></a>.</span><br />
+<span style="margin-left: 2em;">brass, <a href='#Page_167'><b>167</b></a>.</span><br />
+<span style="margin-left: 2em;">iron, <a href='#Page_167'><b>167</b></a>.</span><br />
+<span style="margin-left: 2em;">pewter, <a href='#Page_167'><b>167</b></a>.</span><br />
+<span style="margin-left: 2em;">silver, <a href='#Page_167'><b>167</b></a>.</span><br />
+<span style="margin-left: 2em;">tin, <a href='#Page_167'><b>167</b></a>.</span><br />
+<span style="margin-left: 1em;">Cape Cod, <a href='#Page_42'><b>42</b></a>.</span><br />
+<span style="margin-left: 1em;">Capen house, <a href='#Page_55'><b>55</b></a>.</span><br />
+<span style="margin-left: 1em;">Carving, art of, <a href='#Page_18'><b>18</b></a>.</span><br />
+<span style="margin-left: 1em;">Ceilings, low, <a href='#Page_3'><b>3</b></a>.</span><br />
+<span style="margin-left: 2em;">raftered, <a href='#Page_66'><b>66</b></a>.</span><br />
+<span style="margin-left: 1em;">Cellar, large, <a href='#Page_10'><b>10</b></a>.</span><br />
+<span style="margin-left: 1em;">Chairs, arm, <a href='#Page_94'><b>94</b></a>, <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 2em;">banister-back, <a href='#Page_94'><b>94</b></a>.</span><br />
+<span style="margin-left: 2em;">brass mounted, <a href='#Page_101'><b>101</b></a>.</span><br />
+<span style="margin-left: 2em;">carved, <a href='#Page_95'><b>95</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>.</span><br />
+<span style="margin-left: 2em;">Chinese type, <a href='#Page_98'><b>98</b></a>, <a href='#Page_99'><b>99</b></a>.</span><br />
+<span style="margin-left: 2em;">Chippendale, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 2em;">comb back, <a href='#Page_97'><b>97</b></a>.</span><br />
+<span style="margin-left: 2em;">Dutch, <a href='#Page_95'><b>95</b></a>, <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 2em;">early colonial, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 2em;">Empire type, <a href='#Page_101'><b>101</b></a>, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 2em;">fan back, <a href='#Page_97'><b>97</b></a>.</span><br />
+<span style="margin-left: 2em;">forms, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 2em;">French types, <a href='#Page_98'><b>98</b></a>, <a href='#Page_100'><b>100</b></a>.</span><br />
+<span style="margin-left: 2em;">heart-back, <a href='#Page_100'><b>100</b></a>.</span><br />
+<span style="margin-left: 2em;">Hepplewhite, <a href='#Page_97'><b>97</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>.</span><br />
+<span style="margin-left: 2em;">inlaid, <a href='#Page_100'><b>100</b></a>.</span><br />
+<span style="margin-left: 2em;">japanned, <a href='#Page_100'><b>100</b></a>.</span><br />
+<span style="margin-left: 2em;">Louis the Fifteenth type, <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 2em;">Martha Washington, <a href='#Page_101'><b>101</b></a></span><br />
+<span style="margin-left: 2em;">painted, <a href='#Page_95'><b>95</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 2em;">ribbon-back, <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 2em;">rocking, <a href='#Page_94'><b>94</b></a>.</span><br />
+<span style="margin-left: 2em;">rush seated, <a href='#Page_95'><b>95</b></a>.</span><br />
+<span style="margin-left: 2em;">settles, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 2em;">Sheraton, <a href='#Page_97'><b>97</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_101'><b>101</b></a>.</span><br />
+<span style="margin-left: 2em;">shield-back, <a href='#Page_100'><b>100</b></a>.</span><br />
+<span style="margin-left: 2em;">slat-back, <a href='#Page_94'><b>94</b></a>.</span><br />
+<span style="margin-left: 2em;">stuffed easy, <a href='#Page_96'><b>96</b></a>.</span><br />
+<span style="margin-left: 2em;">turned, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 2em;">Windsor, <a href='#Page_96'><b>96</b></a>, <a href='#Page_97'><b>97</b></a>.</span><br />
+<span style="margin-left: 1em;">Chandeliers, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 1em;">Chelsea, England, <a href='#Page_183'><b>183</b></a>, <a href='#Page_186'><b>186</b></a>.</span><br />
+<span style="margin-left: 1em;">Chests, <a href='#Page_105'><b>105</b></a>-<a href='#Page_110'><b>110</b></a>.</span><br />
+<span style="margin-left: 2em;">drop handle, <a href='#Page_109'><b>109</b></a>.</span><br />
+<span style="margin-left: 2em;">hand-carved, <a href='#Page_107'><b>107</b></a>.</span><br />
+<span style="margin-left: 2em;">highboys, <a href='#Page_109'><b>109</b></a>, <a href='#Page_110'><b>110</b></a>.</span><br />
+<span style="margin-left: 2em;">imported, <a href='#Page_106'><b>106</b></a>, <a href='#Page_107'><b>107</b></a>.</span><br />
+<span style="margin-left: 2em;">legs of, <a href='#Page_108'><b>108</b></a>.</span><br />
+<span style="margin-left: 2em;">linen, <a href='#Page_108'><b>108</b></a>.</span><br />
+<span style="margin-left: 2em;">lowboys, <a href='#Page_109'><b>109</b></a>, <a href='#Page_110'><b>110</b></a>.</span><br />
+<span style="margin-left: 2em;">"magic," <a href='#Page_107'><b>107</b></a>.</span><br />
+<span style="margin-left: 2em;">mahogany, <a href='#Page_106'><b>106</b></a>.</span><br />
+<span style="margin-left: 2em;">on frames, <a href='#Page_108'><b>108</b></a>.</span><br />
+<span style="margin-left: 2em;">"owld pine," <a href='#Page_106'><b>106</b></a>, <a href='#Page_107'><b>107</b></a>.</span><br />
+<span style="margin-left: 2em;">size of, <a href='#Page_106'><b>106</b></a>.</span><br />
+<span style="margin-left: 2em;">use of, <a href='#Page_106'><b>106</b></a>.</span><br />
+<span style="margin-left: 2em;">with drawers, <a href='#Page_107'><b>107</b></a>.</span><br />
+<span style="margin-left: 1em;">Chimney pots, <a href='#Page_19'><b>19</b></a>.</span><br />
+<span style="margin-left: 1em;">Chimneys, catted, <a href='#Page_2'><b>2</b></a>.</span><br />
+<span style="margin-left: 2em;">central, <a href='#Page_7'><b>7</b></a>.</span><br />
+<span style="margin-left: 1em;">China, Empire of, <a href='#Page_80'><b>80</b></a>, <a href='#Page_181'><b>181</b></a>, <a href='#Page_184'><b>184</b></a>, <a href='#Page_185'><b>185</b></a>, <a href='#Page_211'><b>211</b></a>, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 1em;">China, <a href='#Page_172'><b>172</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br />
+<span style="margin-left: 2em;">caddies, <a href='#Page_229'><b>229</b></a>.</span><br />
+<span style="margin-left: 2em;">cream ware, <a href='#Page_191'><b>191</b></a>.</span><br />
+<span style="margin-left: 2em;">Crown Derby, <a href='#Page_182'><b>182</b></a>, <a href='#Page_186'><b>186</b></a>-<a href='#Page_188'><b>188</b></a>.</span><br />
+<span style="margin-left: 2em;">Delft, <a href='#Page_177'><b>177</b></a>-<a href='#Page_180'><b>180</b></a>, <a href='#Page_185'><b>185</b></a>.</span><br />
+<span style="margin-left: 2em;">jasper, <a href='#Page_191'><b>191</b></a>.</span><br />
+<span style="margin-left: 2em;">Lowestoft, <a href='#Page_175'><b>175</b></a>, <a href='#Page_181'><b>181</b></a>-<a href='#Page_185'><b>185</b></a>.</span><br />
+<span style="margin-left: 2em;">luster, <a href='#Page_191'><b>191</b></a>.</span><br />
+<span style="margin-left: 2em;">salt glaze, <a href='#Page_173'><b>173</b></a>, <a href='#Page_174'><b>174</b></a>.</span><br />
+<span style="margin-left: 2em;">Staffordshire, <a href='#Page_173'><b>173</b></a>-<a href='#Page_176'><b>176</b></a>.</span><br />
+<span style="margin-left: 2em;">toby jugs, <a href='#Page_175'><b>175</b></a>-<a href='#Page_177'><b>177</b></a>.</span><br />
+<span style="margin-left: 2em;">Wedgwood, <a href='#Page_189'><b>189</b></a>-<a href='#Page_191'><b>191</b></a>.</span><br />
+<span style="margin-left: 1em;">Chippendale (designer), <a href='#Page_92'><b>92</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_98'><b>98</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_127'><b>127</b></a>, <a href='#Page_128'><b>128</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_140'><b>140</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_236'><b>236</b></a>.</span><br />
+<span style="margin-left: 1em;">Choate, Joseph, <a href='#Page_22'><b>22</b></a>.</span><br />
+<span style="margin-left: 1em;">"Christmas Carol," <a href='#Page_22'><b>22</b></a>.</span><br />
+<span style="margin-left: 1em;">Claudius, Emperor, <a href='#Page_145'><b>145</b></a>.</span><br />
+<span style="margin-left: 1em;">Clocks, American, <a href='#Page_146'><b>146</b></a>, <a href='#Page_148'><b>148</b></a>, <a href='#Page_150'><b>150</b></a>, <a href='#Page_151'><b>151</b></a>, <a href='#Page_153'><b>153</b></a>-<a href='#Page_157'><b>157</b></a>.</span><br />
+<span style="margin-left: 2em;">Bagnall, <a href='#Page_147'><b>147</b></a>.</span><br />
+<span style="margin-left: 2em;">banjo, <a href='#Page_149'><b>149</b></a>.</span><br />
+<span style="margin-left: 2em;">"birdcage," <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 2em;">cases, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 2em;">Chippendale, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 2em;">construction of, <a href='#Page_149'><b>149</b></a>, <a href='#Page_150'><b>150</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_155'><b>155</b></a>, <a href='#Page_156'><b>156</b></a>.</span><br />
+<span style="margin-left: 2em;">Doolittle, <a href='#Page_148'><b>148</b></a>.</span><br />
+<span style="margin-left: 2em;">first, <a href='#Page_145'><b>145</b></a>.</span><br />
+<span style="margin-left: 2em;">grandfather's, <a href='#Page_151'><b>151</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 2em;">hangings, <a href='#Page_150'><b>150</b></a>.</span><br />
+<span style="margin-left: 2em;">"lantern," <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 2em;">Makers' union, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 2em;">making in Salem, <a href='#Page_150'><b>150</b></a>.</span><br />
+<span style="margin-left: 2em;">musical, <a href='#Page_148'><b>148</b></a>.</span><br />
+<span style="margin-left: 2em;">of Europe, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 2em;">one-day, <a href='#Page_157'><b>157</b></a>.</span><br />
+<span style="margin-left: 2em;">patent shelf, <a href='#Page_153'><b>153</b></a>, <a href='#Page_154'><b>154</b></a>.</span><br />
+<span style="margin-left: 2em;">pillar scroll top case, <a href='#Page_155'><b>155</b></a>.</span><br />
+<span style="margin-left: 2em;">Sheraton, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 2em;">striking, <a href='#Page_148'><b>148</b></a>.</span><br />
+<span style="margin-left: 2em;">table, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 2em;">Terry, <a href='#Page_150'><b>150</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 2em;">"wag-at-the-wall," <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 2em;">wall and bracket, <a href='#Page_151'><b>151</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 2em;">water, <a href='#Page_145'><b>145</b></a>.</span><br />
+<span style="margin-left: 2em;">weaver's, <a href='#Page_152'><b>152</b></a>.</span><br />
+<span style="margin-left: 2em;">wick, <a href='#Page_145'><b>145</b></a>.</span><br />
+<span style="margin-left: 2em;">Willard, <a href='#Page_148'><b>148</b></a>, <a href='#Page_149'><b>149</b></a>.</span><br />
+<span style="margin-left: 1em;">Coal, discovery of, <a href='#Page_75'><b>75</b></a>.</span><br />
+<span style="margin-left: 2em;">first use of, <a href='#Page_74'><b>74</b></a>.</span><br />
+<span style="margin-left: 1em;">Cogswell house, <a href='#Page_125'><b>125</b></a>.</span><br />
+<span style="margin-left: 1em;">Collections, Atkinson, <a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 2em;">Bigelow, <a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 2em;">Caliga, <a href='#Page_220'><b>220</b></a>.</span><br />
+<span style="margin-left: 2em;">Hosmer, <a href='#Page_147'><b>147</b></a>.</span><br />
+<span style="margin-left: 2em;">Mansfield, Nathaniel B., <a href='#Page_109'><b>109</b></a>.</span><br />
+<span style="margin-left: 2em;">Metropolitan Museum, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 2em;">Middleton, <a href='#Page_11'><b>11</b></a>, <a href='#Page_131'><b>131</b></a>.</span><br />
+<span style="margin-left: 2em;">Mitchell, <a href='#Page_199'><b>199</b></a>-<a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 2em;">Page, <a href='#Page_175'><b>175</b></a>, <a href='#Page_180'><b>180</b></a>.</span><br />
+<span style="margin-left: 2em;">Rogers, <a href='#Page_191'><b>191</b></a>.</span><br />
+<span style="margin-left: 2em;">Waters, <a href='#Page_93'><b>93</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 2em;">West, <a href='#Page_189'><b>189</b></a>, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 1em;">Colonial products, superiority of, <a href='#Page_236'><b>236</b></a>, <a href='#Page_237'><b>237</b></a>.</span><br />
+<span style="margin-left: 1em;">Columns, Corinthian, <a href='#Page_12'><b>12</b></a>.</span><br />
+<span style="margin-left: 2em;">Grecian, <a href='#Page_17'><b>17</b></a>.</span><br />
+<span style="margin-left: 2em;">plain, <a href='#Page_21'><b>21</b></a>, <a href='#Page_122'><b>122</b></a>.</span><br />
+<span style="margin-left: 1em;">Common, Salem, <a href='#Page_21'><b>21</b></a>, <a href='#Page_25'><b>25</b></a>.</span><br />
+<span style="margin-left: 1em;">Cook, Captain Samuel, <a href='#Page_77'><b>77</b></a>.</span><br />
+<span style="margin-left: 2em;">Dr. Elisha, <a href='#Page_15'><b>15</b></a>.</span><br />
+<span style="margin-left: 1em;">Cony, John, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 1em;">Counterpane, homespun, <a href='#Page_125'><b>125</b></a>.</span><br />
+<span style="margin-left: 1em;">Craigie house, <a href='#Page_37'><b>37</b></a>.</span><br />
+<span style="margin-left: 1em;">Crowell, Rev. Robert, <a href='#Page_125'><b>125</b></a>.</span><br />
+<span style="margin-left: 1em;">Crown Derby, <a href='#Page_182'><b>182</b></a>.</span><br />
+<span style="margin-left: 2em;">"Bloor-Derby," <a href='#Page_188'><b>188</b></a>.</span><br />
+<span style="margin-left: 2em;">decline of, <a href='#Page_188'><b>188</b></a>.</span><br />
+<span style="margin-left: 2em;">early output of, <a href='#Page_186'><b>186</b></a>.</span><br />
+<span style="margin-left: 2em;">epoch par excellence, <a href='#Page_187'><b>187</b></a>.</span><br />
+<span style="margin-left: 2em;">factory, <a href='#Page_186'><b>186</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br />
+<span style="margin-left: 1em;">Crowninshield house, <a href='#Page_38'><b>38</b></a>, <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 1em;">Cupboards, colonial, <a href='#Page_1'><b>1</b></a>, <a href='#Page_72'><b>72</b></a>.</span><br />
+<span style="margin-left: 2em;">shell-top, <a href='#Page_173'><b>173</b></a>.</span><br />
+<span style="margin-left: 1em;">Cupola, <a href='#Page_9'><b>9</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Danvers, Mass., <a href='#Page_5'><b>5</b></a>, <a href='#Page_10'><b>10</b></a>, <a href='#Page_19'><b>19</b></a>, <a href='#Page_44'><b>44</b></a>, <a href='#Page_46'><b>46</b></a>, <a href='#Page_49'><b>49</b></a>, <a href='#Page_60'><b>60</b></a>.</span><br />
+<span style="margin-left: 1em;">Delft, Holland, <a href='#Page_178'><b>178</b></a>, <a href='#Page_179'><b>179</b></a>.</span><br />
+<span style="margin-left: 1em;">Delft ware, best examples of, <a href='#Page_179'><b>179</b></a>.</span><br />
+<span style="margin-left: 2em;">decline of Dutch, <a href='#Page_179'><b>179</b></a>, <a href='#Page_180'><b>180</b></a>.</span><br />
+<span style="margin-left: 2em;">Dutch, <a href='#Page_177'><b>177</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_179'><b>179</b></a>, <a href='#Page_180'><b>180</b></a>.</span><br />
+<span style="margin-left: 2em;">English, <a href='#Page_178'><b>178</b></a>, <a href='#Page_180'><b>180</b></a>.</span><br />
+<span style="margin-left: 2em;">first potteries, <a href='#Page_179'><b>179</b></a>.</span><br />
+<span style="margin-left: 2em;">old, <a href='#Page_177'><b>177</b></a>.</span><br />
+<span style="margin-left: 2em;">origin of, <a href='#Page_178'><b>178</b></a>.</span><br />
+<span style="margin-left: 2em;">plates, <a href='#Page_180'><b>180</b></a>.</span><br />
+<span style="margin-left: 2em;">tiles, <a href='#Page_180'><b>180</b></a>.</span><br />
+<span style="margin-left: 1em;">Derby, Elias Hasket, farm, <a href='#Page_47'><b>47</b></a>, <a href='#Page_49'><b>49</b></a>, <a href='#Page_50'><b>50</b></a>.</span><br />
+<span style="margin-left: 2em;">Elias Hersey, <a href='#Page_50'><b>50</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_77'><b>77</b></a>, <a href='#Page_78'><b>78</b></a>.</span><br />
+<span style="margin-left: 1em;">Desks, bookcase, <a href='#Page_112'><b>112</b></a>.</span><br />
+<span style="margin-left: 2em;">bureau, <a href='#Page_111'><b>111</b></a>.</span><br />
+<span style="margin-left: 2em;">Chippendale secretary, <a href='#Page_112'><b>112</b></a>.</span><br />
+<span style="margin-left: 2em;">French Empire, <a href='#Page_113'><b>113</b></a>.</span><br />
+<span style="margin-left: 2em;">Hepplewhite secretary, <a href='#Page_112'><b>112</b></a>.</span><br />
+<span style="margin-left: 2em;">"scrutoir," <a href='#Page_110'><b>110</b></a>, <a href='#Page_111'><b>111</b></a>.</span><br />
+<span style="margin-left: 2em;">Sheraton secretary, <a href='#Page_112'><b>112</b></a>.</span><br />
+<span style="margin-left: 1em;">Devereux, Humphrey, house, <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 1em;">Dexter, "Lord" Timothy, house, <a href='#Page_99'><b>99</b></a>.</span><br />
+<span style="margin-left: 1em;">Dickens, Charles, quoted, <a href='#Page_39'><b>39</b></a>.</span><br />
+<span style="margin-left: 1em;">Doolittle, Enos, <a href='#Page_148'><b>148</b></a>.</span><br />
+<span style="margin-left: 1em;">Doorways, narrow, <a href='#Page_22'><b>22</b></a>, <a href='#Page_25'><b>25</b></a>.</span><br />
+<span style="margin-left: 2em;">pineapple, <a href='#Page_27'><b>27</b></a>.</span><br />
+<span style="margin-left: 1em;">Downing, Emanuel, <a href='#Page_4'><b>4</b></a>.</span><br />
+<span style="margin-left: 2em;">George, <a href='#Page_4'><b>4</b></a>.</span><br />
+<span style="margin-left: 1em;">"Dr. Grimshawe's Secret," <a href='#Page_24'><b>24</b></a>.</span><br />
+<span style="margin-left: 1em;">Dressing tables, <a href='#Page_109'><b>109</b></a>.</span><br />
+<span style="margin-left: 1em;">Duesbury, William and son, <a href='#Page_186'><b>186</b></a>, <a href='#Page_187'><b>187</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br />
+<span style="margin-left: 1em;">Duke of Baden, <a href='#Page_220'><b>220</b></a>.</span><br />
+<span style="margin-left: 1em;">Duke of Devonshire's house, <a href='#Page_39'><b>39</b></a>.</span><br />
+<span style="margin-left: 1em;">Dummer, Governor William, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_173'><b>173</b></a>.</span><br />
+<span style="margin-left: 2em;">Jeremiah, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 1em;">Dunbarton, N.&nbsp;H., <a href='#Page_8'><b>8</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 1em;">Dunn, Cary, <a href='#Page_226'><b>226</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br />
+<span style="margin-left: 1em;">Dutch architecture, <a href='#Page_2'><b>2</b></a>.</span><br />
+<span style="margin-left: 2em;">East India Company, <a href='#Page_185'><b>185</b></a>.</span><br />
+<span style="margin-left: 2em;">ware, <a href='#Page_177'><b>177</b></a>, <a href='#Page_178'><b>178</b></a>, <a href='#Page_179'><b>179</b></a>, <a href='#Page_180'><b>180</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">East Windsor, Conn., <a href='#Page_150'><b>150</b></a>.</span><br />
+<span style="margin-left: 1em;">Edinburgh, Scotland, <a href='#Page_212'><b>212</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br />
+<span style="margin-left: 1em;">Elector of Brandenburg, <a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 1em;">Elizabethan period, <a href='#Page_4'><b>4</b></a>.</span><br />
+<span style="margin-left: 1em;">Embargo, the, <a href='#Page_11'><b>11</b></a>.</span><br />
+<span style="margin-left: 1em;">Enderlein, Gasper, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 1em;">Endicott, Governor John, <a href='#Page_2'><b>2</b></a>, <a href='#Page_4'><b>4</b></a>, <a href='#Page_44'><b>44</b></a>, <a href='#Page_105'><b>105</b></a>.</span><br />
+<span style="margin-left: 2em;">farm, <a href='#Page_44'><b>44</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_10'><b>10</b></a>.</span><br />
+<span style="margin-left: 1em;">England, <a href='#Page_2'><b>2</b></a>, <a href='#Page_3'><b>3</b></a>, <a href='#Page_8'><b>8</b></a>, <a href='#Page_9'><b>9</b></a>, <a href='#Page_35'><b>35</b></a>, <a href='#Page_39'><b>39</b></a>, <a href='#Page_41'><b>41</b></a>, <a href='#Page_43'><b>43</b></a>, <a href='#Page_64'><b>64</b></a>, <a href='#Page_80'><b>80</b></a>, <a href='#Page_82'><b>82</b></a>, <a href='#Page_86'><b>86</b></a>, <a href='#Page_128'><b>128</b></a>, <a href='#Page_134'><b>134</b></a>, <a href='#Page_135'><b>135</b></a>, <a href='#Page_136'><b>136</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_147'><b>147</b></a>, <a href='#Page_152'><b>152</b></a>, <a href='#Page_157'><b>157</b></a>, <a href='#Page_161'><b>161</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_174'><b>174</b></a>, <a href='#Page_183'><b>183</b></a>, <a href='#Page_185'><b>185</b></a>, <a href='#Page_201'><b>201</b></a>, <a href='#Page_202'><b>202</b></a>, <a href='#Page_203'><b>203</b></a>, <a href='#Page_211'><b>211</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_221'><b>221</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_226'><b>226</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br />
+<span style="margin-left: 1em;">Etruria factory, <a href='#Page_190'><b>190</b></a>.</span><br />
+<span style="margin-left: 1em;">Exeter, England, <a href='#Page_146'><b>146</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Fabens, Mr., <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 1em;">Faulkner, Dr. G., <a href='#Page_149'><b>149</b></a>.</span><br />
+<span style="margin-left: 1em;">"Feast of Roses," <a href='#Page_205'><b>205</b></a>.</span><br />
+<span style="margin-left: 1em;">Fell, Judge Jesse, <a href='#Page_75'><b>75</b></a>.</span><br />
+<span style="margin-left: 1em;">Felt, Captain Jonathan P., <a href='#Page_49'><b>49</b></a>.</span><br />
+<span style="margin-left: 1em;">Felt's Annals, quoted, <a href='#Page_150'><b>150</b></a>.</span><br />
+<span style="margin-left: 1em;">Fenders, <a href='#Page_75'><b>75</b></a>, <a href='#Page_76'><b>76</b></a>, <a href='#Page_77'><b>77</b></a>.</span><br />
+<span style="margin-left: 1em;">Fireback, <a href='#Page_71'><b>71</b></a>-<a href='#Page_72'><b>72</b></a>.</span><br />
+<span style="margin-left: 1em;">Firedogs, <a href='#Page_66'><b>66</b></a>.</span><br />
+<span style="margin-left: 1em;">Fire frames, <a href='#Page_73'><b>73</b></a>-<a href='#Page_74'><b>74</b></a>.</span><br />
+<span style="margin-left: 1em;">Fireplace, accessories, <a href='#Page_65'><b>65</b></a>, <a href='#Page_66'><b>66</b></a>, <a href='#Page_67'><b>67</b></a>.</span><br />
+<span style="margin-left: 2em;">brass, <a href='#Page_77'><b>77</b></a>.</span><br />
+<span style="margin-left: 2em;">colonial, <a href='#Page_64'><b>64</b></a>, <a href='#Page_65'><b>65</b></a>.</span><br />
+<span style="margin-left: 2em;">construction of, <a href='#Page_65'><b>65</b></a>.</span><br />
+<span style="margin-left: 2em;">Elizabethan, <a href='#Page_64'><b>64</b></a>.</span><br />
+<span style="margin-left: 2em;">Gove, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 2em;">inglenook, <a href='#Page_64'><b>64</b></a>.</span><br />
+<span style="margin-left: 2em;">Louis Sixteenth, <a href='#Page_64'><b>64</b></a>.</span><br />
+<span style="margin-left: 2em;">modern, <a href='#Page_63'><b>63</b></a>, <a href='#Page_64'><b>64</b></a>.</span><br />
+<span style="margin-left: 2em;">of Middle Ages, <a href='#Page_63'><b>63</b></a>.</span><br />
+<span style="margin-left: 2em;">of Renaissance, <a href='#Page_63'><b>63</b></a>, <a href='#Page_64'><b>64</b></a>.</span><br />
+<span style="margin-left: 2em;">Queen Anne, <a href='#Page_64'><b>64</b></a>.</span><br />
+<span style="margin-left: 2em;">Robinson, <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 2em;">soapstone, <a href='#Page_78'><b>78</b></a>.</span><br />
+<span style="margin-left: 2em;">tiled, <a href='#Page_76'><b>76</b></a>.</span><br />
+<span style="margin-left: 1em;">Fire sets, <a href='#Page_66'><b>66</b></a>, <a href='#Page_67'><b>67</b></a>.</span><br />
+<span style="margin-left: 1em;">Flint and steel, <a href='#Page_170'><b>170</b></a>.</span><br />
+<span style="margin-left: 1em;">Floor, sanded, <a href='#Page_66'><b>66</b></a>.</span><br />
+<span style="margin-left: 1em;">Forrester house, <a href='#Page_21'><b>21</b></a>.</span><br />
+<span style="margin-left: 1em;">France, <a href='#Page_80'><b>80</b></a>, <a href='#Page_86'><b>86</b></a>, <a href='#Page_135'><b>135</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 1em;">Franklin, Benjamin, <a href='#Page_94'><b>94</b></a>.</span><br />
+<span style="margin-left: 2em;">stores, <a href='#Page_73'><b>73</b></a>, <a href='#Page_74'><b>74</b></a>, <a href='#Page_75'><b>75</b></a>, <a href='#Page_76'><b>76</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Gardens, <a href='#Page_11'><b>11</b></a>, <a href='#Page_13'><b>13</b></a>, <a href='#Page_41'><b>41</b></a>.</span><br />
+<span style="margin-left: 2em;">Allen, <a href='#Page_51'><b>51</b></a>, <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 2em;">at Indian Hill, <a href='#Page_48'><b>48</b></a>.</span><br />
+<span style="margin-left: 2em;">at Oak Knoll, <a href='#Page_47'><b>47</b></a>.</span><br />
+<span style="margin-left: 2em;">Cabot, <a href='#Page_53'><b>53</b></a>.</span><br />
+<span style="margin-left: 2em;">Captain Peabody's, <a href='#Page_46'><b>46</b></a>.</span><br />
+<span style="margin-left: 2em;">Derby, <a href='#Page_50'><b>50</b></a>.</span><br />
+<span style="margin-left: 2em;">features of old-fashioned, <a href='#Page_44'><b>44</b></a>, <a href='#Page_45'><b>45</b></a>.</span><br />
+<span style="margin-left: 2em;">Humphrey Devereux, <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 2em;">location of, <a href='#Page_45'><b>45</b></a>, <a href='#Page_46'><b>46</b></a>, <a href='#Page_51'><b>51</b></a>.</span><br />
+<span style="margin-left: 2em;">Mrs. Perry's, <a href='#Page_48'><b>48</b></a>.</span><br />
+<span style="margin-left: 2em;">nucleus of, <a href='#Page_43'><b>43</b></a>.</span><br />
+<span style="margin-left: 2em;">of George Heussler, <a href='#Page_49'><b>49</b></a>, <a href='#Page_50'><b>50</b></a>.</span><br />
+<span style="margin-left: 2em;">Salem, <a href='#Page_49'><b>49</b></a>.</span><br />
+<span style="margin-left: 1em;">Gardiner house, <a href='#Page_21'><b>21</b></a>.</span><br />
+<span style="margin-left: 1em;">George house, <a href='#Page_141'><b>141</b></a>.</span><br />
+<span style="margin-left: 1em;">George II, <a href='#Page_96'><b>96</b></a>.</span><br />
+<span style="margin-left: 1em;">George III, <a href='#Page_69'><b>69</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_230'><b>230</b></a>.</span><br />
+<span style="margin-left: 1em;">Georgetown, Mass., <a href='#Page_83'><b>83</b></a>, <a href='#Page_107'><b>107</b></a>.</span><br />
+<span style="margin-left: 1em;">Georgian period, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 1em;">Gerard, quoted, <a href='#Page_44'><b>44</b></a>.</span><br />
+<span style="margin-left: 1em;">Germantown, Mass., <a href='#Page_163'><b>163</b></a>.</span><br />
+<span style="margin-left: 1em;">Germany, <a href='#Page_197'><b>197</b></a>, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 1em;">Gibbon (designer), <a href='#Page_143'><b>143</b></a>.</span><br />
+<span style="margin-left: 1em;">Glasgow, Scotland, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 1em;">Glass, baluster stem, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 2em;">beads, <a href='#Page_203'><b>203</b></a>.</span><br />
+<span style="margin-left: 2em;">blown, <a href='#Page_205'><b>205</b></a>.</span><br />
+<span style="margin-left: 2em;">Bohemian, <a href='#Page_195'><b>195</b></a>, <a href='#Page_197'><b>197</b></a>-<a href='#Page_199'><b>199</b></a>, <a href='#Page_204'><b>204</b></a>.</span><br />
+<span style="margin-left: 2em;">bonbon dishes, <a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 2em;">bottles, <a href='#Page_203'><b>203</b></a>, <a href='#Page_205'><b>205</b></a>-<a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 2em;">bowls, <a href='#Page_203'><b>203</b></a>, <a href='#Page_204'><b>204</b></a>.</span><br />
+<span style="margin-left: 2em;">cameo incrusted, <a href='#Page_199'><b>199</b></a>.</span><br />
+<span style="margin-left: 2em;">choiceness determined, <a href='#Page_103'><b>103</b></a>.</span><br />
+<span style="margin-left: 2em;">colored, <a href='#Page_197'><b>197</b></a>, <a href='#Page_201'><b>201</b></a>.</span><br />
+<span style="margin-left: 2em;">cutting of, <a href='#Page_198'><b>198</b></a>.</span><br />
+<span style="margin-left: 2em;">decanters, <a href='#Page_200'><b>200</b></a>, <a href='#Page_201'><b>201</b></a>, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 2em;">drinking, <a href='#Page_201'><b>201</b></a>.</span><br />
+<span style="margin-left: 2em;">English, <a href='#Page_201'><b>201</b></a>.</span><br />
+<span style="margin-left: 2em;">engraved, <a href='#Page_196'><b>196</b></a>, <a href='#Page_197'><b>197</b></a>, <a href='#Page_198'><b>198</b></a>, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 2em;">etched, <a href='#Page_199'><b>199</b></a>.</span><br />
+<span style="margin-left: 2em;">factories, <a href='#Page_197'><b>197</b></a>, <a href='#Page_198'><b>198</b></a>, <a href='#Page_204'><b>204</b></a>.</span><br />
+<span style="margin-left: 2em;">first made, <a href='#Page_194'><b>194</b></a>.</span><br />
+<span style="margin-left: 2em;">French, <a href='#Page_199'><b>199</b></a>.</span><br />
+<span style="margin-left: 2em;">gilded, <a href='#Page_196'><b>196</b></a>, <a href='#Page_197'><b>197</b></a>.</span><br />
+<span style="margin-left: 2em;">goblets, <a href='#Page_204'><b>204</b></a>.</span><br />
+<span style="margin-left: 2em;">green German, <a href='#Page_196'><b>196</b></a>.</span><br />
+<span style="margin-left: 2em;">historic flasks, <a href='#Page_206'><b>206</b></a>.</span><br />
+<span style="margin-left: 2em;">legend of, <a href='#Page_196'><b>196</b></a>.</span><br />
+<span style="margin-left: 2em;">making in Rome, <a href='#Page_195'><b>195</b></a>.</span><br />
+<span style="margin-left: 2em;">origin of, <a href='#Page_195'><b>195</b></a>.</span><br />
+<span style="margin-left: 2em;">painted, <a href='#Page_196'><b>196</b></a>, <a href='#Page_197'><b>197</b></a>.</span><br />
+<span style="margin-left: 2em;">Portland Vase, <a href='#Page_192'><b>192</b></a>, <a href='#Page_195'><b>195</b></a>.</span><br />
+<span style="margin-left: 2em;">ruby colored, <a href='#Page_199'><b>199</b></a>-<a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 2em;">Russian, <a href='#Page_203'><b>203</b></a>.</span><br />
+<span style="margin-left: 2em;">salt cellar, <a href='#Page_199'><b>199</b></a>, <a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 2em;">toddy, <a href='#Page_201'><b>201</b></a>, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 2em;">tumblers, <a href='#Page_201'><b>201</b></a>-<a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 2em;">vases, <a href='#Page_198'><b>198</b></a>, <a href='#Page_199'><b>199</b></a>.</span><br />
+<span style="margin-left: 2em;">Venetian, <a href='#Page_195'><b>195</b></a>, <a href='#Page_198'><b>198</b></a>.</span><br />
+<span style="margin-left: 2em;">white twist stem, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 2em;">wine, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 1em;">Glastonbury Abbey, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 1em;">Gothic architecture, <a href='#Page_4'><b>4</b></a>.</span><br />
+<span style="margin-left: 1em;">Gove house, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 1em;">Governor's Field, <a href='#Page_4'><b>4</b></a>.</span><br />
+<span style="margin-left: 2em;">Island, <a href='#Page_42'><b>42</b></a>.</span><br />
+<span style="margin-left: 1em;">Grafton, Mass., <a href='#Page_148'><b>148</b></a>.</span><br />
+<span style="margin-left: 1em;">"Guild of St. Luke," <a href='#Page_179'><b>179</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Hallway, Capen house, <a href='#Page_55'><b>55</b></a>.</span><br />
+<span style="margin-left: 2em;">colonial, <a href='#Page_54'><b>54</b></a>.</span><br />
+<span style="margin-left: 2em;">eighteenth and nineteenth century, <a href='#Page_56'><b>56</b></a>, <a href='#Page_57'><b>57</b></a>.</span><br />
+<span style="margin-left: 2em;">entry, <a href='#Page_61'><b>61</b></a>.</span><br />
+<span style="margin-left: 2em;">finish of, <a href='#Page_59'><b>59</b></a>.</span><br />
+<span style="margin-left: 2em;">"Hey Bonnie Hall," <a href='#Page_60'><b>60</b></a>, <a href='#Page_61'><b>61</b></a>.</span><br />
+<span style="margin-left: 2em;">Lee, <a href='#Page_58'><b>58</b></a>, <a href='#Page_60'><b>60</b></a>.</span><br />
+<span style="margin-left: 2em;">Old English, <a href='#Page_55'><b>55</b></a>, <a href='#Page_58'><b>58</b></a>.</span><br />
+<span style="margin-left: 2em;">paneled, <a href='#Page_56'><b>56</b></a>, <a href='#Page_57'><b>57</b></a>, <a href='#Page_59'><b>59</b></a>.</span><br />
+<span style="margin-left: 2em;">papered, <a href='#Page_59'><b>59</b></a>.</span><br />
+<span style="margin-left: 2em;">spacious, <a href='#Page_57'><b>57</b></a>, <a href='#Page_58'><b>58</b></a>.</span><br />
+<span style="margin-left: 2em;">Stark, <a href='#Page_56'><b>56</b></a>.</span><br />
+<span style="margin-left: 2em;">Warner, <a href='#Page_56'><b>56</b></a>, <a href='#Page_57'><b>57</b></a>, <a href='#Page_90'><b>90</b></a>-<a href='#Page_91'><b>91</b></a>.</span><br />
+<span style="margin-left: 2em;">Wentworth, <a href='#Page_58'><b>58</b></a>, <a href='#Page_59'><b>59</b></a>.</span><br />
+<span style="margin-left: 1em;">Hamilton, Mass., <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 1em;">Hamilton Hall, <a href='#Page_141'><b>141</b></a>, <a href='#Page_166'><b>166</b></a>.</span><br />
+<span style="margin-left: 1em;">Hangings, bed, chintz, <a href='#Page_124'><b>124</b></a>.</span><br />
+<span style="margin-left: 2em;">linen, <a href='#Page_124'><b>124</b></a>.</span><br />
+<span style="margin-left: 2em;">patch, <a href='#Page_124'><b>124</b></a>, <a href='#Page_130'><b>130</b></a>.</span><br />
+<span style="margin-left: 1em;">Harland, Thomas, <a href='#Page_150'><b>150</b></a>.</span><br />
+<span style="margin-left: 1em;">Harris, Mrs. Walter L., <a href='#Page_136'><b>136</b></a>.</span><br />
+<span style="margin-left: 1em;">Harrod house, <a href='#Page_138'><b>138</b></a>, <a href='#Page_203'><b>203</b></a>.</span><br />
+<span style="margin-left: 1em;">Hartford, Conn., <a href='#Page_147'><b>147</b></a>, <a href='#Page_148'><b>148</b></a>.</span><br />
+<span style="margin-left: 1em;">Harvard College, <a href='#Page_4'><b>4</b></a>.</span><br />
+<span style="margin-left: 1em;">Haverhill, Mass., <a href='#Page_76'><b>76</b></a>, <a href='#Page_129'><b>129</b></a>.</span><br />
+<span style="margin-left: 1em;">Hawthorne, Nathaniel, <a href='#Page_24'><b>24</b></a>, <a href='#Page_26'><b>26</b></a>, <a href='#Page_37'><b>37</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_224'><b>224</b></a>.</span><br />
+<span style="margin-left: 1em;">Heard house, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 1em;">Hearth accessories, <a href='#Page_66'><b>66</b></a>, <a href='#Page_67'><b>67</b></a>.</span><br />
+<span style="margin-left: 1em;">Hepplewhite (designer), <a href='#Page_92'><b>92</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_110'><b>110</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_128'><b>128</b></a>.</span><br />
+<span style="margin-left: 1em;">"Hermitage," <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 1em;">Heussler, George, <a href='#Page_49'><b>49</b></a>.</span><br />
+<span style="margin-left: 1em;">"Hey Bonnie Hall," <a href='#Page_11'><b>11</b></a>, <a href='#Page_60'><b>60</b></a>, <a href='#Page_61'><b>61</b></a>, <a href='#Page_101'><b>101</b></a>.</span><br />
+<span style="margin-left: 1em;">Higginson, Governor, <a href='#Page_161'><b>161</b></a>.</span><br />
+<span style="margin-left: 2em;">Rev. Francis, quoted, <a href='#Page_41'><b>41</b></a>.</span><br />
+<span style="margin-left: 1em;">"Highfield," <a href='#Page_95'><b>95</b></a>, <a href='#Page_126'><b>126</b></a>, <a href='#Page_138'><b>138</b></a>.</span><br />
+<span style="margin-left: 1em;">High Rock, Mass., <a href='#Page_95'><b>95</b></a>.</span><br />
+<span style="margin-left: 1em;">Hillsboro, N.&nbsp;H., <a href='#Page_89'><b>89</b></a>, <a href='#Page_90'><b>90</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 1em;">Hinges, wrought-iron, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 1em;">Hingham, Mass., <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 1em;">"History of Essex," <a href='#Page_125'><b>125</b></a>.</span><br />
+<span style="margin-left: 1em;">Hoadley, Silas, <a href='#Page_155'><b>155</b></a>.</span><br />
+<span style="margin-left: 1em;">Hoffman, Captain, <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 1em;">Holland, <a href='#Page_2'><b>2</b></a>, <a href='#Page_9'><b>9</b></a>, <a href='#Page_41'><b>41</b></a>, <a href='#Page_43'><b>43</b></a>, <a href='#Page_80'><b>80</b></a>, <a href='#Page_96'><b>96</b></a>, <a href='#Page_135'><b>135</b></a>, <a href='#Page_177'><b>177</b></a>, <a href='#Page_179'><b>179</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_182'><b>182</b></a>, <a href='#Page_184'><b>184</b></a>, <a href='#Page_185'><b>185</b></a>, <a href='#Page_196'><b>196</b></a>, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 1em;">Holmes, Oliver Wendell, <a href='#Page_130'><b>130</b></a>.</span><br />
+<span style="margin-left: 1em;">Hosmer collection, <a href='#Page_147'><b>147</b></a>.</span><br />
+<span style="margin-left: 1em;">"House of Seven Gables," <a href='#Page_37'><b>37</b></a>.</span><br />
+<span style="margin-left: 1em;">Houses, Abbot, General, <a href='#Page_78'><b>78</b></a>, <a href='#Page_109'><b>109</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 2em;">Albree, <a href='#Page_152'><b>152</b></a>.</span><br />
+<span style="margin-left: 2em;">Allen, <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 2em;">Andrews, <a href='#Page_13'><b>13</b></a>, <a href='#Page_21'><b>21</b></a>, <a href='#Page_84'><b>84</b></a>, <a href='#Page_85'><b>85</b></a>.</span><br />
+<span style="margin-left: 2em;">Assembly, <a href='#Page_18'><b>18</b></a>, <a href='#Page_24'><b>24</b></a>.</span><br />
+<span style="margin-left: 2em;">Bell or Brick, <a href='#Page_190'><b>190</b></a>.</span><br />
+<span style="margin-left: 2em;">Benson, <a href='#Page_109'><b>109</b></a>.</span><br />
+<span style="margin-left: 2em;">brick, <a href='#Page_3'><b>3</b></a>, <a href='#Page_13'><b>13</b></a>, <a href='#Page_14'><b>14</b></a>, <a href='#Page_19'><b>19</b></a>, <a href='#Page_56'><b>56</b></a>.</span><br />
+<span style="margin-left: 2em;">Brown Inn, <a href='#Page_173'><b>173</b></a>.</span><br />
+<span style="margin-left: 2em;">Cabot, <a href='#Page_7'><b>7</b></a>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_53'><b>53</b></a>.</span><br />
+<span style="margin-left: 2em;">Capen, <a href='#Page_55'><b>55</b></a>.</span><br />
+<span style="margin-left: 2em;">Cogswell, <a href='#Page_125'><b>125</b></a>.</span><br />
+<span style="margin-left: 2em;">colonial, <a href='#Page_7'><b>7</b></a>.</span><br />
+<span style="margin-left: 2em;">Craigie, <a href='#Page_37'><b>37</b></a>.</span><br />
+<span style="margin-left: 2em;">Crowninshield, <a href='#Page_38'><b>38</b></a>, <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 2em;">Derby, <a href='#Page_77'><b>77</b></a>, <a href='#Page_78'><b>78</b></a>.</span><br />
+<span style="margin-left: 2em;">Devereux, Humphrey, <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 2em;">Devonshire's, Duke of, <a href='#Page_39'><b>39</b></a>.</span><br />
+<span style="margin-left: 2em;">Dexter, <a href='#Page_99'><b>99</b></a>.</span><br />
+<span style="margin-left: 2em;">Dummer, <a href='#Page_173'><b>173</b></a>.</span><br />
+<span style="margin-left: 2em;">Endicott, <a href='#Page_10'><b>10</b></a>.</span><br />
+<span style="margin-left: 2em;">finest, <a href='#Page_8'><b>8</b></a>.</span><br />
+<span style="margin-left: 2em;">Forrester, <a href='#Page_21'><b>21</b></a>.</span><br />
+<span style="margin-left: 2em;">frame, <a href='#Page_2'><b>2</b></a>, <a href='#Page_55'><b>55</b></a>.</span><br />
+<span style="margin-left: 2em;">gambrel-roofed, <a href='#Page_3'><b>3</b></a>, <a href='#Page_10'><b>10</b></a>, <a href='#Page_19'><b>19</b></a>, <a href='#Page_55'><b>55</b></a>.</span><br />
+<span style="margin-left: 2em;">Gardiner, <a href='#Page_21'><b>21</b></a>.</span><br />
+<span style="margin-left: 2em;">George, <a href='#Page_141'><b>141</b></a>.</span><br />
+<span style="margin-left: 2em;">Gove, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 2em;">Hamilton Hall, <a href='#Page_141'><b>141</b></a>, <a href='#Page_166'><b>166</b></a>.</span><br />
+<span style="margin-left: 2em;">Harrod, <a href='#Page_138'><b>138</b></a>, <a href='#Page_203'><b>203</b></a>.</span><br />
+<span style="margin-left: 2em;">Heard, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 2em;">"Hermitage," <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 2em;">"Hey Bonnie Hall," <a href='#Page_11'><b>11</b></a>, <a href='#Page_60'><b>60</b></a>, <a href='#Page_61'><b>61</b></a>, <a href='#Page_101'><b>101</b></a>.</span><br />
+<span style="margin-left: 2em;">"Highfield," <a href='#Page_95'><b>95</b></a>, <a href='#Page_126'><b>126</b></a>, <a href='#Page_138'><b>138</b></a>.</span><br />
+<span style="margin-left: 2em;">historic, <a href='#Page_5'><b>5</b></a>, <a href='#Page_6'><b>6</b></a>, <a href='#Page_8'><b>8</b></a>, <a href='#Page_12'><b>12</b></a>.</span><br />
+<span style="margin-left: 2em;">Howe, <a href='#Page_111'><b>111</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_129'><b>129</b></a>.</span><br />
+<span style="margin-left: 2em;">"Indian Hill," <a href='#Page_12'><b>12</b></a>, <a href='#Page_48'><b>48</b></a>.</span><br />
+<span style="margin-left: 2em;">Johnson's, Dr., <a href='#Page_39'><b>39</b></a>.</span><br />
+<span style="margin-left: 2em;">Kimball, <a href='#Page_18'><b>18</b></a>, <a href='#Page_83'><b>83</b></a>.</span><br />
+<span style="margin-left: 2em;">Kittredge, <a href='#Page_142'><b>142</b></a>, <a href='#Page_201'><b>201</b></a>.</span><br />
+<span style="margin-left: 2em;">Knapp, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 2em;">Lee, <a href='#Page_8'><b>8</b></a>, <a href='#Page_58'><b>58</b></a>, <a href='#Page_60'><b>60</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_89'><b>89</b></a>.</span><br />
+<span style="margin-left: 2em;">Lindall-Andrews, <a href='#Page_80'><b>80</b></a>, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 2em;">Little, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 2em;">log cabin, <a href='#Page_2'><b>2</b></a>.</span><br />
+<span style="margin-left: 2em;">Long, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 2em;">Lord, <a href='#Page_22'><b>22</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br />
+<span style="margin-left: 2em;">Mansfield, <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 2em;">mansion, <a href='#Page_3'><b>3</b></a>, <a href='#Page_8'><b>8</b></a>, <a href='#Page_10'><b>10</b></a>, <a href='#Page_19'><b>19</b></a>, <a href='#Page_56'><b>56</b></a>.</span><br />
+<span style="margin-left: 2em;">Maryland Manor, <a href='#Page_11'><b>11</b></a>.</span><br />
+<span style="margin-left: 2em;">May, <a href='#Page_37'><b>37</b></a>.</span><br />
+<span style="margin-left: 2em;">Meyer, <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 2em;">Middleton, <a href='#Page_131'><b>131</b></a>.</span><br />
+<span style="margin-left: 2em;">Mount Vernon, <a href='#Page_131'><b>131</b></a>.</span><br />
+<span style="margin-left: 2em;">Nichols, <a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 2em;">Noyes, <a href='#Page_113'><b>113</b></a>.</span><br />
+<span style="margin-left: 2em;">Oak Knoll, <a href='#Page_47'><b>47</b></a>, <a href='#Page_60'><b>60</b></a>.</span><br />
+<span style="margin-left: 2em;">of <a href='#Page_52'><b>52</b></a> rooms, <a href='#Page_10'><b>10</b></a>.</span><br />
+<span style="margin-left: 2em;">Oliver, <a href='#Page_77'><b>77</b></a>.</span><br />
+<span style="margin-left: 2em;">Osgood, <a href='#Page_109'><b>109</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_168'><b>168</b></a>.</span><br />
+<span style="margin-left: 2em;">Page, <a href='#Page_5'><b>5</b></a>, <a href='#Page_6'><b>6</b></a>.</span><br />
+<span style="margin-left: 2em;">Pickering, <a href='#Page_4'><b>4</b></a>, <a href='#Page_5'><b>5</b></a>, <a href='#Page_72'><b>72</b></a>, <a href='#Page_76'><b>76</b></a>, <a href='#Page_109'><b>109</b></a>.</span><br />
+<span style="margin-left: 2em;">Pierce, <a href='#Page_89'><b>89</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 2em;">Pierce-Jahonnot, <a href='#Page_25'><b>25</b></a>.</span><br />
+<span style="margin-left: 2em;">Pierce-Nichols, <a href='#Page_139'><b>139</b></a>.</span><br />
+<span style="margin-left: 2em;">Robinson, <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 2em;">Ropes, <a href='#Page_111'><b>111</b></a>.</span><br />
+<span style="margin-left: 2em;">Salem Club, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 2em;">Saltonstall-Howe, <a href='#Page_76'><b>76</b></a>.</span><br />
+<span style="margin-left: 2em;">Sanders, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 2em;">Silsbee, <a href='#Page_21'><b>21</b></a>.</span><br />
+<span style="margin-left: 2em;">Southern, <a href='#Page_12'><b>12</b></a>.</span><br />
+<span style="margin-left: 2em;">Sprague, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 2em;">Stark, <a href='#Page_8'><b>8</b></a>, <a href='#Page_56'><b>56</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 2em;">Stearns, <a href='#Page_6'><b>6</b></a>.</span><br />
+<span style="margin-left: 2em;">Steigel, <a href='#Page_204'><b>204</b></a>.</span><br />
+<span style="margin-left: 2em;">Warner, <a href='#Page_9'><b>9</b></a>, <a href='#Page_56'><b>56</b></a>, <a href='#Page_90'><b>90</b></a>, <a href='#Page_109'><b>109</b></a>, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 2em;">Waters, <a href='#Page_38'><b>38</b></a>, <a href='#Page_77'><b>77</b></a>, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 2em;">Wentworth, <a href='#Page_10'><b>10</b></a>, <a href='#Page_58'><b>58</b></a>.</span><br />
+<span style="margin-left: 2em;">Wheelright, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 2em;">Whipple, <a href='#Page_7'><b>7</b></a>, <a href='#Page_25'><b>25</b></a>, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 2em;">White House, <a href='#Page_11'><b>11</b></a>.</span><br />
+<span style="margin-left: 2em;">Whittier, <a href='#Page_37'><b>37</b></a>, <a href='#Page_47'><b>47</b></a>, <a href='#Page_60'><b>60</b></a>.</span><br />
+<span style="margin-left: 1em;">Howe, Mrs. Guerdon, <a href='#Page_111'><b>111</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_111'><b>111</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_129'><b>129</b></a>.</span><br />
+<span style="margin-left: 1em;">Hull, Betsey, <a href='#Page_224'><b>224</b></a>.</span><br />
+<span style="margin-left: 2em;">John, <a href='#Page_224'><b>224</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Ince (designer), <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 1em;">"Indian Hill," <a href='#Page_12'><b>12</b></a>, <a href='#Page_48'><b>48</b></a>.</span><br />
+<span style="margin-left: 1em;">Indians, <a href='#Page_203'><b>203</b></a>.</span><br />
+<span style="margin-left: 1em;">Ipswich, Mass., <a href='#Page_5'><b>5</b></a>, <a href='#Page_7'><b>7</b></a>, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 1em;">Ironworks, American, <a href='#Page_204'><b>204</b></a>.</span><br />
+<span style="margin-left: 1em;">Italy, <a href='#Page_135'><b>135</b></a>, <a href='#Page_197'><b>197</b></a>, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 1em;">Ivy Works, Burslem, <a href='#Page_190'><b>190</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Jackson, Andrew, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 2em;">of Battersea, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 1em;">Jacobean period, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 1em;">Jamaica Plain, Mass., <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 1em;">James VI, <a href='#Page_214'><b>214</b></a>.</span><br />
+<span style="margin-left: 1em;">Jamestown, Va., <a href='#Page_203'><b>203</b></a>.</span><br />
+<span style="margin-left: 1em;">Japan, <a href='#Page_80'><b>80</b></a>, <a href='#Page_179'><b>179</b></a>, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">Jarves, James Jackson, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 1em;">Jerome, Chauncey, <a href='#Page_157'><b>157</b></a>.</span><br />
+<span style="margin-left: 1em;">Jesse, David, <a href='#Page_224'><b>224</b></a>.</span><br />
+<span style="margin-left: 1em;">Johnson's, Dr., house, <a href='#Page_39'><b>39</b></a>.</span><br />
+<span style="margin-left: 1em;">Josslyn, John, quoted, <a href='#Page_43'><b>43</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Kean, Michael, <a href='#Page_188'><b>188</b></a>.</span><br />
+<span style="margin-left: 1em;">Kensington, Philadelphia, <a href='#Page_203'><b>203</b></a>.</span><br />
+<span style="margin-left: 1em;">Kimball house, <a href='#Page_18'><b>18</b></a>, <a href='#Page_83'><b>83</b></a>.</span><br />
+<span style="margin-left: 1em;">King Philip's War, <a href='#Page_116'><b>116</b></a>.</span><br />
+<span style="margin-left: 1em;">Kitchen, colonial, <a href='#Page_66'><b>66</b></a>.</span><br />
+<span style="margin-left: 1em;">Kittredge house, <a href='#Page_142'><b>142</b></a>, <a href='#Page_201'><b>201</b></a>.</span><br />
+<span style="margin-left: 1em;">Knapp house, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 1em;">Knockers, antique, <a href='#Page_35'><b>35</b></a>.</span><br />
+<span style="margin-left: 2em;">brass, <a href='#Page_22'><b>22</b></a>, <a href='#Page_30'><b>30</b></a>, <a href='#Page_33'><b>33</b></a>, <a href='#Page_34'><b>34</b></a>.</span><br />
+<span style="margin-left: 2em;">disappearance of, <a href='#Page_31'><b>31</b></a>.</span><br />
+<span style="margin-left: 2em;">eagle, <a href='#Page_35'><b>35</b></a>, <a href='#Page_36'><b>36</b></a>, <a href='#Page_37'><b>37</b></a>.</span><br />
+<span style="margin-left: 2em;">English, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 2em;">fifteenth and sixteenth centuries, <a href='#Page_30'><b>30</b></a>.</span><br />
+<span style="margin-left: 2em;">garland, <a href='#Page_35'><b>35</b></a>.</span><br />
+<span style="margin-left: 2em;">Georgian urn, <a href='#Page_35'><b>35</b></a>, <a href='#Page_36'><b>36</b></a>.</span><br />
+<span style="margin-left: 2em;">Gothic, <a href='#Page_33'><b>33</b></a>.</span><br />
+<span style="margin-left: 2em;">historic, <a href='#Page_37'><b>37</b></a>.</span><br />
+<span style="margin-left: 2em;">horseshoe, <a href='#Page_36'><b>36</b></a>.</span><br />
+<span style="margin-left: 2em;">invention of, <a href='#Page_29'><b>29</b></a>.</span><br />
+<span style="margin-left: 2em;">iron, <a href='#Page_7'><b>7</b></a>, <a href='#Page_30'><b>30</b></a>, <a href='#Page_33'><b>33</b></a>, <a href='#Page_36'><b>36</b></a>.</span><br />
+<span style="margin-left: 2em;">lion and ring, <a href='#Page_35'><b>35</b></a>.</span><br />
+<span style="margin-left: 2em;">London, <a href='#Page_38'><b>38</b></a>-<a href='#Page_39'><b>39</b></a>.</span><br />
+<span style="margin-left: 2em;">May house, <a href='#Page_37'><b>37</b></a>, <a href='#Page_38'><b>38</b></a>.</span><br />
+<span style="margin-left: 2em;">medieval, <a href='#Page_33'><b>33</b></a>.</span><br />
+<span style="margin-left: 2em;">Mexican, <a href='#Page_36'><b>36</b></a>.</span><br />
+<span style="margin-left: 2em;">plate or escutcheon, <a href='#Page_33'><b>33</b></a>, <a href='#Page_34'><b>34</b></a>.</span><br />
+<span style="margin-left: 2em;">price of, <a href='#Page_34'><b>34</b></a>.</span><br />
+<span style="margin-left: 2em;">Renaissance, <a href='#Page_33'><b>33</b></a>, <a href='#Page_37'><b>37</b></a>.</span><br />
+<span style="margin-left: 2em;">reproductions of, <a href='#Page_34'><b>34</b></a>.</span><br />
+<span style="margin-left: 2em;">thumb latch, <a href='#Page_8'><b>8</b></a>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_35'><b>35</b></a>, <a href='#Page_38'><b>38</b></a>.</span><br />
+<span style="margin-left: 2em;">types of, <a href='#Page_29'><b>29</b></a>.</span><br />
+<span style="margin-left: 1em;">Knox, General, <a href='#Page_25'><b>25</b></a>.</span><br />
+<span style="margin-left: 2em;">Henry, <a href='#Page_138'><b>138</b></a>.</span><br />
+<span style="margin-left: 1em;">Kunckel (artist), <a href='#Page_200'><b>200</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Lafayette, General, <a href='#Page_24'><b>24</b></a>.</span><br />
+<span style="margin-left: 1em;">Lamps, Betty, <a href='#Page_162'><b>162</b></a>.</span><br />
+<span style="margin-left: 2em;">glass, <a href='#Page_168'><b>168</b></a>.</span><br />
+<span style="margin-left: 2em;">unique specimen, <a href='#Page_162'><b>162</b></a>.</span><br />
+<span style="margin-left: 2em;">whale-oil, <a href='#Page_166'><b>166</b></a>.</span><br />
+<span style="margin-left: 2em;">wick, <a href='#Page_162'><b>162</b></a>.</span><br />
+<span style="margin-left: 2em;">with glass prisms, <a href='#Page_169'><b>169</b></a>, <a href='#Page_170'><b>170</b></a>.</span><br />
+<span style="margin-left: 1em;">Lanterns, <a href='#Page_162'><b>162</b></a>.</span><br />
+<span style="margin-left: 2em;">gilded, <a href='#Page_168'><b>168</b></a>.</span><br />
+<span style="margin-left: 2em;">painted, <a href='#Page_168'><b>168</b></a>.</span><br />
+<span style="margin-left: 1em;">Larcom, Lucy, <a href='#Page_6'><b>6</b></a>.</span><br />
+<span style="margin-left: 1em;">Latches, thumb, <a href='#Page_8'><b>8</b></a>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_35'><b>35</b></a>, <a href='#Page_38'><b>38</b></a>.</span><br />
+<span style="margin-left: 1em;">Lean-to, <a href='#Page_3'><b>3</b></a>, <a href='#Page_7'><b>7</b></a>.</span><br />
+<span style="margin-left: 1em;">Lee, Colonel Jeremiah, house, <a href='#Page_8'><b>8</b></a>, <a href='#Page_58'><b>58</b></a>, <a href='#Page_60'><b>60</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_89'><b>89</b></a>.</span><br />
+<span style="margin-left: 1em;">Leghorn, Italy, <a href='#Page_131'><b>131</b></a>.</span><br />
+<span style="margin-left: 1em;">Lehmann, Gasper, <a href='#Page_198'><b>198</b></a>.</span><br />
+<span style="margin-left: 1em;">Leslie's Retreat, <a href='#Page_7'><b>7</b></a>, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 1em;">Leverett, Governor John, <a href='#Page_115'><b>115</b></a>.</span><br />
+<span style="margin-left: 2em;">Thomas, <a href='#Page_15'><b>15</b></a>.</span><br />
+<span style="margin-left: 1em;">Lightfoot, Peter, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 1em;">Lights, candelabra, <a href='#Page_167'><b>167</b></a>, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 2em;">candle, <a href='#Page_159'><b>159</b></a>, <a href='#Page_160'><b>160</b></a>, <a href='#Page_161'><b>161</b></a>, <a href='#Page_163'><b>163</b></a>-<a href='#Page_166'><b>166</b></a>.</span><br />
+<span style="margin-left: 2em;">candlewood, <a href='#Page_159'><b>159</b></a>, <a href='#Page_160'><b>160</b></a>, <a href='#Page_161'><b>161</b></a>.</span><br />
+<span style="margin-left: 2em;">chandeliers, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 2em;">electric, <a href='#Page_159'><b>159</b></a>.</span><br />
+<span style="margin-left: 2em;">fire, <a href='#Page_159'><b>159</b></a>, <a href='#Page_160'><b>160</b></a>.</span><br />
+<span style="margin-left: 2em;">from flint and steel, <a href='#Page_170'><b>170</b></a>.</span><br />
+<span style="margin-left: 2em;">gas, <a href='#Page_159'><b>159</b></a>.</span><br />
+<span style="margin-left: 2em;">lamp, <a href='#Page_162'><b>162</b></a>, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 2em;">lantern, <a href='#Page_162'><b>162</b></a>, <a href='#Page_168'><b>168</b></a>.</span><br />
+<span style="margin-left: 2em;">pine torch, <a href='#Page_159'><b>159</b></a>, <a href='#Page_160'><b>160</b></a>.</span><br />
+<span style="margin-left: 2em;">rush, <a href='#Page_162'><b>162</b></a>.</span><br />
+<span style="margin-left: 1em;">Lindall, Judge, <a href='#Page_80'><b>80</b></a>.</span><br />
+<span style="margin-left: 1em;">Lindall-Andrews house, <a href='#Page_80'><b>80</b></a>, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 1em;">Little, Hon. David M., house, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 1em;">Little Harbor, N.&nbsp;H., <a href='#Page_10'><b>10</b></a>, <a href='#Page_58'><b>58</b></a>.</span><br />
+<span style="margin-left: 1em;">London, <a href='#Page_167'><b>167</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 1em;">London Guild or Worshipful Company of Pewterers, <a href='#Page_215'><b>215</b></a>.</span><br />
+<span style="margin-left: 1em;">Long, Hon. John D., <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 1em;">Longfellow, Anne Sewall, <a href='#Page_95'><b>95</b></a>.</span><br />
+<span style="margin-left: 1em;">Lord, Nathaniel, <a href='#Page_23'><b>23</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_22'><b>22</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br />
+<span style="margin-left: 1em;">Lowestoft, <a href='#Page_181'><b>181</b></a>, <a href='#Page_186'><b>186</b></a>.</span><br />
+<span style="margin-left: 2em;">coat-of-arms, <a href='#Page_183'><b>183</b></a>.</span><br />
+<span style="margin-left: 2em;">controversy, <a href='#Page_185'><b>185</b></a>.</span><br />
+<span style="margin-left: 2em;">decoration of, <a href='#Page_183'><b>183</b></a>, <a href='#Page_184'><b>184</b></a>.</span><br />
+<span style="margin-left: 2em;">factory, <a href='#Page_182'><b>182</b></a>, <a href='#Page_184'><b>184</b></a>, <a href='#Page_185'><b>185</b></a>.</span><br />
+<span style="margin-left: 2em;">first ware, <a href='#Page_182'><b>182</b></a>.</span><br />
+<span style="margin-left: 2em;">Holland, <a href='#Page_182'><b>182</b></a>.</span><br />
+<span style="margin-left: 2em;">Oriental, <a href='#Page_181'><b>181</b></a>.</span><br />
+<span style="margin-left: 2em;">red, <a href='#Page_183'><b>183</b></a>.</span><br />
+<span style="margin-left: 1em;">Luster ware, <a href='#Page_191'><b>191</b></a>.</span><br />
+<span style="margin-left: 2em;">copper, <a href='#Page_192'><b>192</b></a>, <a href='#Page_193'><b>193</b></a>.</span><br />
+<span style="margin-left: 2em;">gold, <a href='#Page_192'><b>192</b></a>, <a href='#Page_193'><b>193</b></a>.</span><br />
+<span style="margin-left: 2em;">jugs, <a href='#Page_192'><b>192</b></a>.</span><br />
+<span style="margin-left: 2em;">silver-tinted, <a href='#Page_192'><b>192</b></a>.</span><br />
+<span style="margin-left: 2em;">Sunderland, <a href='#Page_192'><b>192</b></a>.</span><br />
+<span style="margin-left: 1em;">Lynn, Mass., <a href='#Page_72'><b>72</b></a>, <a href='#Page_95'><b>95</b></a>, <a href='#Page_175'><b>175</b></a>, <a href='#Page_193'><b>193</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Macpheadris, Captain, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 2em;">Mary, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 1em;">McIntyre, Samuel, <a href='#Page_18'><b>18</b></a>, <a href='#Page_47'><b>47</b></a>, <a href='#Page_69'><b>69</b></a>, <a href='#Page_70'><b>70</b></a>, <a href='#Page_71'><b>71</b></a>, <a href='#Page_77'><b>77</b></a>, <a href='#Page_140'><b>140</b></a>.</span><br />
+<span style="margin-left: 1em;">Manchester, Mass., <a href='#Page_56'><b>56</b></a>, <a href='#Page_199'><b>199</b></a>, <a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 1em;">Mannheim, Germany, <a href='#Page_204'><b>204</b></a>.</span><br />
+<span style="margin-left: 2em;">Pa., <a href='#Page_204'><b>204</b></a>.</span><br />
+<span style="margin-left: 1em;">Mansfield, Mrs. Nathaniel B., <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 2em;">collection, <a href='#Page_109'><b>109</b></a>.</span><br />
+<span style="margin-left: 1em;">Mantlepieces, <a href='#Page_63'><b>63</b></a>, <a href='#Page_64'><b>64</b></a>, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 2em;">in Little house, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 2em;">marble, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 2em;">narrow, <a href='#Page_64'><b>64</b></a>.</span><br />
+<span style="margin-left: 2em;">Oliver house, <a href='#Page_77'><b>77</b></a>.</span><br />
+<span style="margin-left: 2em;">Renaissance, <a href='#Page_64'><b>64</b></a>.</span><br />
+<span style="margin-left: 2em;">Salem Club, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 2em;">Sanders house, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 1em;">Manwaring (designer), <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 1em;">Marblehead, Mass., <a href='#Page_8'><b>8</b></a>, <a href='#Page_60'><b>60</b></a>, <a href='#Page_81'><b>81</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_135'><b>135</b></a>.</span><br />
+<span style="margin-left: 2em;">Historical Society, <a href='#Page_89'><b>89</b></a>.</span><br />
+<span style="margin-left: 1em;">Marseilles, France, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 1em;">Maryland Manor, <a href='#Page_11'><b>11</b></a>.</span><br />
+<span style="margin-left: 1em;">"Mayflower," the, <a href='#Page_111'><b>111</b></a>.</span><br />
+<span style="margin-left: 1em;">Mayhew (designer), <a href='#Page_98'><b>98</b></a>.</span><br />
+<span style="margin-left: 1em;">May house, <a href='#Page_37'><b>37</b></a>.</span><br />
+<span style="margin-left: 1em;">Merchant princes, <a href='#Page_19'><b>19</b></a>.</span><br />
+<span style="margin-left: 1em;">Metropolitan Museum, <a href='#Page_209'><b>209</b></a>.</span><br />
+<span style="margin-left: 1em;">Mexican War, <a href='#Page_207'><b>207</b></a>.</span><br />
+<span style="margin-left: 1em;">Meyer, Hon. George von L., <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 1em;">Middleton, Moses, <a href='#Page_11'><b>11</b></a>.</span><br />
+<span style="margin-left: 2em;">collection, <a href='#Page_11'><b>11</b></a>, <a href='#Page_131'><b>131</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_131'><b>131</b></a>.</span><br />
+<span style="margin-left: 1em;">Militia, first company of, <a href='#Page_7'><b>7</b></a>.</span><br />
+<span style="margin-left: 1em;">Mills, Henry, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 1em;">Mirrors, Adam, <a href='#Page_140'><b>140</b></a>.</span><br />
+<span style="margin-left: 2em;">Bilboa, <a href='#Page_135'><b>135</b></a>.</span><br />
+<span style="margin-left: 2em;">bull's-eye, <a href='#Page_140'><b>140</b></a>.</span><br />
+<span style="margin-left: 2em;">Chippendale, <a href='#Page_136'><b>136</b></a>, <a href='#Page_140'><b>140</b></a>.</span><br />
+<span style="margin-left: 2em;">Constitution, <a href='#Page_137'><b>137</b></a>.</span><br />
+<span style="margin-left: 2em;">"Courtney," <a href='#Page_143'><b>143</b></a>.</span><br />
+<span style="margin-left: 2em;">frames, <a href='#Page_134'><b>134</b></a>.</span><br />
+<span style="margin-left: 2em;">girandole, <a href='#Page_140'><b>140</b></a>, <a href='#Page_141'><b>141</b></a>.</span><br />
+<span style="margin-left: 2em;">glass, <a href='#Page_134'><b>134</b></a>.</span><br />
+<span style="margin-left: 2em;">knobs, <a href='#Page_137'><b>137</b></a>.</span><br />
+<span style="margin-left: 2em;">Lafayette, <a href='#Page_143'><b>143</b></a>.</span><br />
+<span style="margin-left: 2em;">late colonial, <a href='#Page_141'><b>141</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br />
+<span style="margin-left: 2em;">mantel, <a href='#Page_139'><b>139</b></a>-<a href='#Page_140'><b>140</b></a>.</span><br />
+<span style="margin-left: 2em;">metal, <a href='#Page_133'><b>133</b></a>, <a href='#Page_134'><b>134</b></a>.</span><br />
+<span style="margin-left: 2em;">origin of, <a href='#Page_133'><b>133</b></a>.</span><br />
+<span style="margin-left: 2em;">paneled, <a href='#Page_141'><b>141</b></a>, <a href='#Page_142'><b>142</b></a>, <a href='#Page_143'><b>143</b></a>.</span><br />
+<span style="margin-left: 2em;">Queen Anne, <a href='#Page_136'><b>136</b></a>.</span><br />
+<span style="margin-left: 2em;">Venetian, <a href='#Page_134'><b>134</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br />
+<span style="margin-left: 2em;">with cornice overhanging, <a href='#Page_138'><b>138</b></a>, <a href='#Page_141'><b>141</b></a>.</span><br />
+<span style="margin-left: 1em;">Mitchell collection, <a href='#Page_199'><b>199</b></a>-<a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 1em;">Money, first paper, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 1em;">Mount Vernon, <a href='#Page_131'><b>131</b></a>.</span><br />
+<span style="margin-left: 1em;">Mullikin, Samuel, <a href='#Page_150'><b>150</b></a>.</span><br />
+<span style="margin-left: 1em;">Museum of Fine Arts, Boston, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">Myers, Myer, <a href='#Page_225'><b>225</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Nashville, Tenn., <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 1em;">Newburyport, Mass., <a href='#Page_48'><b>48</b></a>, <a href='#Page_49'><b>49</b></a>, <a href='#Page_73'><b>73</b></a>, <a href='#Page_87'><b>87</b></a>, <a href='#Page_88'><b>88</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_203'><b>203</b></a>.</span><br />
+<span style="margin-left: 1em;">New England Historical Genealogical Society of Boston, <a href='#Page_147'><b>147</b></a>.</span><br />
+<span style="margin-left: 1em;">Newton, Mass., <a href='#Page_37'><b>37</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_142'><b>142</b></a>.</span><br />
+<span style="margin-left: 1em;">Nichols house, <a href='#Page_200'><b>200</b></a>.</span><br />
+<span style="margin-left: 1em;">North Andover, Mass., <a href='#Page_142'><b>142</b></a>.</span><br />
+<span style="margin-left: 1em;">Noyes house, <a href='#Page_113'><b>113</b></a>.</span><br />
+<span style="margin-left: 1em;">Nuremberg, Germany, <a href='#Page_212'><b>212</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Oak Knoll, <a href='#Page_47'><b>47</b></a>, <a href='#Page_60'><b>60</b></a>.</span><br />
+<span style="margin-left: 1em;">"Old Christmas," <a href='#Page_65'><b>65</b></a>.</span><br />
+<span style="margin-left: 1em;">Old Tom, Indian chieftain, <a href='#Page_12'><b>12</b></a>.</span><br />
+<span style="margin-left: 1em;">Oliver, Henry K., house, <a href='#Page_77'><b>77</b></a>.</span><br />
+<span style="margin-left: 1em;">Osgood house, <a href='#Page_109'><b>109</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_168'><b>168</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Page, Colonel Jeremiah, <a href='#Page_6'><b>6</b></a>.</span><br />
+<span style="margin-left: 2em;">collection, <a href='#Page_175'><b>175</b></a>, <a href='#Page_180'><b>180</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_5'><b>5</b></a>, <a href='#Page_6'><b>6</b></a>.</span><br />
+<span style="margin-left: 2em;">Mistress, <a href='#Page_6'><b>6</b></a>.</span><br />
+<span style="margin-left: 1em;">Panels, hand-made, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 1em;">Parties at Salem, <a href='#Page_167'><b>167</b></a>.</span><br />
+<span style="margin-left: 1em;">Peabody, Captain Joseph, <a href='#Page_11'><b>11</b></a>, <a href='#Page_46'><b>46</b></a>, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 2em;">Elizabeth, <a href='#Page_24'><b>24</b></a>.</span><br />
+<span style="margin-left: 2em;">Joseph Augustus, <a href='#Page_46'><b>46</b></a>.</span><br />
+<span style="margin-left: 2em;">Sophia, <a href='#Page_24'><b>24</b></a>.</span><br />
+<span style="margin-left: 1em;">Peacock Inn, <a href='#Page_4'><b>4</b></a>.</span><br />
+<span style="margin-left: 1em;">Pearson, Ebenezer, <a href='#Page_73'><b>73</b></a>.</span><br />
+<span style="margin-left: 1em;">Perkins, Dr. George, <a href='#Page_74'><b>74</b></a>.</span><br />
+<span style="margin-left: 1em;">Perry, Mrs. Charles, <a href='#Page_48'><b>48</b></a>.</span><br />
+<span style="margin-left: 1em;">Pewter, <a href='#Page_71'><b>71</b></a>, <a href='#Page_162'><b>162</b></a>, <a href='#Page_167'><b>167</b></a>, <a href='#Page_168'><b>168</b></a>, <a href='#Page_194'><b>194</b></a>, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 2em;">American, <a href='#Page_217'><b>217</b></a>.</span><br />
+<span style="margin-left: 2em;">chargers, <a href='#Page_210'><b>210</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 2em;">collections of, <a href='#Page_219'><b>219</b></a>, <a href='#Page_220'><b>220</b></a>.</span><br />
+<span style="margin-left: 2em;">composition of, <a href='#Page_210'><b>210</b></a>.</span><br />
+<span style="margin-left: 2em;">development in France, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 2em;">Dutch, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 2em;">ecclesiastical, <a href='#Page_213'><b>213</b></a>, <a href='#Page_218'><b>218</b></a>.</span><br />
+<span style="margin-left: 2em;">English, <a href='#Page_213'><b>213</b></a>, <a href='#Page_215'><b>215</b></a>, <a href='#Page_217'><b>217</b></a>.</span><br />
+<span style="margin-left: 2em;">flagon, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 2em;">French, <a href='#Page_216'><b>216</b></a>.</span><br />
+<span style="margin-left: 2em;">German, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 2em;">guilds, <a href='#Page_215'><b>215</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br />
+<span style="margin-left: 2em;">historic teapot, <a href='#Page_220'><b>220</b></a>.</span><br />
+<span style="margin-left: 2em;">household, <a href='#Page_213'><b>213</b></a>, <a href='#Page_214'><b>214</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 2em;">imitation, <a href='#Page_218'><b>218</b></a>-<a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 2em;">in Rome, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 2em;">in sixteenth century, <a href='#Page_214'><b>214</b></a>.</span><br />
+<span style="margin-left: 2em;">Japanese, <a href='#Page_211'><b>211</b></a>, <a href='#Page_221'><b>221</b></a>.</span><br />
+<span style="margin-left: 2em;">lamps, <a href='#Page_219'><b>219</b></a>, <a href='#Page_220'><b>220</b></a>.</span><br />
+<span style="margin-left: 2em;">marks on, <a href='#Page_214'><b>214</b></a>-<a href='#Page_221'><b>221</b></a>.</span><br />
+<span style="margin-left: 2em;">old, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 2em;">origin of, <a href='#Page_211'><b>211</b></a>, <a href='#Page_213'><b>213</b></a>.</span><br />
+<span style="margin-left: 2em;">plates, <a href='#Page_210'><b>210</b></a>, <a href='#Page_219'><b>219</b></a>, <a href='#Page_221'><b>221</b></a>.</span><br />
+<span style="margin-left: 2em;">rarest in existence, <a href='#Page_221'><b>221</b></a>.</span><br />
+<span style="margin-left: 2em;">salver, <a href='#Page_212'><b>212</b></a>.</span><br />
+<span style="margin-left: 2em;">Scotch, <a href='#Page_212'><b>212</b></a>, <a href='#Page_216'><b>216</b></a>.</span><br />
+<span style="margin-left: 2em;">seals, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 2em;">Spanish, <a href='#Page_213'><b>213</b></a>.</span><br />
+<span style="margin-left: 2em;">tankards, <a href='#Page_210'><b>210</b></a>, <a href='#Page_219'><b>219</b></a>.</span><br />
+<span style="margin-left: 2em;">use discontinued, <a href='#Page_216'><b>216</b></a>.</span><br />
+<span style="margin-left: 2em;">value of, <a href='#Page_217'><b>217</b></a>.</span><br />
+<span style="margin-left: 2em;">where used, <a href='#Page_213'><b>213</b></a>-<a href='#Page_214'><b>214</b></a>.</span><br />
+<span style="margin-left: 1em;">Pewterer's Hall, London, <a href='#Page_215'><b>215</b></a>.</span><br />
+<span style="margin-left: 1em;">Philadelphia, Pa., <a href='#Page_28'><b>28</b></a>, <a href='#Page_51'><b>51</b></a>, <a href='#Page_75'><b>75</b></a>, <a href='#Page_208'><b>208</b></a>.</span><br />
+<span style="margin-left: 1em;">Phipps, Governor, <a href='#Page_90'><b>90</b></a>.</span><br />
+<span style="margin-left: 1em;">Pickering, Alice, <a href='#Page_72'><b>72</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_4'><b>4</b></a>, <a href='#Page_5'><b>5</b></a>, <a href='#Page_72'><b>72</b></a>, <a href='#Page_76'><b>76</b></a>, <a href='#Page_109'><b>109</b></a>.</span><br />
+<span style="margin-left: 2em;">John, <a href='#Page_4'><b>4</b></a>, <a href='#Page_5'><b>5</b></a>, <a href='#Page_72'><b>72</b></a>.</span><br />
+<span style="margin-left: 2em;">Rev. Theophilus, <a href='#Page_76'><b>76</b></a>.</span><br />
+<span style="margin-left: 2em;">Timothy, <a href='#Page_5'><b>5</b></a>, <a href='#Page_109'><b>109</b></a>.</span><br />
+<span style="margin-left: 1em;">Pierce, Franklin, <a href='#Page_89'><b>89</b></a>.</span><br />
+<span style="margin-left: 2em;">Governor, <a href='#Page_89'><b>89</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_89'><b>89</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 2em;">Mr., <a href='#Page_25'><b>25</b></a>.</span><br />
+<span style="margin-left: 1em;">Pierce-Jahonnot house, <a href='#Page_25'><b>25</b></a>.</span><br />
+<span style="margin-left: 1em;">Pierce-Nichols house, <a href='#Page_139'><b>139</b></a>.</span><br />
+<span style="margin-left: 1em;">Pilasters, fluted, <a href='#Page_22'><b>22</b></a>.</span><br />
+<span style="margin-left: 1em;">Pilgrim Hall, <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 1em;">Pillars, carved, <a href='#Page_8'><b>8</b></a>.</span><br />
+<span style="margin-left: 2em;">packed with salt, <a href='#Page_14'><b>14</b></a>.</span><br />
+<span style="margin-left: 1em;">Pitcher, Moll, <a href='#Page_95'><b>95</b></a>.</span><br />
+<span style="margin-left: 1em;">Planche, Mons., <a href='#Page_186'><b>186</b></a>, <a href='#Page_188'><b>188</b></a>.</span><br />
+<span style="margin-left: 1em;">Plants and flowers, <a href='#Page_41'><b>41</b></a>, <a href='#Page_42'><b>42</b></a>.</span><br />
+<span style="margin-left: 2em;">azaleas, <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 2em;">camellias, <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 2em;">night-blooming cereus, <a href='#Page_50'><b>50</b></a>.</span><br />
+<span style="margin-left: 2em;">oxeye daisy, <a href='#Page_44'><b>44</b></a>.</span><br />
+<span style="margin-left: 2em;">peonies, <a href='#Page_53'><b>53</b></a>.</span><br />
+<span style="margin-left: 2em;">pitcher plant, <a href='#Page_43'><b>43</b></a>.</span><br />
+<span style="margin-left: 2em;">tulips, <a href='#Page_53'><b>53</b></a>.</span><br />
+<span style="margin-left: 2em;"><i>Victoria Regia</i>, <a href='#Page_51'><b>51</b></a>.</span><br />
+<span style="margin-left: 2em;">whiteweed, <a href='#Page_44'><b>44</b></a>.</span><br />
+<span style="margin-left: 2em;">wild, <a href='#Page_42'><b>42</b></a>.</span><br />
+<span style="margin-left: 2em;">woadwaxen, <a href='#Page_44'><b>44</b></a>.</span><br />
+<span style="margin-left: 1em;">Plymouth, Conn., <a href='#Page_155'><b>155</b></a>.</span><br />
+<span style="margin-left: 2em;">County, <a href='#Page_217'><b>217</b></a>.</span><br />
+<span style="margin-left: 2em;">Mass., <a href='#Page_93'><b>93</b></a>.</span><br />
+<span style="margin-left: 1em;">Poore, Major Benjamin Perky, <a href='#Page_48'><b>48</b></a>.</span><br />
+<span style="margin-left: 1em;">Porcelain, Chinese, <a href='#Page_179'><b>179</b></a>, <a href='#Page_185'><b>185</b></a>.</span><br />
+<span style="margin-left: 2em;">Japanese, <a href='#Page_179'><b>179</b></a>.</span><br />
+<span style="margin-left: 2em;">Lowestoft, <a href='#Page_184'><b>184</b></a>.</span><br />
+<span style="margin-left: 1em;">Porch, Andrews, <a href='#Page_21'><b>21</b></a>.</span><br />
+<span style="margin-left: 2em;">Assembly House, <a href='#Page_24'><b>24</b></a>.</span><br />
+<span style="margin-left: 2em;">circular, <a href='#Page_13'><b>13</b></a>, <a href='#Page_17'><b>17</b></a>, <a href='#Page_21'><b>21</b></a>.</span><br />
+<span style="margin-left: 2em;">construction of, <a href='#Page_17'><b>17</b></a>.</span><br />
+<span style="margin-left: 2em;">contour, <a href='#Page_17'><b>17</b></a>.</span><br />
+<span style="margin-left: 2em;">Dutch, <a href='#Page_25'><b>25</b></a>.</span><br />
+<span style="margin-left: 2em;">Gardiner, <a href='#Page_21'><b>21</b></a>.</span><br />
+<span style="margin-left: 2em;">hand-carved, <a href='#Page_17'><b>17</b></a>, <a href='#Page_18'><b>18</b></a>, <a href='#Page_24'><b>24</b></a>.</span><br />
+<span style="margin-left: 2em;">historic, <a href='#Page_20'><b>20</b></a>, <a href='#Page_24'><b>24</b></a>.</span><br />
+<span style="margin-left: 2em;">inclosed, <a href='#Page_23'><b>23</b></a>, <a href='#Page_54'><b>54</b></a>.</span><br />
+<span style="margin-left: 2em;">Lord, <a href='#Page_22'><b>22</b></a>.</span><br />
+<span style="margin-left: 2em;">Middle States, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 2em;">New England, <a href='#Page_17'><b>17</b></a>, <a href='#Page_19'><b>19</b></a>, <a href='#Page_28'><b>28</b></a>.</span><br />
+<span style="margin-left: 2em;">oblong, <a href='#Page_17'><b>17</b></a>.</span><br />
+<span style="margin-left: 2em;">Philadelphia, <a href='#Page_28'><b>28</b></a>.</span><br />
+<span style="margin-left: 2em;">Pickman, <a href='#Page_27'><b>27</b></a>.</span><br />
+<span style="margin-left: 2em;">Pierce-Jahonnot, <a href='#Page_25'><b>25</b></a>-<a href='#Page_26'><b>26</b></a>.</span><br />
+<span style="margin-left: 2em;">Robinson, <a href='#Page_14'><b>14</b></a>.</span><br />
+<span style="margin-left: 2em;">side, <a href='#Page_14'><b>14</b></a>, <a href='#Page_22'><b>22</b></a>, <a href='#Page_23'><b>23</b></a>.</span><br />
+<span style="margin-left: 2em;">Southern, <a href='#Page_17'><b>17</b></a>, <a href='#Page_19'><b>19</b></a>.</span><br />
+<span style="margin-left: 2em;">square, <a href='#Page_17'><b>17</b></a>.</span><br />
+<span style="margin-left: 2em;">three-cornered, <a href='#Page_17'><b>17</b></a>.</span><br />
+<span style="margin-left: 2em;">types of, <a href='#Page_19'><b>19</b></a>, <a href='#Page_20'><b>20</b></a>.</span><br />
+<span style="margin-left: 1em;">Portland Vase, <a href='#Page_195'><b>195</b></a>.</span><br />
+<span style="margin-left: 2em;">replica of, <a href='#Page_192'><b>192</b></a>.</span><br />
+<span style="margin-left: 1em;">Portsmouth, N.&nbsp;H., <a href='#Page_9'><b>9</b></a>, <a href='#Page_10'><b>10</b></a>, <a href='#Page_90'><b>90</b></a>, <a href='#Page_109'><b>109</b></a>, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 1em;">Poynton, Captain Thomas, <a href='#Page_27'><b>27</b></a>.</span><br />
+<span style="margin-left: 1em;">Putnam, General Israel, <a href='#Page_111'><b>111</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Quincy, Mass., <a href='#Page_163'><b>163</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Redmond, John, <a href='#Page_166'><b>166</b></a>.</span><br />
+<span style="margin-left: 1em;">Reformation, the, <a href='#Page_214'><b>214</b></a>.</span><br />
+<span style="margin-left: 1em;">Revere, Paul, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 1em;">Revolution, the, <a href='#Page_3'><b>3</b></a>, <a href='#Page_4'><b>4</b></a>, <a href='#Page_7'><b>7</b></a>, <a href='#Page_9'><b>9</b></a>, <a href='#Page_10'><b>10</b></a>, <a href='#Page_19'><b>19</b></a>, <a href='#Page_35'><b>35</b></a>, <a href='#Page_69'><b>69</b></a>, <a href='#Page_89'><b>89</b></a>, <a href='#Page_94'><b>94</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_113'><b>113</b></a>, <a href='#Page_135'><b>135</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_226'><b>226</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br />
+<span style="margin-left: 1em;">Rhode Island, <a href='#Page_11'><b>11</b></a>.</span><br />
+<span style="margin-left: 1em;">Ridout, George, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 1em;">Robinson, Nathan, <a href='#Page_14'><b>14</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_71'><b>71</b></a>.</span><br />
+<span style="margin-left: 1em;">Rogers collection, <a href='#Page_191'><b>191</b></a>.</span><br />
+<span style="margin-left: 1em;">Rome, Italy, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">Roof, flat, <a href='#Page_20'><b>20</b></a>.</span><br />
+<span style="margin-left: 2em;">gambrel, <a href='#Page_8'><b>8</b></a>, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 2em;">pitched, <a href='#Page_7'><b>7</b></a>.</span><br />
+<span style="margin-left: 2em;">thatched, <a href='#Page_2'><b>2</b></a>.</span><br />
+<span style="margin-left: 1em;">Ropes, Caleb, <a href='#Page_51'><b>51</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_111'><b>111</b></a>.</span><br />
+<span style="margin-left: 1em;">Rose (potter), <a href='#Page_183'><b>183</b></a>.</span><br />
+<span style="margin-left: 2em;">mark, <a href='#Page_183'><b>183</b></a>.</span><br />
+<span style="margin-left: 1em;">Rotterdam, china warehouse at, <a href='#Page_184'><b>184</b></a>.</span><br />
+<span style="margin-left: 1em;">Rouseley, England, <a href='#Page_4'><b>4</b></a>.</span><br />
+<span style="margin-left: 1em;">Rowley, Mass., <a href='#Page_141'><b>141</b></a>.</span><br />
+<span style="margin-left: 1em;">Roxbury, Mass., <a href='#Page_148'><b>148</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Salem, Mass., <a href='#Page_4'><b>4</b></a>, <a href='#Page_6'><b>6</b></a>, <a href='#Page_7'><b>7</b></a>, <a href='#Page_11'><b>11</b></a>, <a href='#Page_13'><b>13</b></a>, <a href='#Page_18'><b>18</b></a>, <a href='#Page_20'><b>20</b></a>, <a href='#Page_23'><b>23</b></a>, <a href='#Page_24'><b>24</b></a>, <a href='#Page_25'><b>25</b></a>, <a href='#Page_28'><b>28</b></a>, <a href='#Page_36'><b>36</b></a>, <a href='#Page_38'><b>38</b></a>, <a href='#Page_46'><b>46</b></a>, <a href='#Page_49'><b>49</b></a>, <a href='#Page_60'><b>60</b></a>, <a href='#Page_69'><b>69</b></a>, <a href='#Page_70'><b>70</b></a>, <a href='#Page_71'><b>71</b></a>, <a href='#Page_72'><b>72</b></a>, <a href='#Page_74'><b>74</b></a>, <a href='#Page_77'><b>77</b></a>, <a href='#Page_80'><b>80</b></a>, <a href='#Page_84'><b>84</b></a>, <a href='#Page_93'><b>93</b></a>, <a href='#Page_95'><b>95</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_109'><b>109</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_132'><b>132</b></a>, <a href='#Page_138'><b>138</b></a>, <a href='#Page_139'><b>139</b></a>, <a href='#Page_141'><b>141</b></a>, <a href='#Page_143'><b>143</b></a>, <a href='#Page_150'><b>150</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_162'><b>162</b></a>, <a href='#Page_164'><b>164</b></a>, <a href='#Page_166'><b>166</b></a>, <a href='#Page_168'><b>168</b></a>, <a href='#Page_169'><b>169</b></a>, <a href='#Page_189'><b>189</b></a>, <a href='#Page_200'><b>200</b></a>, <a href='#Page_202'><b>202</b></a>, <a href='#Page_203'><b>203</b></a>, <a href='#Page_217'><b>217</b></a>, <a href='#Page_220'><b>220</b></a>, <a href='#Page_223'><b>223</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 1em;">Salem Club, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 1em;">Saltonstall, Dr. Nathaniel, <a href='#Page_76'><b>76</b></a>, <a href='#Page_130'><b>130</b></a>.</span><br />
+<span style="margin-left: 2em;">family, <a href='#Page_141'><b>141</b></a>.</span><br />
+<span style="margin-left: 2em;">Sir Richard, <a href='#Page_130'><b>130</b></a>.</span><br />
+<span style="margin-left: 1em;">Saltonstall-Howe house, <a href='#Page_76'><b>76</b></a>.</span><br />
+<span style="margin-left: 1em;">Sanders, Thomas, house, <a href='#Page_70'><b>70</b></a>.</span><br />
+<span style="margin-left: 1em;">Saugus, Mass., <a href='#Page_72'><b>72</b></a>, <a href='#Page_153'><b>153</b></a>.</span><br />
+<span style="margin-left: 1em;">Saxony, <a href='#Page_186'><b>186</b></a>, <a href='#Page_196'><b>196</b></a>.</span><br />
+<span style="margin-left: 1em;">Schwanhard, George, <a href='#Page_198'><b>198</b></a>.</span><br />
+<span style="margin-left: 1em;">Sconces, in Osgood house, <a href='#Page_168'><b>168</b></a>.</span><br />
+<span style="margin-left: 2em;">wall, <a href='#Page_167'><b>167</b></a>.</span><br />
+<span style="margin-left: 1em;">Scotland, <a href='#Page_9'><b>9</b></a>, <a href='#Page_212'><b>212</b></a>, <a href='#Page_214'><b>214</b></a>.</span><br />
+<span style="margin-left: 1em;">Sharp, William, <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 1em;">Shearer (designer), <a href='#Page_114'><b>114</b></a>.</span><br />
+<span style="margin-left: 1em;">Sheraton (designer), <a href='#Page_92'><b>92</b></a>, <a href='#Page_97'><b>97</b></a>, <a href='#Page_100'><b>100</b></a>-<a href='#Page_102'><b>102</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_128'><b>128</b></a>, <a href='#Page_146'><b>146</b></a>, <a href='#Page_236'><b>236</b></a>.</span><br />
+<span style="margin-left: 1em;">Shoemaker, Colonel George, <a href='#Page_75'><b>75</b></a>.</span><br />
+<span style="margin-left: 1em;">Sideboards, <a href='#Page_113'><b>113</b></a>, <a href='#Page_114'><b>114</b></a>.</span><br />
+<span style="margin-left: 2em;">Chippendale, <a href='#Page_114'><b>114</b></a>.</span><br />
+<span style="margin-left: 2em;">Empire, <a href='#Page_116'><b>116</b></a>.</span><br />
+<span style="margin-left: 2em;">Hepplewhite, <a href='#Page_114'><b>114</b></a>.</span><br />
+<span style="margin-left: 2em;">inlaid, <a href='#Page_115'><b>115</b></a>.</span><br />
+<span style="margin-left: 2em;">Shearer, <a href='#Page_114'><b>114</b></a>.</span><br />
+<span style="margin-left: 2em;">Sheraton, <a href='#Page_115'><b>115</b></a>.</span><br />
+<span style="margin-left: 1em;">Silesia, <a href='#Page_196'><b>196</b></a>.</span><br />
+<span style="margin-left: 1em;">Silsbee house, <a href='#Page_21'><b>21</b></a>.</span><br />
+<span style="margin-left: 1em;">Silver, American, <a href='#Page_223'><b>223</b></a>, <a href='#Page_224'><b>224</b></a>.</span><br />
+<span style="margin-left: 2em;">baronial, <a href='#Page_223'><b>223</b></a>.</span><br />
+<span style="margin-left: 2em;">beaker, <a href='#Page_224'><b>224</b></a>.</span><br />
+<span style="margin-left: 2em;">bowls, <a href='#Page_225'><b>225</b></a>, <a href='#Page_226'><b>226</b></a>, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_234'><b>234</b></a>, <a href='#Page_235'><b>235</b></a>.</span><br />
+<span style="margin-left: 2em;">caddy, <a href='#Page_229'><b>229</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 2em;">cake basket, <a href='#Page_234'><b>234</b></a>.</span><br />
+<span style="margin-left: 2em;">candle bowl, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 2em;">candlesticks, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 2em;">cans, <a href='#Page_226'><b>226</b></a>.</span><br />
+<span style="margin-left: 2em;">chased, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br />
+<span style="margin-left: 2em;">communion service, <a href='#Page_223'><b>223</b></a>.</span><br />
+<span style="margin-left: 2em;">creamer, <a href='#Page_234'><b>234</b></a>.</span><br />
+<span style="margin-left: 2em;">cruet stand, <a href='#Page_234'><b>234</b></a>.</span><br />
+<span style="margin-left: 2em;">English, <a href='#Page_224'><b>224</b></a>.</span><br />
+<span style="margin-left: 2em;">engraved, <a href='#Page_226'><b>226</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 2em;">hallmarks on, <a href='#Page_224'><b>224</b></a>, <a href='#Page_226'><b>226</b></a>, <a href='#Page_230'><b>230</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 2em;">"hog" bowl, <a href='#Page_235'><b>235</b></a>.</span><br />
+<span style="margin-left: 2em;">of Paul Revere, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 2em;">pitcher, <a href='#Page_233'><b>233</b></a>.</span><br />
+<span style="margin-left: 2em;">plates, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 2em;">snuffbox, <a href='#Page_232'><b>232</b></a>, <a href='#Page_236'><b>236</b></a>.</span><br />
+<span style="margin-left: 2em;">spice box, <a href='#Page_236'><b>236</b></a>.</span><br />
+<span style="margin-left: 2em;">spoons, <a href='#Page_226'><b>226</b></a>-<a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 2em;">table utensils, <a href='#Page_236'><b>236</b></a>.</span><br />
+<span style="margin-left: 2em;">tankards, <a href='#Page_232'><b>232</b></a>, <a href='#Page_233'><b>233</b></a>.</span><br />
+<span style="margin-left: 2em;">teapots, <a href='#Page_226'><b>226</b></a>, <a href='#Page_233'><b>233</b></a>, <a href='#Page_234'><b>234</b></a>.</span><br />
+<span style="margin-left: 2em;">tongs, <a href='#Page_235'><b>235</b></a>.</span><br />
+<span style="margin-left: 1em;">Simpson, Dr. James E., <a href='#Page_52'><b>52</b></a>.</span><br />
+<span style="margin-left: 1em;">Snuffer boats, <a href='#Page_168'><b>168</b></a>.</span><br />
+<span style="margin-left: 1em;">Snuffers, <a href='#Page_168'><b>168</b></a>.</span><br />
+<span style="margin-left: 1em;">Sofas, <a href='#Page_97'><b>97</b></a>, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 2em;">Adam, <a href='#Page_103'><b>103</b></a>.</span><br />
+<span style="margin-left: 2em;">Chippendale, <a href='#Page_103'><b>103</b></a>.</span><br />
+<span style="margin-left: 2em;">Cornucopia, <a href='#Page_103'><b>103</b></a>.</span><br />
+<span style="margin-left: 2em;">Darby and Joan, <a href='#Page_103'><b>103</b></a>.</span><br />
+<span style="margin-left: 2em;">Empire, <a href='#Page_104'><b>104</b></a>.</span><br />
+<span style="margin-left: 2em;">haircloth, <a href='#Page_103'><b>103</b></a>.</span><br />
+<span style="margin-left: 2em;">Louis XV, <a href='#Page_103'><b>103</b></a>.</span><br />
+<span style="margin-left: 2em;">Sheraton, <a href='#Page_103'><b>103</b></a>.</span><br />
+<span style="margin-left: 1em;">Spain, <a href='#Page_135'><b>135</b></a>, <a href='#Page_212'><b>212</b></a>, <a href='#Page_213'><b>213</b></a>.</span><br />
+<span style="margin-left: 1em;">Spofford, Harriet Prescott, <a href='#Page_73'><b>73</b></a>.</span><br />
+<span style="margin-left: 1em;">Spoons, "Apostle," <a href='#Page_227'><b>227</b></a>, <a href='#Page_228'><b>228</b></a>.</span><br />
+<span style="margin-left: 2em;">"caddy," <a href='#Page_228'><b>228</b></a>, <a href='#Page_229'><b>229</b></a>, <a href='#Page_231'><b>231</b></a>, <a href='#Page_232'><b>232</b></a>.</span><br />
+<span style="margin-left: 2em;">candle, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 2em;">imitations, <a href='#Page_230'><b>230</b></a>, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 2em;">"rat-tail," <a href='#Page_226'><b>226</b></a>.</span><br />
+<span style="margin-left: 2em;">snuff, <a href='#Page_231'><b>231</b></a>.</span><br />
+<span style="margin-left: 2em;">teaspoons, <a href='#Page_226'><b>226</b></a>.</span><br />
+<span style="margin-left: 1em;">Sprague, Joseph, <a href='#Page_6'><b>6</b></a></span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 1em;">Staffordshire factories, <a href='#Page_173'><b>173</b></a>, <a href='#Page_175'><b>175</b></a>, <a href='#Page_184'><b>184</b></a>.</span><br />
+<span style="margin-left: 1em;">Staircase, <a href='#Page_55'><b>55</b></a>, <a href='#Page_59'><b>59</b></a>.</span><br />
+<span style="margin-left: 2em;">balusters, <a href='#Page_59'><b>59</b></a>.</span><br />
+<span style="margin-left: 2em;">"Hey Bonnie Hall," <a href='#Page_61'><b>61</b></a>.</span><br />
+<span style="margin-left: 2em;">"Oak Knoll," <a href='#Page_60'><b>60</b></a>.</span><br />
+<span style="margin-left: 2em;">spiral, <a href='#Page_60'><b>60</b></a>.</span><br />
+<span style="margin-left: 2em;">winder, <a href='#Page_60'><b>60</b></a>.</span><br />
+<span style="margin-left: 1em;">Stark, Charles Morris, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 2em;">Major Caleb, <a href='#Page_8'><b>8</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_8'><b>8</b></a>, <a href='#Page_56'><b>56</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_151'><b>151</b></a>.</span><br />
+<span style="margin-left: 1em;">State House, Boston, <a href='#Page_15'><b>15</b></a>.</span><br />
+<span style="margin-left: 1em;">Stearns house, <a href='#Page_6'><b>6</b></a>.</span><br />
+<span style="margin-left: 1em;">Steigel Baron, <a href='#Page_204'><b>204</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_204'><b>204</b></a>.</span><br />
+<span style="margin-left: 1em;">Stogumber Church, Somerset, <a href='#Page_39'><b>39</b></a>.</span><br />
+<span style="margin-left: 1em;">Stoves, "Cat Stone," <a href='#Page_75'><b>75</b></a>.</span><br />
+<span style="margin-left: 2em;">Franklin, <a href='#Page_73'><b>73</b></a>, <a href='#Page_74'><b>74</b></a>, <a href='#Page_75'><b>75</b></a>, <a href='#Page_76'><b>76</b></a>.</span><br />
+<span style="margin-left: 2em;">hub grate, <a href='#Page_75'><b>75</b></a>, <a href='#Page_76'><b>76</b></a>, <a href='#Page_77'><b>77</b></a>.</span><br />
+<span style="margin-left: 1em;">Summer house, <a href='#Page_44'><b>44</b></a>.</span><br />
+<span style="margin-left: 2em;">on Peabody estate, <a href='#Page_46'><b>46</b></a>-<a href='#Page_47'><b>47</b></a>.</span><br />
+<span style="margin-left: 1em;">Susquehanna Valley, <a href='#Page_75'><b>75</b></a>.</span><br />
+<span style="margin-left: 1em;">Sutton Mills, Andover, <a href='#Page_47'><b>47</b></a>.</span><br />
+<span style="margin-left: 1em;">Swampscott, Mass., <a href='#Page_152'><b>152</b></a>.</span><br />
+<span style="margin-left: 1em;">Switzerland, <a href='#Page_212'><b>212</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Tables, butterfly, <a href='#Page_116'><b>116</b></a>.</span><br />
+<span style="margin-left: 2em;">card, <a href='#Page_118'><b>118</b></a>.</span><br />
+<span style="margin-left: 2em;">chair, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 2em;">dining, <a href='#Page_117'><b>117</b></a>, <a href='#Page_118'><b>118</b></a>.</span><br />
+<span style="margin-left: 2em;">dish-top, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 2em;">Dutch, <a href='#Page_117'><b>117</b></a>, <a href='#Page_118'><b>118</b></a>.</span><br />
+<span style="margin-left: 2em;">Empire, <a href='#Page_118'><b>118</b></a>.</span><br />
+<span style="margin-left: 2em;">hundred-legged, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 2em;">Kidney, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 2em;">Pembroke, <a href='#Page_118'><b>118</b></a>.</span><br />
+<span style="margin-left: 2em;">pie-crust, <a href='#Page_118'><b>118</b></a>.</span><br />
+<span style="margin-left: 2em;">Pied, <a href='#Page_118'><b>118</b></a>.</span><br />
+<span style="margin-left: 2em;">pouch, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 2em;">Sheraton, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 2em;">table-top, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 2em;">tea, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 2em;">telescopic, <a href='#Page_118'><b>118</b></a>.</span><br />
+<span style="margin-left: 2em;">writing, <a href='#Page_117'><b>117</b></a>.</span><br />
+<span style="margin-left: 1em;">Terry, Eli, <a href='#Page_150'><b>150</b></a>, <a href='#Page_153'><b>153</b></a>, <a href='#Page_154'><b>154</b></a>, <a href='#Page_155'><b>155</b></a>.</span><br />
+<span style="margin-left: 2em;">family, <a href='#Page_150'><b>150</b></a>.</span><br />
+<span style="margin-left: 1em;">Thomas, Seth, <a href='#Page_155'><b>155</b></a>, <a href='#Page_156'><b>156</b></a>.</span><br />
+<span style="margin-left: 1em;">Tiles, <a href='#Page_76'><b>76</b></a>, <a href='#Page_180'><b>180</b></a>, <a href='#Page_181'><b>181</b></a>.</span><br />
+<span style="margin-left: 1em;">Tobies, Bennington, <a href='#Page_177'><b>177</b></a>.</span><br />
+<span style="margin-left: 2em;">Dutch, <a href='#Page_175'><b>175</b></a>.</span><br />
+<span style="margin-left: 2em;">French, <a href='#Page_175'><b>175</b></a>.</span><br />
+<span style="margin-left: 2em;">German, <a href='#Page_175'><b>175</b></a>.</span><br />
+<span style="margin-left: 2em;">Napoleon, <a href='#Page_175'><b>175</b></a>, <a href='#Page_176'><b>176</b></a>.</span><br />
+<span style="margin-left: 2em;">old, <a href='#Page_176'><b>176</b></a>.</span><br />
+<span style="margin-left: 2em;">Staffordshire, <a href='#Page_175'><b>175</b></a>.</span><br />
+<span style="margin-left: 2em;">teapot, <a href='#Page_177'><b>177</b></a>.</span><br />
+<span style="margin-left: 2em;">young, <a href='#Page_176'><b>176</b></a>.</span><br />
+<span style="margin-left: 1em;">Topsfield, Mass., <a href='#Page_55'><b>55</b></a>.</span><br />
+<span style="margin-left: 1em;">Tracy, John, <a href='#Page_49'><b>49</b></a>.</span><br />
+<span style="margin-left: 1em;">Tragees (silversmith), <a href='#Page_226'><b>226</b></a>.</span><br />
+<span style="margin-left: 1em;">Trees, on Derby farm, <a href='#Page_50'><b>50</b></a>.</span><br />
+<span style="margin-left: 2em;">on Indian Hill, <a href='#Page_48'><b>48</b></a>.</span><br />
+<span style="margin-left: 2em;">on Peabody estate, <a href='#Page_46'><b>46</b></a>.</span><br />
+<span style="margin-left: 1em;">Turgot, Mons., <a href='#Page_216'><b>216</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Van Dyck, Richard, <a href='#Page_225'><b>225</b></a>.</span><br />
+<span style="margin-left: 1em;">Vineyard and orchard, <a href='#Page_42'><b>42</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Wall papers, "Adventures of Telemachus," <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 2em;">"Bay of Naples," <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 2em;">block printing of, <a href='#Page_80'><b>80</b></a>, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 2em;">chariot race, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 2em;">"Cupid and Psyche," <a href='#Page_85'><b>85</b></a>.</span><br />
+<span style="margin-left: 2em;">"Don Quixote," <a href='#Page_84'><b>84</b></a>.</span><br />
+<span style="margin-left: 2em;">English, <a href='#Page_86'><b>86</b></a>, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 2em;">English hunt, <a href='#Page_84'><b>84</b></a>.</span><br />
+<span style="margin-left: 2em;">foreign scenes, <a href='#Page_86'><b>86</b></a>, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 2em;">French, <a href='#Page_86'><b>86</b></a>, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 2em;">importation of, <a href='#Page_82'><b>82</b></a>.</span><br />
+<span style="margin-left: 2em;">landscape, <a href='#Page_88'><b>88</b></a>, <a href='#Page_89'><b>89</b></a>.</span><br />
+<span style="margin-left: 2em;">made to order, <a href='#Page_83'><b>83</b></a>, <a href='#Page_89'><b>89</b></a>.</span><br />
+<span style="margin-left: 2em;">origin of, <a href='#Page_80'><b>80</b></a>.</span><br />
+<span style="margin-left: 2em;">panels of, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 2em;">Parisian views, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 2em;">picture, <a href='#Page_79'><b>79</b></a>, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 2em;">roll, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 2em;">Roman ruins, <a href='#Page_89'><b>89</b></a>.</span><br />
+<span style="margin-left: 2em;">squares of, <a href='#Page_81'><b>81</b></a>.</span><br />
+<span style="margin-left: 2em;">Venetian scenes, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 1em;">Walls, painted, <a href='#Page_81'><b>81</b></a>-<a href='#Page_83'><b>83</b></a>, <a href='#Page_90'><b>90</b></a>, <a href='#Page_91'><b>91</b></a>.</span><br />
+<span style="margin-left: 2em;">thick, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 2em;">unplastered, <a href='#Page_66'><b>66</b></a>.</span><br />
+<span style="margin-left: 1em;">Ware, Isaac, quoted, <a href='#Page_72'><b>72</b></a>.</span><br />
+<span style="margin-left: 1em;">Ware, wooden, <a href='#Page_213'><b>213</b></a>.</span><br />
+<span style="margin-left: 1em;">Warner, Hon. Jonathan, <a href='#Page_10'><b>10</b></a>, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_9'><b>9</b></a>, <a href='#Page_56'><b>56</b></a>, <a href='#Page_90'><b>90</b></a>, <a href='#Page_109'><b>109</b></a>, <a href='#Page_169'><b>169</b></a>.</span><br />
+<span style="margin-left: 1em;">War of 1812, <a href='#Page_143'><b>143</b></a>, <a href='#Page_234'><b>234</b></a>.</span><br />
+<span style="margin-left: 1em;">Warren, Russell, <a href='#Page_11'><b>11</b></a>.</span><br />
+<span style="margin-left: 1em;">Washington, George, <a href='#Page_10'><b>10</b></a>, <a href='#Page_25'><b>25</b></a>, <a href='#Page_88'><b>88</b></a>, <a href='#Page_130'><b>130</b></a>, <a href='#Page_138'><b>138</b></a>.</span><br />
+<span style="margin-left: 2em;">quoted, <a href='#Page_25'><b>25</b></a>.</span><br />
+<span style="margin-left: 1em;">Washingtonian period, <a href='#Page_19'><b>19</b></a>.</span><br />
+<span style="margin-left: 1em;">Waterbury, Conn., <a href='#Page_155'><b>155</b></a>.</span><br />
+<span style="margin-left: 1em;">Waters, Fitz, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 2em;">collection, <a href='#Page_93'><b>93</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_38'><b>38</b></a>, <a href='#Page_77'><b>77</b></a>, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 1em;">Wayland, Mass., <a href='#Page_35'><b>35</b></a>.</span><br />
+<span style="margin-left: 1em;">Webster, Daniel, <a href='#Page_23'><b>23</b></a>, <a href='#Page_111'><b>111</b></a>.</span><br />
+<span style="margin-left: 2em;">Fletcher, <a href='#Page_23'><b>23</b></a>.</span><br />
+<span style="margin-left: 1em;">Wedgwood ware, <a href='#Page_189'><b>189</b></a>.</span><br />
+<span style="margin-left: 2em;">cream, <a href='#Page_191'><b>191</b></a>.</span><br />
+<span style="margin-left: 2em;">jasper, <a href='#Page_191'><b>191</b></a>.</span><br />
+<span style="margin-left: 2em;">Portland Vase, <a href='#Page_192'><b>192</b></a>, <a href='#Page_195'><b>195</b></a>.</span><br />
+<span style="margin-left: 2em;">Queen's ware, <a href='#Page_190'><b>190</b></a>.</span><br />
+<span style="margin-left: 1em;">Wedgwood, Josiah, <a href='#Page_189'><b>189</b></a>, <a href='#Page_190'><b>190</b></a>, <a href='#Page_191'><b>191</b></a>, <a href='#Page_192'><b>192</b></a>.</span><br />
+<span style="margin-left: 1em;">Well room, the, <a href='#Page_12'><b>12</b></a>.</span><br />
+<span style="margin-left: 1em;">Wentworth, Governor Benning, <a href='#Page_10'><b>10</b></a>, <a href='#Page_115'><b>115</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_10'><b>10</b></a>, <a href='#Page_58'><b>58</b></a>.</span><br />
+<span style="margin-left: 2em;">Sir John, <a href='#Page_12'><b>12</b></a>.</span><br />
+<span style="margin-left: 1em;">West, Mrs. William C., <a href='#Page_189'><b>189</b></a>.</span><br />
+<span style="margin-left: 2em;">collection, <a href='#Page_189'><b>189</b></a>, <a href='#Page_202'><b>202</b></a>.</span><br />
+<span style="margin-left: 1em;">Westminster Abbey, <a href='#Page_146'><b>146</b></a>.</span><br />
+<span style="margin-left: 1em;">Westmoreland County, England, <a href='#Page_211'><b>211</b></a>.</span><br />
+<span style="margin-left: 1em;">West Newbury, Mass., <a href='#Page_12'><b>12</b></a>, <a href='#Page_48'><b>48</b></a>.</span><br />
+<span style="margin-left: 1em;">Wheelwright, William, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_88'><b>88</b></a>.</span><br />
+<span style="margin-left: 1em;">Whieldon, Thomas, <a href='#Page_189'><b>189</b></a>.</span><br />
+<span style="margin-left: 1em;">Whipple, Major George, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_7'><b>7</b></a>, <a href='#Page_23'><b>23</b></a>, <a href='#Page_87'><b>87</b></a>.</span><br />
+<span style="margin-left: 1em;">White, Captain Joseph, <a href='#Page_22'><b>22</b></a>.</span><br />
+<span style="margin-left: 2em;">Stephen, <a href='#Page_23'><b>23</b></a>.</span><br />
+<span style="margin-left: 1em;">White House, Washington, <a href='#Page_11'><b>11</b></a>.</span><br />
+<span style="margin-left: 1em;">Whittier, John Greenleaf, <a href='#Page_47'><b>47</b></a>, <a href='#Page_73'><b>73</b></a>.</span><br />
+<span style="margin-left: 2em;">garden, <a href='#Page_47'><b>47</b></a>.</span><br />
+<span style="margin-left: 2em;">house, <a href='#Page_37'><b>37</b></a>, <a href='#Page_47'><b>47</b></a>, <a href='#Page_160'><b>160</b></a>.</span><br />
+<span style="margin-left: 1em;">Wilkes-barre, Pa., <a href='#Page_75'><b>75</b></a>.</span><br />
+<span style="margin-left: 1em;">William and Mary, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 1em;">Willard, Aaron, <a href='#Page_148'><b>148</b></a>.</span><br />
+<span style="margin-left: 2em;">Benjamin, <a href='#Page_148'><b>148</b></a>.</span><br />
+<span style="margin-left: 2em;">Simon, <a href='#Page_149'><b>149</b></a>.</span><br />
+<span style="margin-left: 1em;">Windows, bull's-eye, <a href='#Page_57'><b>57</b></a>.</span><br />
+<span style="margin-left: 2em;">diamond paned, <a href='#Page_13'><b>13</b></a>.</span><br />
+<span style="margin-left: 2em;">dormer, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 2em;">fanlight, <a href='#Page_61'><b>61</b></a>.</span><br />
+<span style="margin-left: 2em;">leaded, <a href='#Page_5'><b>5</b></a>.</span><br />
+<span style="margin-left: 2em;">Lutheran, <a href='#Page_9'><b>9</b></a>.</span><br />
+<span style="margin-left: 1em;">Windsor, England, <a href='#Page_96'><b>96</b></a>.</span><br />
+<span style="margin-left: 1em;">Winthrop, Governor, <a href='#Page_42'><b>42</b></a>, <a href='#Page_161'><b>161</b></a>.</span><br />
+<span style="margin-left: 1em;">Wise, Rev. John, <a href='#Page_76'><b>76</b></a>.</span><br />
+<span style="margin-left: 1em;">Witchcraft days, <a href='#Page_26'><b>26</b></a>.</span><br />
+<span style="margin-left: 1em;">Woods used, apple, <a href='#Page_101'><b>101</b></a>, <a href='#Page_112'><b>112</b></a>.</span><br />
+<span style="margin-left: 2em;">cherry, <a href='#Page_108'><b>108</b></a>, <a href='#Page_111'><b>111</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_148'><b>148</b></a>.</span><br />
+<span style="margin-left: 2em;">forest trees, <a href='#Page_106'><b>106</b></a>.</span><br />
+<span style="margin-left: 2em;">hard, <a href='#Page_59'><b>59</b></a>, <a href='#Page_95'><b>95</b></a>.</span><br />
+<span style="margin-left: 2em;">harewood, <a href='#Page_129'><b>129</b></a>.</span><br />
+<span style="margin-left: 2em;">holly, <a href='#Page_114'><b>114</b></a>.</span><br />
+<span style="margin-left: 2em;">mahogany, <a href='#Page_59'><b>59</b></a>, <a href='#Page_61'><b>61</b></a>, <a href='#Page_99'><b>99</b></a>, <a href='#Page_100'><b>100</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_102'><b>102</b></a>, <a href='#Page_106'><b>106</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_115'><b>115</b></a>, <a href='#Page_127'><b>127</b></a>.</span><br />
+<span style="margin-left: 2em;">maple, <a href='#Page_109'><b>109</b></a>, <a href='#Page_114'><b>114</b></a>.</span><br />
+<span style="margin-left: 2em;">oak, <a href='#Page_108'><b>108</b></a>, <a href='#Page_147'><b>147</b></a>.</span><br />
+<span style="margin-left: 2em;">pine, <a href='#Page_147'><b>147</b></a>.</span><br />
+<span style="margin-left: 2em;">rosewood, <a href='#Page_101'><b>101</b></a>, <a href='#Page_102'><b>102</b></a>.</span><br />
+<span style="margin-left: 2em;">satinwood, <a href='#Page_100'><b>100</b></a>, <a href='#Page_101'><b>101</b></a>, <a href='#Page_114'><b>114</b></a>, <a href='#Page_129'><b>129</b></a>.</span><br />
+<span style="margin-left: 2em;">soft, <a href='#Page_59'><b>59</b></a>, <a href='#Page_95'><b>95</b></a>.</span><br />
+<span style="margin-left: 2em;">sycamore, <a href='#Page_129'><b>129</b></a>.</span><br />
+<span style="margin-left: 2em;">tulip, <a href='#Page_101'><b>101</b></a>, <a href='#Page_114'><b>114</b></a>.</span><br />
+<span style="margin-left: 2em;">walnut, <a href='#Page_60'><b>60</b></a>, <a href='#Page_108'><b>108</b></a>, <a href='#Page_111'><b>111</b></a>, <a href='#Page_112'><b>112</b></a>, <a href='#Page_129'><b>129</b></a>, <a href='#Page_147'><b>147</b></a>.</span><br />
+<span style="margin-left: 2em;">white, <a href='#Page_2'><b>2</b></a>, <a href='#Page_129'><b>129</b></a>.</span><br />
+<br />
+<span style="margin-left: 1em;">Yule log, <a href='#Page_64'><b>64</b></a>.</span><br />
+<br />
+</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Colonial Homes and Their Furnishings, by 
+Mary H. Northend
+
+*** END OF THIS PROJECT GUTENBERG EBOOK COLONIAL HOMES ***
+
+***** This file should be named 34897-h.htm or 34897-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/4/8/9/34897/
+
+Produced by Annie McGuire. This book was produced from
+scanned images of public domain material from the Internet
+Archive.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/34897-h/images/ill_001.jpg b/34897-h/images/ill_001.jpg
new file mode 100644
index 0000000..7f6dc4e
--- /dev/null
+++ b/34897-h/images/ill_001.jpg
diff --git a/34897-h/images/ill_002.jpg b/34897-h/images/ill_002.jpg
new file mode 100644
index 0000000..35cfe82
--- /dev/null
+++ b/34897-h/images/ill_002.jpg
diff --git a/34897-h/images/ill_003.jpg b/34897-h/images/ill_003.jpg
new file mode 100644
index 0000000..8304b58
--- /dev/null
+++ b/34897-h/images/ill_003.jpg
diff --git a/34897-h/images/ill_004.jpg b/34897-h/images/ill_004.jpg
new file mode 100644
index 0000000..3c85e5b
--- /dev/null
+++ b/34897-h/images/ill_004.jpg
diff --git a/34897-h/images/ill_005.jpg b/34897-h/images/ill_005.jpg
new file mode 100644
index 0000000..122cbb4
--- /dev/null
+++ b/34897-h/images/ill_005.jpg
diff --git a/34897-h/images/ill_006.jpg b/34897-h/images/ill_006.jpg
new file mode 100644
index 0000000..ba730e5
--- /dev/null
+++ b/34897-h/images/ill_006.jpg
diff --git a/34897-h/images/ill_007.jpg b/34897-h/images/ill_007.jpg
new file mode 100644
index 0000000..6ccdc6f
--- /dev/null
+++ b/34897-h/images/ill_007.jpg
diff --git a/34897-h/images/ill_008.jpg b/34897-h/images/ill_008.jpg
new file mode 100644
index 0000000..e3fdc36
--- /dev/null
+++ b/34897-h/images/ill_008.jpg
diff --git a/34897-h/images/ill_009.jpg b/34897-h/images/ill_009.jpg
new file mode 100644
index 0000000..aa0784d
--- /dev/null
+++ b/34897-h/images/ill_009.jpg
diff --git a/34897-h/images/ill_010.jpg b/34897-h/images/ill_010.jpg
new file mode 100644
index 0000000..b0e1d1b
--- /dev/null
+++ b/34897-h/images/ill_010.jpg
diff --git a/34897-h/images/ill_011.jpg b/34897-h/images/ill_011.jpg
new file mode 100644
index 0000000..ad1b366
--- /dev/null
+++ b/34897-h/images/ill_011.jpg
diff --git a/34897-h/images/ill_012.jpg b/34897-h/images/ill_012.jpg
new file mode 100644
index 0000000..d4bfcb4
--- /dev/null
+++ b/34897-h/images/ill_012.jpg
diff --git a/34897-h/images/ill_013.jpg b/34897-h/images/ill_013.jpg
new file mode 100644
index 0000000..326b9e5
--- /dev/null
+++ b/34897-h/images/ill_013.jpg
diff --git a/34897-h/images/ill_014.jpg b/34897-h/images/ill_014.jpg
new file mode 100644
index 0000000..0279cd0
--- /dev/null
+++ b/34897-h/images/ill_014.jpg
diff --git a/34897-h/images/ill_015.jpg b/34897-h/images/ill_015.jpg
new file mode 100644
index 0000000..0262df3
--- /dev/null
+++ b/34897-h/images/ill_015.jpg
diff --git a/34897-h/images/ill_016.jpg b/34897-h/images/ill_016.jpg
new file mode 100644
index 0000000..6a4ae17
--- /dev/null
+++ b/34897-h/images/ill_016.jpg
diff --git a/34897-h/images/ill_017.jpg b/34897-h/images/ill_017.jpg
new file mode 100644
index 0000000..39f653f
--- /dev/null
+++ b/34897-h/images/ill_017.jpg
diff --git a/34897-h/images/ill_018.jpg b/34897-h/images/ill_018.jpg
new file mode 100644
index 0000000..bcee7d5
--- /dev/null
+++ b/34897-h/images/ill_018.jpg
diff --git a/34897-h/images/ill_019.jpg b/34897-h/images/ill_019.jpg
new file mode 100644
index 0000000..eaf0057
--- /dev/null
+++ b/34897-h/images/ill_019.jpg
diff --git a/34897-h/images/ill_020.jpg b/34897-h/images/ill_020.jpg
new file mode 100644
index 0000000..dad005b
--- /dev/null
+++ b/34897-h/images/ill_020.jpg
diff --git a/34897-h/images/ill_021.jpg b/34897-h/images/ill_021.jpg
new file mode 100644
index 0000000..8f63c85
--- /dev/null
+++ b/34897-h/images/ill_021.jpg
diff --git a/34897-h/images/ill_022.jpg b/34897-h/images/ill_022.jpg
new file mode 100644
index 0000000..a500b8b
--- /dev/null
+++ b/34897-h/images/ill_022.jpg
diff --git a/34897-h/images/ill_023.jpg b/34897-h/images/ill_023.jpg
new file mode 100644
index 0000000..f325fdf
--- /dev/null
+++ b/34897-h/images/ill_023.jpg
diff --git a/34897-h/images/ill_024.jpg b/34897-h/images/ill_024.jpg
new file mode 100644
index 0000000..794033d
--- /dev/null
+++ b/34897-h/images/ill_024.jpg
diff --git a/34897-h/images/ill_025.jpg b/34897-h/images/ill_025.jpg
new file mode 100644
index 0000000..a51d908
--- /dev/null
+++ b/34897-h/images/ill_025.jpg
diff --git a/34897-h/images/ill_026.jpg b/34897-h/images/ill_026.jpg
new file mode 100644
index 0000000..31ac63d
--- /dev/null
+++ b/34897-h/images/ill_026.jpg
diff --git a/34897-h/images/ill_027.jpg b/34897-h/images/ill_027.jpg
new file mode 100644
index 0000000..74f8a70
--- /dev/null
+++ b/34897-h/images/ill_027.jpg
diff --git a/34897-h/images/ill_028.jpg b/34897-h/images/ill_028.jpg
new file mode 100644
index 0000000..ca44078
--- /dev/null
+++ b/34897-h/images/ill_028.jpg
diff --git a/34897-h/images/ill_029.jpg b/34897-h/images/ill_029.jpg
new file mode 100644
index 0000000..3f52b68
--- /dev/null
+++ b/34897-h/images/ill_029.jpg
diff --git a/34897-h/images/ill_030.jpg b/34897-h/images/ill_030.jpg
new file mode 100644
index 0000000..bffa376
--- /dev/null
+++ b/34897-h/images/ill_030.jpg
diff --git a/34897-h/images/ill_031.jpg b/34897-h/images/ill_031.jpg
new file mode 100644
index 0000000..fd928c3
--- /dev/null
+++ b/34897-h/images/ill_031.jpg
diff --git a/34897-h/images/ill_032.jpg b/34897-h/images/ill_032.jpg
new file mode 100644
index 0000000..35f649d
--- /dev/null
+++ b/34897-h/images/ill_032.jpg
diff --git a/34897-h/images/ill_033.jpg b/34897-h/images/ill_033.jpg
new file mode 100644
index 0000000..4936174
--- /dev/null
+++ b/34897-h/images/ill_033.jpg
diff --git a/34897-h/images/ill_034.jpg b/34897-h/images/ill_034.jpg
new file mode 100644
index 0000000..c0a9fc4
--- /dev/null
+++ b/34897-h/images/ill_034.jpg
diff --git a/34897-h/images/ill_035.jpg b/34897-h/images/ill_035.jpg
new file mode 100644
index 0000000..1ee6ace
--- /dev/null
+++ b/34897-h/images/ill_035.jpg
diff --git a/34897-h/images/ill_036.jpg b/34897-h/images/ill_036.jpg
new file mode 100644
index 0000000..4217d5a
--- /dev/null
+++ b/34897-h/images/ill_036.jpg
diff --git a/34897-h/images/ill_037.jpg b/34897-h/images/ill_037.jpg
new file mode 100644
index 0000000..677d253
--- /dev/null
+++ b/34897-h/images/ill_037.jpg
diff --git a/34897-h/images/ill_038.jpg b/34897-h/images/ill_038.jpg
new file mode 100644
index 0000000..fbc7fbd
--- /dev/null
+++ b/34897-h/images/ill_038.jpg
diff --git a/34897-h/images/ill_039.jpg b/34897-h/images/ill_039.jpg
new file mode 100644
index 0000000..9b99374
--- /dev/null
+++ b/34897-h/images/ill_039.jpg
diff --git a/34897-h/images/ill_040.jpg b/34897-h/images/ill_040.jpg
new file mode 100644
index 0000000..cabe202
--- /dev/null
+++ b/34897-h/images/ill_040.jpg
diff --git a/34897-h/images/ill_041.jpg b/34897-h/images/ill_041.jpg
new file mode 100644
index 0000000..82ec2bc
--- /dev/null
+++ b/34897-h/images/ill_041.jpg
diff --git a/34897-h/images/ill_042.jpg b/34897-h/images/ill_042.jpg
new file mode 100644
index 0000000..9894ed9
--- /dev/null
+++ b/34897-h/images/ill_042.jpg
diff --git a/34897-h/images/ill_043.jpg b/34897-h/images/ill_043.jpg
new file mode 100644
index 0000000..7844fc2
--- /dev/null
+++ b/34897-h/images/ill_043.jpg
diff --git a/34897-h/images/ill_044.jpg b/34897-h/images/ill_044.jpg
new file mode 100644
index 0000000..808bca4
--- /dev/null
+++ b/34897-h/images/ill_044.jpg
diff --git a/34897-h/images/ill_045.jpg b/34897-h/images/ill_045.jpg
new file mode 100644
index 0000000..818668b
--- /dev/null
+++ b/34897-h/images/ill_045.jpg
diff --git a/34897-h/images/ill_046.jpg b/34897-h/images/ill_046.jpg
new file mode 100644
index 0000000..d82be28
--- /dev/null
+++ b/34897-h/images/ill_046.jpg
diff --git a/34897-h/images/ill_047.jpg b/34897-h/images/ill_047.jpg
new file mode 100644
index 0000000..facc873
--- /dev/null
+++ b/34897-h/images/ill_047.jpg
diff --git a/34897-h/images/ill_048.jpg b/34897-h/images/ill_048.jpg
new file mode 100644
index 0000000..0719184
--- /dev/null
+++ b/34897-h/images/ill_048.jpg
diff --git a/34897-h/images/ill_049.jpg b/34897-h/images/ill_049.jpg
new file mode 100644
index 0000000..3ffee64
--- /dev/null
+++ b/34897-h/images/ill_049.jpg
diff --git a/34897-h/images/ill_050.jpg b/34897-h/images/ill_050.jpg
new file mode 100644
index 0000000..5be0c44
--- /dev/null
+++ b/34897-h/images/ill_050.jpg
diff --git a/34897-h/images/ill_051.jpg b/34897-h/images/ill_051.jpg
new file mode 100644
index 0000000..e23a6a3
--- /dev/null
+++ b/34897-h/images/ill_051.jpg
diff --git a/34897-h/images/ill_052.jpg b/34897-h/images/ill_052.jpg
new file mode 100644
index 0000000..9664fba
--- /dev/null
+++ b/34897-h/images/ill_052.jpg
diff --git a/34897-h/images/ill_053.jpg b/34897-h/images/ill_053.jpg
new file mode 100644
index 0000000..36c413f
--- /dev/null
+++ b/34897-h/images/ill_053.jpg
diff --git a/34897-h/images/ill_054.jpg b/34897-h/images/ill_054.jpg
new file mode 100644
index 0000000..f9485dc
--- /dev/null
+++ b/34897-h/images/ill_054.jpg
diff --git a/34897-h/images/ill_055.jpg b/34897-h/images/ill_055.jpg
new file mode 100644
index 0000000..b8ab718
--- /dev/null
+++ b/34897-h/images/ill_055.jpg
diff --git a/34897-h/images/ill_056.jpg b/34897-h/images/ill_056.jpg
new file mode 100644
index 0000000..53bffe0
--- /dev/null
+++ b/34897-h/images/ill_056.jpg
diff --git a/34897-h/images/ill_057.jpg b/34897-h/images/ill_057.jpg
new file mode 100644
index 0000000..f65c4a7
--- /dev/null
+++ b/34897-h/images/ill_057.jpg
diff --git a/34897-h/images/ill_058.jpg b/34897-h/images/ill_058.jpg
new file mode 100644
index 0000000..ca6efb4
--- /dev/null
+++ b/34897-h/images/ill_058.jpg
diff --git a/34897-h/images/ill_059.jpg b/34897-h/images/ill_059.jpg
new file mode 100644
index 0000000..ce3c6c1
--- /dev/null
+++ b/34897-h/images/ill_059.jpg
diff --git a/34897-h/images/ill_060.jpg b/34897-h/images/ill_060.jpg
new file mode 100644
index 0000000..9dd1fa9
--- /dev/null
+++ b/34897-h/images/ill_060.jpg
diff --git a/34897-h/images/ill_061.jpg b/34897-h/images/ill_061.jpg
new file mode 100644
index 0000000..e31d399
--- /dev/null
+++ b/34897-h/images/ill_061.jpg
diff --git a/34897-h/images/ill_062.jpg b/34897-h/images/ill_062.jpg
new file mode 100644
index 0000000..e2388f8
--- /dev/null
+++ b/34897-h/images/ill_062.jpg
diff --git a/34897-h/images/ill_063.jpg b/34897-h/images/ill_063.jpg
new file mode 100644
index 0000000..4d50dbd
--- /dev/null
+++ b/34897-h/images/ill_063.jpg
diff --git a/34897.txt b/34897.txt
new file mode 100644
index 0000000..65b0da6
--- /dev/null
+++ b/34897.txt
@@ -0,0 +1,6897 @@
+Project Gutenberg's Colonial Homes and Their Furnishings, by Mary H. Northend
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Colonial Homes and Their Furnishings
+
+Author: Mary H. Northend
+
+Release Date: January 9, 2011 [EBook #34897]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK COLONIAL HOMES ***
+
+
+
+
+Produced by Annie McGuire. This book was produced from
+scanned images of public domain material from the Internet
+Archive.
+
+
+
+
+
+
+
+
+
+COLONIAL HOMES
+AND THEIR FURNISHINGS
+
+
+
+
+[Illustration: PLATE I.--Dodge-Shreves Doorway. Built in 1816.]
+
+
+
+
+COLONIAL HOMES
+AND
+THEIR FURNISHINGS
+
+
+BY
+MARY H. NORTHEND
+
+
+_WITH NUMEROUS ILLUSTRATIONS_
+
+
+BOSTON
+LITTLE, BROWN, AND COMPANY
+1917
+
+
+
+
+_Copyright, 1912,_
+BY LITTLE, BROWN, AND COMPANY.
+
+
+
+
+THIS BOOK
+IS DEDICATED TO
+ONE THROUGH WHOSE CONSTANT ENCOURAGEMENT
+AND WISE ADVICE I OWE MY SUCCESS
+IN THE FIELD OF LITERATURE
+
+
+
+
+PREFACE
+
+
+The wonderfully good collection of antiques for which Salem is noted was
+of great interest to me, being owned by personal friends who kindly
+consented to allow me for the first time to go through their homes and
+pick out the cream of their inheritance. If the readers are half as
+interested in these objects as I have become,--growing enthusiastic in
+the work through the valuable pieces found,--they will enjoy the
+pictures of colonial furnishings, many of which cannot be duplicated in
+any other collection of antiques. Family bits, wonderful old Lowestoft,
+and other treasures are included, all brought over in the holds of
+cumbersome ships, at the time when the commerce of Salem was at high
+tide.
+
+To Mr. Charles R. Waters, Mrs. Nathan C. Osgood, Mrs. Henry P. Benson,
+Mrs. William C. West, Mrs. Nathaniel B. Mansfield, Miss A. Grace
+Atkinson, Mrs. Walter C. Harris, Dr. Hardy Phippen, Mrs. McDonald White,
+and Mr. Horatio P. Peirson, as well as many others in my native city, I
+owe acknowledgment for their kindness in opening their houses and
+letting me in, as well as to Mrs. George Rogers of Danvers, Mrs. D. P.
+Page, Dr. Ernest H. Noyes, and Mrs. Charles H. Perry of Newburyport,
+Mrs. Walter J. Mitchell of Manchester, Mrs. Prescott Bigelow and Mrs.
+William O. Kimball of Boston, Mrs. A. A. Lord of Newton, Mrs. Charles M.
+Stark of Dunbarton, N.H., and the late Mr. Daniel Low.
+
+The work was commenced at first through ill health and the desire for
+occupation, and has met with such good results through an interest in
+the story of antiques, that I have to-day one of the most valuable
+collections of photographs to be found in New England.
+
+  MARY H. NORTHEND.
+  AUGUST 1, 1912.
+
+
+
+
+CONTENTS
+
+
+  CHAPTER                                                           PAGE
+        PREFACE                                                      vii
+     I. OLD HOUSES                                                     1
+    II. COLONIAL DOORWAYS                                             16
+   III. DOOR KNOCKERS                                                 29
+    IV. OLD-TIME GARDENS                                              41
+     V. HALLS AND STAIRWAYS                                           54
+    VI. FIREPLACES AND MANTELPIECES                                   63
+   VII. OLD-TIME WALL PAPERS                                          79
+  VIII. OLD CHAIRS AND SOFAS                                          92
+    IX. SIDEBOARDS, BUREAUS, TABLES, ETC.                            105
+     X. FOUR-POSTERS                                                 119
+    XI. MIRRORS                                                      132
+   XII. OLD-TIME CLOCKS                                              145
+  XIII. OLD-TIME LIGHTS                                              159
+   XIV. OLD CHINA                                                    172
+    XV. OLD GLASS                                                    194
+   XVI. OLD PEWTER                                                   210
+  XVII. OLD SILVER                                                   223
+
+
+
+
+LIST OF PLATES
+
+
+  I. Dodge-Shreves Doorway. Built in 1816                 _Frontispiece_
+
+                                                             FACING PAGE
+
+  II. The Warner House, Portsmouth, N. H. Built
+  in 1718                                                              8
+
+  III. Middleton House, Bristol, R. I. Built about
+  1808                                                                 9
+
+  IV. Indian Hill Farm, West Newbury, Mass. Begun
+  soon after 1650                                                     12
+
+  V. Andrew House Doorway, 1818                                       13
+
+  VI. Gardner House Doorway, 1804                                     22
+
+  VII. Doorway of Nathan Robinson House, 1804                         23
+
+  VIII. Sixteenth Century Knocker, Lion type. Striker,
+  of first type; Georgian Urn type, in use
+  on modern houses; Mexican Knocker of
+  the Hammer type; Hammer type Knocker,
+  Eighteenth Century, Charles P. Waters
+  House                                                               32
+
+  IX. Eagle Knocker; Eagle Knocker, Rogers House,
+  Danvers, Mass.; Medusa Head, elaborate
+  early type; Garland type of Knocker                                 33
+
+  X. Whittier Garden, Danvers, Mass.                                  46
+
+  XI. Peabody Garden, Danvers, Mass.                                  47
+
+  XII. Saltonstall Hallway, about 1800                                54
+
+  XIII. Hallway, Lee House, 1800                                      55
+
+  XIV. Hallway, Tucker House, about 1800                              60
+
+  XV. Hallway of Wentworth House, 1750                                61
+
+  XVI. Historic Fireplace at Ipswich, Mass.                           64
+
+  XVII. Old Fireplace in Wentworth House, Portsmouth,
+  N. H.                                                               65
+
+  XVIII. First Hob Grate in New England, Waters
+  House; Mantel Glass and Fireplace, showing
+  decoration of floral basket                                         70
+
+  XIX. Middleton House Steeple Top Andirons, and
+  Bellows; Southern Andirons, Atkinson
+  Collection                                                          71
+
+  XX. Cupid and Psyche paper, Safford House                           80
+
+  XXI. Venetian paper in Wheelwright House, Newburyport               81
+
+  XXII. Roman Ruins paper, Lee Mansion, Marblehead                    86
+
+  XXIII. Adventures of Telemachus paper, Nymphs
+  Swinging                                                            87
+
+  XXIV. Queen Anne Fiddle Back; Queen Anne,
+  Stuffed Chair; Dutch Chair, carved;
+  Empire Lyre-backed Roundabout, on
+  Chippendale lines, 1825                                             92
+
+  XXV. Chippendale, Lord Timothy Dexter's Collection,
+  H. P. Benson; French Chair, showing
+  Empire influence; Flemish Chair;
+  Banister-back Chair                                                 93
+
+  XXVI. Chippendale Armchair, showing straight,
+  square legs; Chippendale Chair; Chippendale,
+  one of a set of six, showing
+  Rosette design; Chippendale Armchair
+  with Cabriole legs, Ball and Claw feet                              96
+
+  XXVII. Empire Sofa; Cornucopia Sofa; Sofa in
+  Adams style, about 1800                                             97
+
+  XXVIII. Sheraton, mahogany frame, about 1800;
+  Sheraton, with solid arms, and straight,
+  slender legs; Sheraton, about 1790.
+  Note the graceful curve of the arms                                100
+
+  XXIX. Sheraton, about 1800; Sofa, about 1820;
+  Sofa, about 1820, with winged legs                                 101
+
+  XXX. Sheraton Night Table; Block Front Bureau
+  Desk, owned by Dr. Ernest H.
+  Noyes, Newburyport, Mass.; Cellarette,
+  1790, owned originally by Robert Morris                            106
+
+  XXXI. Dressing Glass, with Petticoat legs; Empire
+  Bureau, 1816                                                       107
+
+  XXXII. Chest of Drawers, 1710; Six-legged High
+  Chest of Drawers, about 1705                                       108
+
+  XXXIII. Dressing Table, with brass feet; Bureau
+  and Dressing Glass                                                 109
+
+  XXXIV. Block Front Bureau Desk, owned by
+  Nathan C. Osgood. One of the best
+  specimens in New England; oak paneled
+  Chest, about 1675                                                  112
+
+  XXXV. Secretary, showing Shell ornamentation;
+  Highboy with Shell ornamentation and
+  Ball and Claw feet, 1760; Highboy with
+  Shell ornamentation                                                113
+
+  XXXVI. Dressing Table, 1760; Mahogany Commode,
+  collection of Nathan C. Osgood.                                    116
+
+  XXXVII. Sheraton Sideboard; Simple form of Sheraton
+  Sideboard, with line Inlay around
+  Drawers and Doors. Date, 1800                                      117
+
+  XXXVIII. Bedstead in Middleton House, 1798                         120
+
+  XXXIX. Sheraton type in Kittredge House; Four-poster,
+  about 1825                                                         121
+
+  XL. Field Bedstead, slept in by Lafayette, in
+  Stark Mansion. Owned by Mrs.
+  Charles Stark, Dunbarton, N. H.                                    124
+
+  XLI. Sheraton Four-poster; Four-poster showing
+  decided English characteristics                                    125
+
+  XLII. Girandole in George Ropes House, 1800;
+  Girandole, 1800; Constitution Mirror,
+  1780                                                               134
+
+  XLIII. Picture Mirror, showing Dawn, in Adams
+  House, 1703; English Georgian Mirror,
+  1750; Two-piece Looking Glass, 1750                                135
+
+  XLIV. Oval Mirror, showing Acanthus Leaves.
+  Once on Cleopatra's Barge. The first
+  pleasure yacht built in America. Mirror,
+  1710, resting on ornamental knobs;
+  Mirror, 1810, in Dudley L. Pickman
+  House                                                              140
+
+  XLV. Mirror, 1770; Lafayette Courting Mirror,
+  Osgood Collection; Empire Mirror, 1810                             141
+
+  XLVI. Willard Banjo Clock, 1802; Banjo Clock,
+  1804; Willard Banjo Clock, 1802                                    150
+
+  XLVII. English Grandfather's Clock, William Dean
+  Howells; Collection of Old Clocks, property
+  of Mr. Mills, Saugus, Mass.; Grandfather's
+  Clock, formerly owned by President
+  Franklin Pierce. Property of Mrs.
+  Charles Stark                                                      151
+
+  XLVIII. General Stephen Abbot Clock; Terry Shelf
+  Clock, 1824; English Clock, with Ball
+  ornamentation                                                      158
+
+  XLIX. Whale Oil Lamps with Wicks; Mantel
+  Lamps, 1815; Paul and Virginia Candelabra                          159
+
+  L. Astral Lamps, 1778; English Brass Branching
+  Candlestick, showing Lions                                         164
+
+  LI. Colonial Mantel Lamp; Single Bedroom
+  Brass Candlestick; Sheffield Plate Candlesticks                    165
+
+  LII. Pierced, or Paul Revere, Lantern; Old
+  Hand Lantern; English Silver Candlestick;
+  Brass Branching Candlestick,
+  Chippendale, 1760                                                  170
+
+  LIII. Peacock Plate of Delft, very rare; Decorated
+  Salt Glaze Plate, about 1780                                       171
+
+  LIV. Liverpool Pitcher, showing Salem ship; Old
+  Chelsea Ware; Canton China Teapot;
+  Wedgewood, with Rose decoration.
+  Very rare                                                          176
+
+  LV. Gold Luster Pitcher; Staffordshire Pitcher,
+  with Rose decoration; Peacock Delft
+  Pitcher; Jasper Ware Wedgewood
+  Pitcher, Blue and White                                            177
+
+  LVI. The Shepherd Toby. One of the rarest Tobies;
+  English Toby, very old; very old
+  Toby showing Cocked Hat                                            190
+
+  LVII. Venetian and English Decanters; Toddy
+  Glasses, about 1800; English Glass with
+  Silver Coasters. Very old                                          191
+
+  LVIII. Russian Glass Decanter and Tumblers. Note
+  the exquisite cutting on this Decanter                             200
+
+  LIX. English Cut Glass Decanter, about 1800;
+  Typical Red Bohemian Glass Decanter;
+  American Glass Bottle, Jenny Lind, about
+  1850                                                               201
+
+  LX. Bohemian Glass. The center one is rare,
+  showing figure of Peacock, in Red and
+  White; English Cut Glass Wineglasses,
+  1790; English Glass Decanters. Very fine
+  and rare                                                           208
+
+  LXI. Pewter half-pint, pint, and quart Measures.
+  One hundred years old; Three unusual
+  shaped Pewter Cream Jugs; German Pewter,
+  Whorl pattern                                                      209
+
+  LXII. Old Silver Coffee Urn with Pineapple finial;
+  Sheffield Plate Teapot, formerly owned by
+  President Thomas Jefferson; Tall Silver
+  Pitcher, of Flagon influence                                       226
+
+  LXIII. Several old silver pieces; collection of Salem
+  silver, almost all inherited; wonderfully
+  fine Silver Bowl with chasing                                      227
+
+
+
+
+CHAPTER I
+
+OLD HOUSES
+
+
+There is an indescribable charm surrounding colonial houses, especially
+if historic traditions are associated with them. Many of an early date
+of erection are still to be found throughout New England towns, where
+the Puritan and the Pilgrim first settled, and not a few have remained
+in the same families since their construction. Some are still in an
+excellent state of preservation, though the majority show weather-beaten
+exteriors, guiltless of paint, with broken windows and sagging sills,
+speaking forcibly of a past prosperity, and mutely appealing through
+their forlornness for recognition.
+
+These are not, however, the first homes built by the colonists, and,
+indeed, it is doubtful if any examples of the earliest type are still
+standing. These were rude cabins built of logs, kept together by
+daubings of clay thrust into their chinks, and showing roofs finished
+with thatch. Great chimneys were characteristic of all these cabins,
+built of stone, lengthened at the top with wood, and best known by the
+name Catted Chimneys. In the rude interiors of the old-time fireplaces
+hung soot-blackened cranes, while on cold, cheerless nights the blaze of
+logs on the hearths
+
+  "Made the rude, bare, raftered room
+  Burst, flowerlike, into rosy bloom."
+
+The next type was the frame house, built large or small according to the
+means of the owner, and constructed through the influence of Governor
+John Endicott, who sent to England for skilled workmen. Generally, these
+dwellings were two stories in height, the more pretentious ones showing
+peaks on either side to accommodate chambers, and their marked
+superiority over the first type soon resulted in their adoption
+throughout New England. In design they bore some resemblance to the
+Dutch architecture of the period, the outcome doubtless of many of the
+early settlers' long sojourn in Holland. Many of the frames were of
+white wood brought from the mother country in the incoming ships, and
+the low ceilings invariably present were crossed with the heavy beams of
+the floors above, projecting through the timbers.
+
+The lean-to, characteristic of some houses of this type, did not come
+into vogue until about the middle of the seventeenth century, and its
+adoption is generally believed to have been for the use of the eldest
+son of the family, who, according to the law of England, would inherit
+the homestead, and until such inheritance, could remain, with his
+family, beneath the ancestral roof.
+
+The third type, the gambrel-roofed house, was at the height of its
+popularity about the time of the Revolutionary War, and continued in
+favor until the tide of commercial prosperity sweeping through the land
+brought in its wake the desire for more pretentious dwellings. Then came
+into fashion the large, square, wooden mansion, later followed by that
+of stately brick, excellent examples of both types being still extant.
+
+Like the Egyptian Isis who went forth to gather up the scattered
+fragments of her husband Osiris, fondly hoping that she might be able to
+bring back his former beauty, so we of to-day are endeavoring in New
+England to gather and bring into unison portions of the early homes,
+that we may eventually restore them to their original charm and
+dignity. Outwardly these dwellings appear much as they did when built,
+more than a century ago, but inwardly sad changes have been wrought,
+leaving scarcely a trace of their old-time beauty. Yet beneath this
+devastation one versed in house lore can read many a tale of interest,
+for old houses, like old books, secrete between their covers many a
+story that is well worth while.
+
+Among the carefully preserved specimens, none of the earlier type is
+more interesting than the Pickering house at Salem, Massachusetts, built
+in 1660, more than a hundred years before the Revolution. The land on
+which it stands is part of the twenty acres' grant which was a portion
+of Governor's Field, originally owned by Governor Endicott, and conveyed
+by him to Emanuel Downing, who, in order to pay for his son George's
+commencement dinner at Harvard, disposed of it to John Pickering, the
+builder of the home, in 1642.
+
+In design, the dwelling is Gothic, a popular type in the Elizabethan
+period, and closely resembles the Peacock Inn at Rouseley, England. The
+timbers used in its construction were taken from a near-by swamp, and
+when it was first built it showed on the northern side a sloping roof
+affording but a single story at that end. In 1770, the then owner,
+Timothy Pickering, decided to raise this end to make room for three
+chambers, and the new portion was built to conform exactly with the old
+part, the windows equipped with the same quaint panes, set in leaded
+strips, which were finely grooved to receive the glass, on which the
+lead was pressed down and soldered together. It was found when the
+weatherboards were ripped off that the sills were sound, and it was
+decided to continue to use them, feeling they would last longer than
+those that could then be obtained. Two of the peaks found to be leaky
+were removed at this time, and they were not replaced until 1840, when
+Colonel Timothy Pickering's son, John, had reproductions set in place.
+The house has never been out of the Pickering family, and, with one
+exception, has descended to a John Pickering ever since its erection.
+
+Distinctly a New England landmark is the Colonel Jeremiah Page house at
+Danvers, Massachusetts, erected in the year 1750. It occupies a site
+that at the time of its construction was on the highway between Ipswich
+and Boston, now broadened at this point and known as Danvers Square.
+Originally, it consisted of four rooms, but these were later moved back
+and a new front added, the ell being replaced by a larger one.
+
+From a historic point of view, the roof is probably the most interesting
+feature of this old home, for here occurred the famous tea-party that
+Lucy Larcom has forever immortalized. During the troublous times of
+1775, when all good patriots scorned the use of tea, Colonel Page
+demanded that it should not be drunk beneath his roof. Mistress Page had
+acceded to his request, but she did not promise that she would not drink
+it on his roof, so with a few friends she repaired one afternoon to the
+rail-enclosed roof, and here brewed and distributed the much liked
+beverage. The secret of the tea-party did not leak out until after her
+death, when one of the party, visiting at the house, asked to be taken
+to the roof, at the same time relating the, till then unknown,
+experience.
+
+Antedating the Page house some twenty-five years is the home of the
+Stearns family on Essex Street, Salem, erected by Joseph Sprague, a
+prominent old-time merchant, whose warehouse occupied the present site
+at the corner of North and Federal streets. This dwelling is of spacious
+dimensions, excellently proportioned, and it is especially interesting
+from the fact of its unusual interior arrangement, which provides on
+each floor for three rooms at the back and only two at the front. The
+original owner was captain of the first uniformed company of militia
+organized in Salem, April 22, 1776, and he was also the first American
+to spill his blood in the Revolution, receiving a slight wound at the
+time of Leslie's retreat, while scuttling his gondola so it should not
+fall into the hands of the enemy.
+
+Another fine old home is the Cabot house, also in Salem. This dwelling,
+erected in 1745 by one Joseph Cabot, is considered by experts to be of
+the purest colonial type, and it has proved a subject of unusual
+interest to any number of artists and architects.
+
+No modern touch has been allowed to mar the old-time aspect of the
+Whipple house at Ipswich, Massachusetts, built in 1760, and which
+remains wholly unchanged from its original construction. It stands
+to-day almost alone in its picturesque antiquity, its huge central
+chimney, tiny window-panes, plain front door, guiltless of porch, with
+iron knocker, steep-pitched roof with lean-to at the back nearly
+sweeping the ground,--all betokening its age. Little wonder it is the
+haunt of tourists, for it presents a picture in its old-time beauty that
+modern architecture can never duplicate.
+
+In the historic town of Marblehead, in Massachusetts, is one of the most
+interesting of old-time homes,--the Colonel Jeremiah Lee mansion, built
+in 1768, and considered at the time of its erection the finest house in
+the Colonies. It was designed by an English architect at a cost of ten
+thousand pounds, and the timber and finish used in its construction were
+brought from England in one of the colonel's ships. It stands well to
+the front of the lot of which it forms a part, with scarcely any yard
+space separating it from the sidewalk, and it boasts a handsome porch
+supported by finely carved pillars, approached by a flight of steps. The
+broad entrance door, with its brass latch and old-time knob, swings
+easily upon its great hinges into a spacious hall that extends the
+length of the dwelling, affording access to the finely finished interior
+apartments.
+
+Equally as interesting as these old homes are several houses in New
+Hampshire, one of the most prominent being the Stark mansion at
+Dunbarton. This was built in 1785 by Major Caleb Stark of Revolutionary
+fame, and it is approached to-day through the original tree-lined
+avenue, a mile in length. In construction it is of the mansion type, two
+stories in height, with gambrel roof, twelve dormer windows, and a
+large, two-storied ell. Its entrance door is nearly three inches
+through, with handsome, hand-made panels, and it swings on wrought-iron
+hinges two feet either way. It is adorned with a knocker and latch that
+were brought from England by the major. Ever since its erection, this
+house has been occupied by a member of the Stark family, and the present
+owner, Charles Morris Stark, boasts the distinction of being of
+Revolutionary stock on both sides of the family, his mother being a
+lineal descendant of Robert Morris, the great financier of the
+Revolution.
+
+[Illustration: PLATE II.--The Warner House, Portsmouth, N. H. Built in
+1718]
+
+Another interesting colonial home is the Warner house at Portsmouth,
+occupying a corner section on one of the city's main thoroughfares. This
+fine dwelling was erected by Captain Macpheadris, a wealthy merchant who
+came to this country from Scotland, and it is built of Dutch bricks that
+were imported from Holland, with walls eighteen inches thick. It stands
+firmly on its foundation, a magnificent specimen of early construction;
+and its gambrel roof, Lutheran windows, quaint cupola, and broad
+simplicity of entrance door, suggest the old-time hospitality that was
+so freely dispensed here. After the captain's death, the house came to
+his daughter, Mary, who had married Hon. Jonathan Warner, a member of
+the King's Council until the outbreak of the Revolution, and it is by
+his name that the fine old home is known.
+
+Two miles from Portsmouth, at Little Harbor, is the old home of Governor
+Benning Wentworth, built in 1750. In general, this dwelling is two
+stories in height, with wings that form three sides of a hollow square,
+though it boasts no particular style of architecture, appearing to be
+rather a group of buildings added to the main structure from time to
+time. It is screened from the roadway by great trees, and on the north
+and east faces the water. Originally it had fifty-two rooms, but some of
+these have been combined, so to-day there are but forty-five. The cellar
+is particularly large, and here in times of danger the governor hid his
+horses. After the governor's death, his widow married John Wentworth,
+and it was during the occupancy of Sir John and his wife that Washington
+was entertained here.
+
+Typical of the wooden mansion type, that succeeded in favor the
+gambrel-roofed dwellings, is the house now known as the Endicott house,
+at Danvers, Massachusetts. This building, constructed about 1800, was
+purchased about 1812 by Captain Joseph Peabody, a Salem merchant, and
+grandfather of the present owner, as a place of refuge for himself and
+family during the embargo. In design, it is most imposing, and the front
+now shows a wide veranda, with the entrance dignified by a
+porte-cochere, supported by high columns, between each two of which a
+great bay tree is set. Sweeps of smooth lawn afford an attractive
+setting, and great trees, here and there, bestow protecting shade. The
+dwelling is surrounded by beautiful gardens, the most interesting from a
+historic point of view being the old-fashioned posy plot laid out at the
+time of the erection of the house.
+
+[Illustration: PLATE III.--Middleton House, Bristol, R. I. Built about
+1808.]
+
+Not unlike in type to this fine home is "Hey Bonnie Hall" in Rhode
+Island, the residence of the Misses Middleton. Built in 1808, it stands
+to-day in all its original beauty, the pure white of its exterior
+admirably set off by the great green sweeps of sward, dotted with fine
+trees, that surround it on all sides. It was erected from plans of
+Russell Warren, who designed the White House at Washington, and it is
+renowned not only for its beautiful colonial architecture, but also for
+the wonderful collection of old-time furniture and objects of art that
+it contains.
+
+In type, it is very similar to a Maryland manor, with projecting wings,
+the service portion in a separate building connected with the main house
+by a covered passage, after the Southern fashion. In this passage is the
+well room, so called from the fact that a well of pure spring water is
+located here. In length the house is one hundred and forty feet, its
+front just enough broken to avoid monotony, and its spaciousness
+affording an air of comfort. Two Corinthian columns, as high as the
+house itself, support the roof over the entrance porch, and on either
+side are well-protected verandas, overlooking beds of old-fashioned
+flowers and smooth stretches of sward. In front lies the harbor, and
+beyond is the picturesque town of Bristol, affording a most pleasing
+prospect.
+
+[Illustration: PLATE IV.--Indian Hill Farm, West Newbury, Mass. Begun
+soon after 1650.]
+
+Unlike these latter-day types, in fact unlike any set design, is the
+low, rambling house at West Newbury, Massachusetts, known as Indian
+Hill, and so called from the location that it occupies. In appearance,
+this dwelling is most picturesque, resembling in design a castle, and it
+is as historic as it is interesting. The site that it occupies is the
+last reservation of the Indians in the neighborhood, the land having
+been sold by Old Tom, the Indian chieftain, to the town, and the deed of
+the sale being still preserved by the present owners.
+
+Viewed from any angle, the house presents a series of pictures, each
+equally as interesting as the other, and its irregular roof lines,
+gables and bays, quaint, diamond-paned windows, and chimneys adorned
+with chimney pots, are further embellished by the flowering vines of a
+rambler rose, perhaps the finest in the country. While the house can be
+seen from the road, it is only when one drives under the archway into
+the courtyard, bounded on three sides by barn, stables, and house, that
+he can realize its true worth.
+
+[Illustration: PLATE V.--Andrew House Doorway, 1818.]
+
+Salem, fortunate in specimens of early construction, is also fortunate
+in examples of latter-day types, and here are to be found several of the
+fine brick dwellings, built at the time of her greatest commercial
+prosperity. One of these is the Andrews house, located on Washington
+Square, and one of the three dwellings erected in 1818. Its brick
+exterior gives no hint of its age other than the softening dignity that
+time bequeaths, and it stands to-day, tall and broad, its gray-faced
+bricks brightened by white trimmings, and its beauty emphasized by a
+fine circular porch supported by white columns, topped with a high
+balustrade. At one side is a charming old-fashioned garden, laid out in
+prim, box-bordered beds, and all about its fence inclosure flowering
+vines clamber. Complete, the dwelling cost forty thousand dollars,--a
+large sum for the time of its erection.
+
+Every brick used in its construction was first dipped into boiling oil
+to render it impervious to moisture, and all the framework is of timbers
+seasoned by long exposure to the sun and rain. On one brick is cut the
+date of erection, the work of the master builder under whose supervision
+the dwelling was erected. The great pillars of the side porch,
+overlooking the garden, are packed, so the story goes, with rock
+salt--not an uncommon process at that time--to keep out dampness and to
+save the wood from being eaten by worms.
+
+Some years previous to the erection of this dwelling, Mr. Nathan
+Robinson had constructed on Chestnut Street a brick dwelling, considered
+by connoisseurs to be one of the finest specimens to-day extant. The
+porch, at the front, is wonderfully fine, and has attracted the
+attention of any number of students and architects, who have made a
+careful study of it.
+
+And so we might go on and on, singling out particularly good specimens
+here and there, but when all is said and done, it is undeniable that all
+old houses afford interesting study. Architects of the present are
+coming to appreciate their worth, and into many modern homes features of
+early construction are being incorporated. Naturally, to the
+antiquarian, nothing can ever take the place of these bygone specimens,
+and as he paces the main thoroughfares of historic cities, now lined
+with stores, he sees in fancy the stately homes with their fragrant
+garden plots, which modern demand has superseded. Pausing on the curbing
+near the old State House in Boston, what an array of bygone dwellings in
+fancy can be conjured, and how many of the old-time dignitaries can be
+recalled. So vivid is the picture that one might almost expect to see
+old Thomas Leverett saunter by, or perchance hear the rattle of wheels
+as the carriage of Dr. Elisha Cook lumbered on its way. It is a pleasant
+picture to contemplate, and the lover of the old breathes a sigh of
+regret at the passing of such picturesqueness.
+
+
+
+
+CHAPTER II
+
+COLONIAL DOORWAYS
+
+
+No type of architecture to-day holds such a distinctive place in the
+minds of architects and home builders as does that of the colonial
+period. This is especially true concerning the porch or doorway, for
+this feature, affording as it does entrance to the home, called for most
+careful thought, that it might be made harmonious and artistic, and
+expressive of the sentiment which it embodies. The straight lines and
+ample dimensions which characterized it required skill to arrange
+properly, and, considering the limitations of the period in which it was
+constructed, the results obtained were remarkable.
+
+These porches and doorways were designed at a time when our country was
+young, and the builders were not finished architects like the designers
+of to-day; but they were planned and built by men who were masters in
+their line, and who taxed their skill to the utmost that results might
+be artistic and varied, individualizing each home so that the entrance
+porch should express both hospitality and refinement.
+
+In the holds of the cumbersome ships that plied between the new country
+and the motherland were placed as cargoes, pillars, columns, and bits of
+shaped wood, all to be used in the construction of the new home, and
+incidentally in the porch. It was no easy task to devise from these
+fragments a complete and artistic whole, and to the ingenuity of the
+builders great credit is due.
+
+In contour and construction, these porches differ greatly. Those found
+in New England depict a stateliness that savors of Puritanical
+influence, while those in the South convey, through their breadth, an
+impression of the cordiality which is characteristic of that section.
+Some are semicircular, others square; a few are oblong, and some are
+three-cornered, fitting into two sides of the entrance, and in each case
+giving to the dwelling a congruous appearance that is refreshing to
+contemplate in an age like ours, when so many different periods are
+combined in a finished whole.
+
+All these porches show a harmony of form and proportion that gives just
+the right effect, and many are embellished by wonderful wood carving.
+The Grecian column, in its many forms, lends itself in a great degree
+to artistic effects, often bestowing an originality of finish that is
+most pleasing, and one that differs in every respect from the modern
+broad veranda, and the stately porte-cochere.
+
+The art of hand carving reached its highest state of perfection about
+the year 1811, during which period the best types of porches were
+erected. The results are shown not only in the capitals of the columns
+and on the architrave, but on the pediments and over the entrance door
+as well. A good example of the decoration of the architrave is seen on
+the old Assembly House on Federal Street, in Salem, Massachusetts, where
+the carving takes the form of a grapevine, with bunches of the hanging
+fruit, and also over the door of the Kimball house, in the same city,
+where Samuel McIntyre, one of the most noted wood carvers, lived.
+
+It can be well and correctly said that the colonial porch embodied not
+only the characteristics of the period in which it was built, but the
+personality of the owner as well. Should the unobservant person feel
+that this statement is far-fetched, let him take a stroll through some
+tree-shaded street of an old New England village, and the truth of the
+assertion is readily revealed. Though the house itself may be old and
+battered, and fast falling into decay, yet the porch greets one with a
+simple welcome that breathes of former hospitality, and, in admiration
+of this feature, the shabbiness of the rest of the exterior sinks into
+oblivion.
+
+Broadly speaking, porches are divided into three types or classes. The
+first belong to the period beginning with the year 1745 and continuing
+until the year 1785, a space of time marked by stirring events,
+culminating in the Revolutionary War, and the birth of the new republic.
+Houses of this period are of the gambrel-roofed type. The second class
+adorn the succeeding type of dwelling,--the large, square, colonial
+house, built by the merchant prince, whose ships circumnavigated the
+globe, and who filled his home with foreign treasures; while the third
+type is that which ornamented the brick mansion which came into vogue
+about 1818. As many of these were erected during the commercial period,
+they cannot, strictly speaking, be called colonial; they belong rather
+to the Washingtonian time, and reflect in their construction the
+gracious hospitality of that day.
+
+Porches of varied colonial types are found in most of the New England
+cities and towns, in the Middle States, and in the South, and
+particularly fine examples can be seen in Salem, Massachusetts. There
+is about all of these a dignity and refinement that is unmistakable,
+bespeaking a culture that is felt at once, and a stranger wandering
+through Salem's streets cannot help but be impressed with the fact.
+
+Adorning the three-storied houses with their flat roofs, they give an
+artistic touch to what would otherwise be plain exteriors. From step to
+knocker, from leaded glass to the arched or square roof of the doorway,
+there is a plainness and simplicity which betokens art, but of such a
+quiet, unpretentious type that by the untrained eye it is hardly
+appreciated, though to the architect it brings inspiration and affords
+study for classic detail, the result of which is shown in the modified
+colonial homes of to-day.
+
+Romance and history are strangely intermingled in these old-time porches
+and doorways. Under their stately portals has passed many a colonial
+lover, doffing his cocked hat to his lady fair, who, with silken gown,
+powdered hair and patches, sat at the window awaiting his coming. Those
+were Salem's halcyon days, when the tide of life ebbed and flowed in
+uneventful harmony, free from the disturbing elements of latter-day
+life.
+
+To attempt even a brief description of each and every doorway would be a
+herculean task. Rather, it is better to depict the different types,
+studying with critical eye the various examples. One is the semicircular
+entrance, with its rounded front, a type shown in many a New England
+home. The Andrew porch, numbered among the finest in the city, belongs
+to this class. Under this doorway passed the late war governor, John
+Andrew, during visits to his uncle, John Andrew, builder of the
+dwelling, that he always coveted for his own. The dwelling was one of
+three built in 1818 on three sides of a training field, which is now the
+Common. The fine elm trees that characterize the Common were planted in
+the same year. The other two houses were the John Forrester dwelling and
+the Nathaniel Silsbee house. The Andrew porch shows straight columns,
+and a roof topped with a balustrade; the simplicity of outline renders
+it most attractive.
+
+[Illustration: PLATE VI.--Gardiner House Doorway, 1804.]
+
+Another porch of the same type is that of the John Gardiner house on
+Essex Street, built in 1804. Here is an entrance considered by good
+judges of architecture to be one of the best examples of its type,
+characterized by perfect symmetry of outline. Numbered among its
+features are quaint indentations in the door head. This dwelling was
+formerly the home of Captain Joseph White, one of the worthy and noted
+Salem merchants. Other porches of similar contour, though differently
+ornamented, are to be found on Chestnut Street.
+
+[Illustration: PLATE VII.--Nathan Robinson House Doorway, 1804.]
+
+It is only when one carefully studies doorways such as these,
+contrasting them with latter-day porches, which are often little more
+than holes in the wall, fitted with a cheap framing and entirely out of
+keeping with the exterior, that their worth is viewed in the true light,
+and the opportunity to turn to the old-time types for inspiration is
+appreciated.
+
+Perhaps the most Puritanical of all the doorways are the simple narrow
+ones that generally stand at one side of the house, although sometimes
+they are used as the main entrance. These show either fluted side
+pilasters, or severely plain columns, surmounted by a pediment. The door
+is always dark in coloring, trimmed with a polished brass knocker and
+often with a brass latch.
+
+One of the most elaborate of these is that of the dwelling known as the
+Cabot house on Essex Street. This house was designed in 1745 by an
+English architect for Joseph Choate, and later came into the possession
+of Joseph Cabot.
+
+Another notable entrance is that of the Lord house on Washington
+Square. This is a side entrance, and is said to be one of the finest of
+its type in Salem. This house was at one time occupied by Stephen White,
+a man of worth, who was falsely accused of the murder of his uncle, and
+who engaged as counsel Daniel Webster. While this case was in progress,
+Webster brought his son, Fletcher, to the White home, where he met and
+fell in love with the daughter of the house, later making her his bride.
+Thus were romance and law strangely intermingled! The house was
+afterwards the home of Nathaniel Lord, one of the most brilliant jurists
+of his time.
+
+The inclosed porch is another phase of old Salem doorways. There are
+several interesting examples of this type still to be seen here, perhaps
+the most noted being the one on Charter Street, on a three-story, wooden
+building, about a century and a half old, low of stud, with square
+front, standing directly on a shabby little by-street, and cornered in a
+graveyard. This porch, inclosing the entrance door, is lighted by small,
+oval windows, one on either side, affording glimpses up and down the
+street. It has been graphically described by a silent, dark-browed man,
+who, with two women, came to the dwelling in the dusk of an evening in
+1838, and, lifting the old-time knocker, announced his arrival. The door
+was opened by Elizabeth Peabody, who graciously admitted Nathaniel
+Hawthorne and his sisters, showed them into the parlor, and then ran
+up-stairs to tell her sister Sophia of the handsome young man--handsomer
+than Lord Byron--who had just arrived. As the door closed behind him
+that evening, Hawthorne shut out forever the dreary solitude of his
+life, and we read that he came again and again to the old home, where he
+played the principal part in one of the most idyllic of courtships,
+ending in his marriage two years later with the fair Sophia. This
+dwelling he made the scene of _Dr. Grimshawe's Secret_, and the old
+porch has taken on a dignity and historic interest that will live
+forever.
+
+But perhaps one loves to dwell longest on the doorway of the Assembly
+House on Federal Street, for it is full of vivid memories. It is an
+oddly shaped porch, beautifully carved, and under its portals the
+daughters of Salem's merchant princes passed, holding in their slender
+hands the skirts of their silken gowns, as they gayly mounted the broad
+stone steps. On the evening of October 29, 1784, Lafayette was
+entertained in this old home, and five years later, Washington, who had
+just been inaugurated as the first President of the United States, came
+here. Concerning his visit, he wrote in his diary: "Between 7 and 8 I
+went to an Assembly, where there were at least a hundred handsome young
+ladies." With one of these, the daughter of General Abbot, Washington
+opened the ball, and for her later, as he did not dance, he secured as a
+partner General Knox.
+
+Other types of porches still seen in Salem include the Dutch porch,
+quaint and comely in its construction, an excellent example of which is
+seen on the Whipple house on Andover Street, while surrounding the
+Common on Washington Square are many rare and picturesque porches of
+various dates of erection.
+
+Considered by experts to excel them all is the porch that adorns the
+Pierce-Jahonnot house on Federal Street. This dwelling was erected by
+Mr. Pierce, of Pierce and Waitte, merchants, in the year 1782, and
+beside the main entrance it boasts a fine example of the narrow doorway
+at one side. In the early spring, crocuses clustering about the base of
+the porch add a touch that is decorative and charming, and the
+box-bordered garden beds, just in front, filled with masses of pure
+white bloom, complete a wholly delightful setting. There is about this
+particular doorway a touch of sentiment felt by every Salemite. It is a
+piece of architecture of which any one might feel proud, and in its
+beauty and dignity it stands distinctive in the midst of many fine bits.
+It is the Mecca of architects, who delight in the exquisite blending of
+doorway and entrance.
+
+There is a touch of the old Witchcraft Days connected with a doorway at
+Number 23 Summer Street, that resembles in type the one immortalized by
+Hawthorne. More than two hundred years ago, this porch was the site of
+an event that culminated in tragedy. Bridget Bishop, the first victim of
+the terrible delusion of 1692, kept a tavern here, and in her gay
+light-heartedness, she scorned the dictates of the church and insisted
+upon wearing on Sabbath Day a black hat and a red paragon bodice,
+bordered and looped with different colors. Her boldness in defying the
+rigid doctrines made the dignitaries suspicious of her, and at her
+trial, when one witness told of meeting her before the site of the
+present doorway where his horse stopped, and the buggy he was driving
+flew to pieces,--she of course having bewitched it,--was condemned to
+death.
+
+Individual types found throughout the city show a variety of
+construction and ornamentation, and many of these are most unique,
+although they do not belong to any special period. Prominent among these
+is the Pineapple doorway on Brown Street Court, an excellently
+proportioned and finely adorned entrance, which, through the remoteness
+of its location, is rarely seen by tourists. The dwelling of which it is
+a part was built in 1750 by Captain Thomas Poynton, and this feature,
+unlike the old Benjamin Pickman porch on Essex Street, which shows a
+codfish, has nothing about it suggestive of New England. The pineapple,
+which is set in a broken pediment, was brought over from England in one
+of the captain's own ships, and in the days of his occupancy it was kept
+brightly gilded, its leaves painted green.
+
+Many of the doorways show an innovation in the presence of the climbing
+vine, which winds its tendrils about the pillar supports, emphasizing
+their beauty. It is not definitely known whether the early owners
+encouraged the vine-covered porch or not, but they probably did, as they
+delighted in the vine-covered summer-house, which was a feature of
+nearly every old-time garden.
+
+While Salem may hold a prominent rank in attractive porches, many fine
+examples are to be found in Philadelphia, and though these specimens
+differ radically in design, they are most attractive. One is to be seen
+on Independence Hall on Chestnut Street, while others are found on
+churches and houses.
+
+These doorways illustrate a phase of architectural construction totally
+different from the porches of New England and those of the South, yet
+they combine features of the other types, while at the same time
+displaying a certain definite style of their own which gives to them as
+great distinctiveness as characterizes Salem porches.
+
+If the twentieth-century architect desires studies of truly attractive
+doorways, the seaport towns of New England will afford him excellent
+models. There is enough variety here in porches which are still
+preserved to give him any number of models from which to devise an
+entrance that will serve its purpose in every sense of the word.
+
+For the home builder, it will not be amiss to carefully consider the
+best type of porch before he goes to the architect to develop his plans;
+he can be assured that study will develop ideas that will give to his
+home an individuality that will embody his ideas and personality.
+
+
+
+
+CHAPTER III
+
+DOOR KNOCKERS
+
+
+There is no more decorative feature of the entrance door than the
+old-time door knocker, especially if in conjunction with it are used a
+latch and hinge. It possesses a dignity and charm that is most
+attractive, and when shown in brass, brightly burnished, it forms a most
+effective foil for the dark or polished surface of the wood.
+
+Door knockers have been in use, save for short periods during the
+seventeenth and nineteenth centuries, since their invention, early in
+the world's history, although they were most freely used during the
+Romanesque, the Gothic, and the Renaissance periods. For easy
+identification they may be divided into three classes, the first
+characterized by a ring, the second by a hammer, and the third by human
+figures and animals' heads. The first two types show a much larger
+surface of plate than the third, and the designs employed are often most
+elaborate.
+
+Door knockers in use during the Medieval period were perhaps the most
+carefully designed, while those of the Renaissance period showed the
+most fanciful treatment. It must be remembered, when considering the
+ornamental qualities of both these types of knockers, and comparing them
+with latter-day productions, that they were made at a time when
+designers were practically unknown, artists being employed to draw
+patterns which were worked out by assistants under the supervision of
+master smiths, which method resulted in a greater diversity of
+treatment.
+
+Iron was at first used in the construction of knockers, partly on
+account of its inexpensiveness, and the results secured from this
+seemingly ugly material were both artistic and beautiful. Later, brass
+came into favor for the purpose, and it has since remained the principal
+knocker material, as no better substitute has been found. Brightly
+polished, a brass knocker undeniably adds to the decorative
+attractiveness of any door.
+
+During the fifteenth and sixteenth centuries, knockers were used on all
+classes of houses. These for the most part were very elaborate in
+design, showing a wonderful delicacy of workmanship, and they were in
+many instances larger than those found on modern colonial homes.
+
+Except for the period during the seventeenth century, as above
+mentioned, door knockers remained in favor until the middle of the
+nineteenth century, when a wave of modernity, sweeping the length and
+breadth of the land, brought in its wake an overthrow of colonial ideas
+and furnishings. Modern doors, plain of surface, replaced the finely
+paneled old-time ones, and with their coming disappeared the knocker and
+the latch. Probably the principal cause of this was the demolition of
+many of the old landmarks, and the substitution of dwellings of an
+entirely different architectural type. This innovation for a second time
+consigned the knocker to oblivion, and many there were who, not
+realizing its artistic value, cast it into the scrap heap. Others, with
+a veneration for heirlooms, packed the knockers away in old hair trunks
+under the eaves of the spacious attic, together with other antiques of
+varying character.
+
+No doubt the greatest number were saved by the wise and far-sighted
+collector, who, realizing the artistic beauty of the knocker, felt that
+it would in time come to its own again. Quietly he purchased them and
+stored them away, awaiting the day of their revival, and his foresight
+was amply repaid when the modified colonial house came into vogue,
+demanding that the knocker should again be the doorway's chief feature.
+Many of those now shown are genuine antiques, while others are
+reproductions, but so carefully copied that only to one who has made a
+study of antiques is the difference discernible.
+
+[Illustration: PLATE VIII.--16th Century Knocker, Lion type, Striker of
+first type; Georgian Urn type, in use on modern house; Mexican Knocker
+of the Hammer type; Hammer type Knocker, 18th Century, Charles P. Waters
+House.]
+
+Old door knockers vary as to size according to the date of their
+construction. Many are of odd design, having been made to fit doors of
+unusual shapes, and the ornamentation is as varied as the shapes. The
+most elaborate knockers depict such ideas as Medusa's head, Garlands of
+Roses, and, in many cases, animals' heads, while the simple ones show
+oval or plain shapes, with border decorated with bead or fretwork.
+
+[Illustration: PLATE IX.--Eagle Knocker; Eagle Knocker, Rogers House,
+Danvers, Mass.; Medusa head, elaborate early type; Garland type of
+Knocker.]
+
+The shape of the knocker is of great assistance in classification, as is
+the metal used. The most common type has the striker round or
+stirrup-shaped. This is either plain or ornamented with twisted forms,
+with wreathing or masks, and the plate is formed of a rosette or lion's
+head.
+
+In the second type, the striker is hammer-shaped, the handle often
+showing a split and straplike formation, while the plate and knob are
+plain. This is an early type, as is shown from the fact that specimens
+still exist that are not unlike Byzantine and Saracenic forms. It is
+to this type that the exquisite iron-chiseled knockers of Henry II and
+Louis XIV belong.
+
+The lyre or elongated loop drawn down to form the striker constitute the
+third style. Masks, snakes, dragons, and human figures belong to this
+class, and, on account of the elaborate workmanship employed, these are
+often found in brass and bronze. This type shows ornamentation lavished
+on the striker, while the plate is very plain.
+
+The greatest difference noted in all these classes is that in the third
+type the escutcheon or plate by which the knocker is fastened to the
+door is of little importance, while in the first two types it is the
+leading motive.
+
+During the Gothic period, the design was diamond-shape, richly decorated
+with pierced work, and while this same motif was retained in the making
+of the Renaissance knocker, it was frequently varied by the
+double-headed or some similar style.
+
+What is correct concerning the design of the Medieval knocker holds good
+in that of to-day. No door knocker ever designed was ugly, even at the
+time of the earliest manufacture, when so little was known concerning
+architectural construction. There is a fine individuality in the style
+of all knockers, and singularly enough one fails to find duplicates of
+even the most admirable specimens. Another fact that seems strange is
+that reproductions often sell for as much as genuine antiques. It would
+seem that the price of the old knocker would be high, on account of its
+historical value, and yet this type of knockers sells at a lower price
+than present-day specimens. Old brass examples can be purchased as low
+as two dollars and fifty cents, while large and elaborate ones bring
+only ten dollars. This is not on account of their true value not being
+known, but because there is, as yet, comparatively little demand for
+them; and their sale at the best is limited, for where a person could
+use twenty candlesticks, two knockers would suffice for door
+ornamentation.
+
+There is an important phase of the copied specimens that must be taken
+into consideration, and that is that they have no historic value. This
+fact has made reproductions of no appeal to either the collector or the
+antiquarian, unless there is some special interest in the model from
+which they have been copied.
+
+Whether a knocker is a reproduction or a genuine antique can often be
+told by examining the plate and noting if it is forged to the ring or
+flat plate. If so, it is a fine piece of workmanship and a genuine
+antique; otherwise, it is spurious.
+
+The best place to purchase genuine old knockers is in the curio shops,
+where only such things are for sale. Even in this event, it is well to
+know the earmarks, for if one is anxious for a real antique, he should
+be posted on the characteristics, as a spurious specimen is apt to find
+its way even here.
+
+The door knockers in general use to-day are the Georgian urn or vase,
+the thumb latch, and the eagle. Such designs as Medusa's head, and the
+head of Daphne with its wreath of laurel leaves are also sometimes
+found.
+
+The lion with ring has always been more popular in England than in our
+country, and, indeed, during the Revolutionary War and for fifty years
+after, it was not even tolerated here, being superseded by the eagle,
+which came into vogue about 1775.
+
+The garland knocker, which belongs to the early type, is still sometimes
+found to-day. One such specimen is shown on a modern colonial home at
+Wayland, Massachusetts. This originally graced the doorway of one of
+Salem's merchant prince's homes, but it was purchased by a dealer in
+antiques at the time of the decline in favor of the knocker, later
+finding its original resting place, from which it has only recently been
+removed.
+
+Another rare and unusual knocker is shown on a house on Lynde Street,
+Salem, Massachusetts. This is of Mexican type, and has been on the house
+since its erection. It was painted over some years ago by an owner who
+cared little for its worth, and it was not until a comparatively short
+time ago that it was discovered to be a fine example of a rare type.
+
+The horseshoe knocker, a specimen of the hammer class, is a prized relic
+of many old homes. Like all true colonial specimens, it is made of
+wrought iron, painfully hammered by hand upon the forge in the absence
+of machinery for working iron, as even nails had to be hammered out in
+those early times. This is one of the quaintest and most original
+knockers, and is after the pattern of the earliest designed. Subsequent
+specimens were more elaborate, colonial craftsmen bestowing upon them
+their greatest skill. Among the most ornate were the purely Greek or
+Georgian vases or urns, eagles in all possible and impossible positions,
+heads of Medusa, Ariadne, and other mythological ladies, and Italian
+Renaissance subjects, such as nymphs, mermaids, and dolphins, with
+ribbons, garlands, and streamers.
+
+Not a few of these knockers have wonderfully interesting histories.
+Scenes have been enacted about them, which, could they be but known,
+would make thrilling tales. Take, for instance, the knocker on the
+Craigie House at Cambridge, Massachusetts. How many men of letters from
+all over the world have lifted the knocker to gain admittance to our
+late loved poet's home, and think what stories such visits could
+furnish!
+
+On the Whittier homestead at Amesbury, Massachusetts, is still to be
+seen the knocker which was on the door during the poet's life. This is
+of eagle design, probably chosen on account of its patriotic
+significance. Another interesting knocker formerly graced the house
+wherein the "Duchess" lived, on Turner Street, in Salem, many times
+lifted by Hawthorne, who was a frequent visitor to this dwelling, and
+who forever immortalized it in his famous romance, _The House of Seven
+Gables_. This is now replaced by another of different design.
+
+Considered to be one of the oldest knockers in this section is that on
+the door of the May house at Newton, Massachusetts. Be that as it may,
+it is certainly unique. The plate shows a phoenix rising from the
+plain brass surface, while the knocker has for ornamentation a Medieval
+head. This knocker has attracted the attention of antiquarians
+throughout the country, who have given it much study in attempts to find
+out the period in which it was made.
+
+Thumb latches are not so common as the hammer and ring class. Two of
+these specially unique show wonderful cutting. One is found on the front
+door of the Waters house on Washington Square, Salem, being brought from
+the John Crowninshield dwelling, while the other is seen on the side
+porch of this same residence, having been placed there at the time of
+the building's erection in 1795.
+
+England is the seat of most of the old-time knockers, although they are
+still found in almost every part of the globe. Threading the narrow
+by-streets of London, one finds many historic specimens replaced by
+simple modern affairs. Some have become the prey of avaricious tourists,
+while others, because of their owners' little regard for their value,
+have been relegated to ash heaps and thrown away.
+
+This is true of the knocker made famous by Dickens in the _Christmas
+Carol_. On the polished surface of this, Scrooge was said to have
+thought he saw reflected the face of Marley "like a bad lobster in a
+dark cellar." Later he spoke of it as follows: "I shall love it as long
+as I live. I scarcely ever looked at it before. What an honest
+expression it has in its face. It is a wonderful knocker." Clasped hands
+holding a ring of laurel is the form of the knocker still seen on the
+door of the famous Dr. Johnson house, and, as one gazes at it, he can in
+fancy see David Garrick and Sir Joshua Reynolds ascending the steps, and
+if he pauses a moment longer he can no doubt even hear the metallic ring
+of the knocker, as it responds to the vigorous raps that they give.
+
+The most beautiful knocker left in London is the one shown on the outer
+gate of the Duke of Devonshire's house at Piccadilly. The design here,
+as unique as it is beautiful, shows an angelic head with flowing hair.
+
+Chapels and cathedrals in England have many examples of this type of
+door decoration, one being a knocker handle with pierced tracery seen on
+Stogumber Church in Somerset.
+
+The history of door knockers is practically unwritten, and little is
+known concerning their make. The revival of antiques is responsible for
+their present popularity, and gives them an importance in house
+ornamentation little dreamed of a few years ago. To be sure, the coming
+of electric bells has precluded their necessity, but, on account of
+their ornamental value, it is doubtful if they ever become obsolete. The
+variety of design, the many artistic shapes to which they can be
+adapted, and, more than all, their decorative qualities, make them
+particularly valuable.
+
+
+
+
+CHAPTER IV
+
+OLD-TIME GARDENS
+
+
+There was a restful charm and dignity surrounding the garden of olden
+times that is lacking in the formal ones of to-day. This effect was
+gained partly from the prim box borders and the straight, central path,
+and partly from the stateliness of the old-fashioned flowers. Gardens
+formed a distinctive feature in the colonists' home grounds, from the
+time of their landing on unknown soil. At first they were very small,
+and consisted mostly of wild flowers and plants that had been brought
+from their homes in England and Holland. The early settlers brought with
+them to this new land a deep love for floriculture, and the earliest
+garden plots filled with flowering plants, though rude in construction,
+saved the house mother many a heartache, reminding her as they did of
+the beautiful gardens in the motherland left behind.
+
+We find in the earliest records of the new settlers allusions to
+flowers, and Reverend Francis Higginson speaks of the wild flowers which
+he saw blossoming near the shore. He considered them of enough
+importance to record in his diary on June 24, 1629, writing "that wild
+flowers of yellow coloring resembling Gilliflowers were seen near the
+shore as they sighted land, and that as they came closer they saw many
+of these flowers scattered here and there, some of the plots being from
+nine to ten feet in size."
+
+Four of the men who went ashore on the twenty-seventh of that month
+found on the headlands of Cape Cod single wild roses. Later on he tells
+again of the number of plants found growing, giving their names. These
+facts have enabled people in later years to locate the same flowers
+growing near the same places as when they were first discovered.
+
+Governor Bradford also considered the flowers of importance, and in his
+historical account of the Colonies of New England, he tells us that
+"here grow many fine flowers, among them the fair lily and the fragrant
+rose."
+
+On Governors Island in Boston Harbor were rich vineyards and orchards,
+as well as many varieties of flowers. Governor Winthrop, inserting a
+clause in the grant, said that vineyards and orchards should be planted
+here; that this was complied with is shown from the fact that the rent
+in 1634 was paid with a hogshead of wine.
+
+Following the growth of colonist gardens, we find that John Josslyn
+arrived in Boston four years later, in 1638, and that soon after his
+arrival he visited his brother's plantation in Black Point, Maine. He
+made a careful list of plants that he found here, each one of which he
+carefully described and sent in part to England, and it is interesting
+to note that in those days, the colonists in the spring gathered
+hepaticas, bloodroot, and numerous other wild flowers.
+
+His description of the pitcher plant is graphic: "Hollow leaved lavender
+is a plant that grows in the marshes, overgrown with moss, with one
+straight stalk about the bigness of an oat straw. It is better than a
+cubic high, and upon the top is found one single fantastic flower. The
+leaves grow close to the root in shape like a tankard, hollow, tight,
+and always full of water." The whole plant, so he says, comes into
+perfection about the middle of August, and has leaves and stalks as red
+as blood, while the flower is yellow.
+
+Mr. Josslyn also speaks of the fact that shrubs and flowers brought from
+England and Holland by the Puritans as early as 1626 were the nucleus
+of old-fashioned gardens, and that woadwaxen, now a pest covering acres
+of ground and showing during the time of blossoming a brilliant yellow,
+was kept in pots by Governor Endicott, while the oxeye daisy and
+whiteweed were grown on Governor Endicott's Danvers farm.
+
+He also tells us of the gardens with "their pleasant, familiar flowers,
+lavender, hollyhocks, and satin." "We call this herbe in Norfolke
+sattin," says Gerard, "and among our women, it is called honestie and
+gillyflowers, which meant pinks as well, and dear English roses and
+eglantine."
+
+The evolution of the garden commenced at this time, and from then until
+fifty years ago the old-fashioned garden was in vogue. There was much
+sameness to this kind of garden; each one had its central path of
+varying width, generally with a box border on either side, while inside
+were sweet-smelling flowers, such as mignonette, heliotrope, and sweet
+alyssum. Vine-covered arbors were the central feature, and at the end of
+the walk stood a summer-house of simple proportions, sometimes so
+covered with trailing vines as to be almost unseen.
+
+It was here on summer afternoons that our grandmothers loved to come for
+a social cup of tea, knitting while breathing in the sweet-scented air,
+permeated with the fragrance of single and double peonies, phlox, roses,
+and bushes of syringa. Tall hollyhocks swayed in the breeze, holding
+their stately cups stiff and upright, and there were tiger lilies, as
+well as the dielytra, with its row of hanging pink and white blossoms,
+from which the children made boats, rabbits, and other fantastic
+figures.
+
+In some of the old-time gardens, the small, thorny Scotch roses
+intermingled with the red and white roses of York and Lancaster. Little
+wonder that the perfume of their blooms was wafted through the air,
+although they were hidden among the taller roses, and there was no
+visible trace of their presence.
+
+One walked along the broad sidewalks of the old-time cities, expecting
+to find at every turn a garden of flowers. Not even a glimpse did they
+obtain, for the gardens of those days were not in view, but hidden away
+behind high board fences which have now in many cases been changed for
+iron ones, thus giving to the public glimpses of the central arbor and
+the long line of path with brilliant bloom on either side.
+
+One reason that the gardens in the olden days were hidden from view was
+that the houses, more especially the Salem ones, were built close to the
+sidewalk, and there was no chance for flowers in front or at either
+side.
+
+[Illustration: PLATE X.--Whittier Garden, Danvers, Mass.]
+
+[Illustration: PLATE XI.--Peabody Garden, Danvers, Mass.]
+
+Most of the noted old gardens have long since become things of the past,
+but a few are still left to give hints of the many that long ago were
+the pride of New England housewives. The estate of the late Captain
+Joseph Peabody at Danvers, Massachusetts, was at one time famed for its
+old-fashioned garden. This lay to the right of the avenue of trees that
+formed the driveway to the house. These trees were planted in 1816 by
+Joseph Augustus Peabody, the elder son of the owner. The garden proper
+was hidden from view, as one passed up the driveway, but lay at the
+front of the house. In its center was a large tulip tree, which still
+stands, said to be one of the oldest and largest in the country. One of
+the unique features of the grounds, and one that has existed since the
+days of Captain Peabody's occupancy, is a small summer-house, showing
+lattice work and graceful arches. Its top is dome-shaped, surmounted by
+a gilded pineapple.
+
+There is, however, another historic summer-house on this estate. It was
+formerly on the Elias Hasket Derby property, and was built about
+1790. This was purchased by the present owner of the estate, who had it
+moved to her grounds, a distance of four miles, without a crack in the
+plaster. It was built by Samuel McIntyre, and is decorated with the
+pilaster and festoons that are characteristic of his workmanship. Four
+urns and a farmer whetting his scythe adorn the top. Originally a
+companion piece was at the other end, representing a milkmaid with her
+pail. This latter figure was long ago sold by the former owner and
+placed with a spindle in its hand on the Sutton Mills at Andover,
+Massachusetts, where it stood for many years until destroyed by fire.
+The house itself contains a tool room on the lower floor, while at the
+head of the staircase is a large room, sixteen feet square, containing
+eight windows and four cupboards. It is hung with Japanese lanterns, and
+the closets are filled with wonderful old china. Its setting of flowers
+is most appropriate.
+
+At Oak Knoll in Danvers is still left the garden that the poet Whittier
+so much loved. It stands at the side of the house, bordering the avenue
+that leads from the entrance gate. The paths have box borders, and
+inside is a wealth of bloom, the central feature being a fountain which
+was a gift from Whittier to the mistress of the home. It was here he
+loved to come during the warm summer afternoons to pace up and down,
+doubtless thinking over and shaping many of his most noted poems. The
+garden has been carefully tended, and it shows to-day the same flowers
+that were in their prime during his life.
+
+Another fine example of a box-bordered, old-time garden is seen at
+Newburyport, Massachusetts, on the estate of Mrs. Charles Perry. Here
+the colonial house stands back from the main road, with a long stretch
+of lawn at the front. Passing out of the door at the rear, one comes
+upon a courtyard with moss-grown flagging that leads directly to the
+garden itself, fragrant with the incense of old-time blooms.
+
+At Indian Hill, the summer home of the late Major Benjamin Perley Poore
+at West Newbury, much care has been given to the gardens to keep the
+flowers as they were in the olden days. A feature of this estate, in
+addition to the gardens, is a shapely grove of trees at the rear of the
+mansion, that took first prize years ago as being the finest and
+best-shaped specimens in the county. Many of these trees were named for
+the major's friends, and they bear names well known to New Englanders.
+
+More than a century ago, when Salem was the trade center of the world,
+her gardens were renowned. These gardens were at the rear of the
+dwellings, and it was here that the host and his guests came for their
+after-dinner smoke, surrounded by the flowers that they loved.
+
+The first improvements in garden culture were made by one George
+Heussler, who, according to Captain Jonathan P. Felt, came to America in
+1780, bringing with him a diploma given him by his former employers.
+Previous to this period he had served an apprenticeship in the gardens
+of several German princes, as well as in that of the king of Holland,
+and was, in consequence, well qualified for the work. The first
+experience he had in America in gardening was at the home of John Tracy
+in Newburyport, where he worked faithfully for several years. Ten years
+afterwards he came to Salem to take charge of the farm and garden of
+Elias Hasket Derby, Senior, at Danvers, and later worked in other
+gardens in the city of Salem, where he lived until his death in 1817.
+
+From the records we glean that on October 21, 1796, Mr. Heussler gave
+notice that he had choice fruit trees for sale at Mr. Derby's farm,
+while a newspaper of that date informs us that the latter gentleman had
+recently imported valuable trees from India and Africa and that he had
+"an extensive nursery of useful plants in the neighborhood of his rich
+garden." His son, E. Hersey Derby, had a garden of great dimensions at
+his estate in South Salem, or, as it was then called, South Fields. This
+was in 1802, and for a long time the fame of this rare and beautiful
+garden was retained.
+
+Both of the Derby gardens were worthy of attention, and it is said by
+those in authority that in the Derby greenhouse the first night-blooming
+cereus blossomed. This was in 1790, and the flower was the true _cereus
+grande flora_, not the flat-leaved cactus kind that is now cultivated
+under that name. It was largely the influence of the beautiful Derby
+gardens that gave to Salem its impetus for fine garden culture.
+
+Who knows how many romances have been enacted in the old-fashioned
+gardens of long ago! They were fascinating places for lovers to wander
+and in their vine-clad summer-houses many a love-tale was told. The
+sight of an old-time garden recalls to-day the early owners, and in
+imagination one can hear the swish of silken skirts as the mistress of
+the home saunters down the central path to take tea with friends in her
+beloved arbor. There were warm friendships among neighbors in those
+days, and the summer season was marked by a daily interchange of visits;
+and so the old-time garden is fraught with memories of bygone
+festivities and perchance of gossip.
+
+After the close of commerce, the Derby Street houses, formerly occupied
+by the old merchants, gradually became deserted, and new houses were
+sought in different parts of the town, farther removed from shipping
+interests. Chestnut Street was the location of many of these new homes,
+and here the beautiful old-fashioned gardens were shown at their best.
+These were usually inclosed, and were reached by a side door, opening
+directly into a veritable wealth of bloom.
+
+Among the extensive gardens cultivated here was a smaller one containing
+a greenhouse. This was owned by John Fiske Allen. Mr. Allen was an
+ardent lover of flowers, and was always interested in adding some new
+and rare specimen to his collection. From Caleb Ropes in Philadelphia he
+purchased seed of the _Victoria Regia_, the water lily of the Amazon.
+These plants blossomed for the second time in our country on July 28,
+1833, the grounds being thronged with visitors during the time of their
+blossoming. This fact was called to the attention of William Sharp, who
+had illustrations made for a book on the subject. The following year an
+extension was made to the greenhouse, and more seed was planted, which
+had come from England, and, in addition, orchids and other plants were
+grown.
+
+The Humphrey Devereux house stands almost directly across the street
+from the Allen house. This garden, under the care of the next owner,
+Captain Charles Hoffman, became famous, for here the first camellias and
+azaleas in this country were planted. One of the former plants is still
+seen in a greenhouse in Salem. Captain Hoffman had a well-trained
+gardener, named Wilson, whose care gave this garden a distinctive name
+in the city. This garden is now the property of Dr. James E. Simpson,
+and it shows like no other the direct influence of olden times. There is
+the same vine-clad arbor for the central figure, and the plants which
+are grown behind box borders are the same that grew in our grandmothers'
+time. This scheme has been carefully carried out by the mistress of the
+house, who is passionately fond of the old-time blossoms.
+
+In the garden of the Cabot house on Essex Street, the first owner of the
+house imported tulips from Holland, and, during the time of their
+blossoming, threw open the garden to friends. The later owners improved
+the garden by adding rare specimens of peonies and other plants, and
+have kept the same effects, adding to the gardens' beauty each year.
+
+While the old-fashioned garden has gone into decline, yet the modern-day
+enthusiast has brought into his formal gardens the flowers of yesterday.
+The artistic possibilities of these have appealed so strongly to the
+flower lover that they have been restored to their own once more. The
+box border is practically a thing of the past, having been replaced by
+flower borders of mignonette and sweet alyssum, which afford a fine
+setting for the beds. Like pictures seem these old-fashioned gardens,
+framed with thoughts of days long gone by, and one unconsciously sighs
+for those days that are gone, taking with them the sweet odor of the
+flowers that grew in our grandmothers' time.
+
+
+
+
+CHAPTER V
+
+HALLS AND STAIRWAYS
+
+
+The colonial hall as we have come to think of it--dignified and
+spacious, with characteristics of unrivaled beauty--was not the type in
+vogue in the first years of the country's settlement, but rather was the
+outgrowth of inherent tendencies, reflecting in a measure the breadth
+and attractiveness of the English hallway.
+
+The earliest dwellings were built for comfort, with little regard for
+effect, and they showed no hallways, only a rude entrance door giving
+directly upon the general and often only apartment. Sometimes this door
+was sheltered on the outside by a quaint closed porch, which afforded
+additional warmth and protection from the driving storms of rain or
+snow; but it was never anything more than a mere comfort-seeking
+appendage, boasting no pretentions whatever to architectural merit.
+Crude, indeed, such entrances must have seemed to the stern Puritan
+dwellers, in comparison with those of their ancestral abodes; and it
+is not to be wondered at if in secret they sometimes longed for the
+hallways of their boyhood, where, after the evening meal in the winter
+season, the family was wont to gather about the roaring fire, perchance
+to listen to some tale of thrilling adventure.
+
+The first American hall came in with the building of the frame house,
+erected after the early hardships were over, and the colonists could
+afford to abandon their rude cabin domiciles. This was really little
+more than an entry, rarely characterized by any unusual features, but it
+served as a sort of introduction to the home proper, and was dignified
+by the title of hallway. The hall in the old Capen house at Topsfield,
+Massachusetts, belongs to this type.
+
+[Illustration: PLATE XII.--Saltonstall Hallway, about 1800.]
+
+Later came the more pretentious hall, typical of the gambrel roof house,
+that enjoyed so long a period of popularity. This was generally a narrow
+passage, with doors opening at either side into the main front
+apartments, and with the staircase at the end rising in a series of
+turns to the rooms above. The first turn often contained in one corner a
+small table, which held a candlestick and candle used to light a guest
+to bed, or a grandfather's clock, the dark wood of its casing serving
+as an effective contrast to the otherwise light finish of the apartment.
+
+Not infrequently the hall was solidly paneled, and a built-in cupboard
+or like device was sometimes concealed behind the paneling; or, as in a
+dwelling in Manchester, Massachusetts, it contained an innovation in the
+form of a broad space opened between two high beams, halfway up the
+staircase, arranged, no doubt, for the display of some choice
+possession, and showing beneath a motto of religious import.
+
+[Illustration: PLATE XIII.--Hallway, Lee House, 1800.]
+
+In the better class of houses of this period, the hallway sometimes
+extended the width of the dwelling, opening at the rear on to the yard
+space. This type was the forerunner of the stately attractive hall that
+came into vogue in the last half of the eighteenth century, and
+continued in favor during the first years of the nineteenth century,
+with the advent of the wooden and brick mansion.
+
+Belonging to the earlier class are the Warner and Stark halls in New
+Hampshire. The former is paneled from floor to ceiling, the white of the
+finish now mellowed to ivory tones, and serving to display to advantage
+the fine furnishings with which it is equipped. At the rear it opens
+upon a grassy yard space, shaded by tall trees, thought to be the site
+of the old slave quarters, long since demolished. The walls show several
+adornments, among the most interesting being the enormous antlers of an
+elk, which, tradition tells, were presented to the builder of the
+dwelling by some of the Indians with whom he traded, as an evidence of
+their friendship and good will. The latter hall is of similar type,
+entered through a narrow door space and continuing the width of the
+dwelling; it ends at the rear in a quaint old door that shows above its
+broad wooden panels a row of green bull's eyes, specimens of early
+American glass manufacture, still rough on the inside where detached
+from the molding bar. This door gives upon an old-time garden plot,
+fragrant with the blooms of its original planting, and preserving intact
+its early features. Rare bits of old furniture are used in the equipment
+of this hall, and the paneled walls are hung with family portraits.
+
+When unwearied toil had made living considerably easier, and many of the
+merchants had amassed fortunes, there sprang up, in both the North and
+the South, those charming colonial mansions that were the fit abode of a
+brave race. They demanded hallways of spacious dimensions, and into
+favor then came the broad and lofty hall, embodying in its construction
+the highest development of the colonial type. Quite through the center
+of the house this hall extended, from the pillared portico and stately
+entrance door, with its fan lights and brazen knocker, to another door
+at the rear, through the glazed upper panels of which tantalizing
+glimpses could be obtained of tall hollyhocks and climbing roses growing
+in the old-fashioned garden just without.
+
+[Illustration: PLATE XIV.--Hallway, Tucker House, about 1800.]
+
+In a measure this hall was a reproduction of the English type,
+particularly in its spaciousness of dimension. Unlike this type,
+however, it lacked the dominant influence of the fireplace, and in its
+construction it showed several independent features, all tending to
+emphasize the attractive dignity suggested in the broadness of outline.
+Often an elliptical arch spanned the width at about one third the
+length, generally serving to frame the staircase, and tending to make
+dominant the attractiveness of this feature. This was usually little
+more than a skeleton arch, being a suggestion, rather than a reality,
+sometimes plain, and sometimes slightly ornamental. This feature is
+shown in the Lee hall at Salem, and in the main hall of the old Governor
+Wentworth house at Little Harbor, New Hampshire. This latter hall is
+particularly interesting, not only for its beauty of construction, but
+also for its historic associations. Under its arch, framing the fine old
+staircase, men prominent in the history of the State and country have
+passed, and on the walls and over the door are still seen stacks of
+arms, thirteen in number, the muskets of the governor's guard, so long
+dismissed.
+
+[Illustration: PLATE XV.--Hallway, Wentworth House, 1750.]
+
+The most important feature of all these halls was the staircase, and in
+its construction the greatest interest was centered. Generally it
+ascended by broad, low treads to a landing lighted by a window of
+artistic design, and continued in a shorter flight to the second floor
+apartments. It was always located at one side, and generally near the
+rear, to allow the placing of furniture without crowding. The balusters
+were usually beautifully carved and hand turned, with newel posts of
+graceful design; and sometimes even the risers showed carved effects.
+The cap rail was usually of mahogany. Hard wood was sometimes used in
+the construction of the staircase, the treads in this event being dark
+and polished, while soft wood painted white was also much used.
+
+The finish of the walls in this type of hall varied. Some were entirely
+paneled, others showed a quaint landscape paper above a low white
+wainscot, and still others showed hangings of pictorial import, framed
+like great pictures. To the last-named class belongs the Lee hall at
+Marblehead, considered to be one of the finest examples of its type
+extant. Black walnut is the wood finish here, and the hangings, designed
+by a London artist, are in soft tones of gray, beautifully blended, and
+represent scenes of ruined Greece, each set in a separate panel,
+handsomely carved.
+
+Occasionally, to-day, a staircase of the spiral type is found,--a type
+that possesses certain satisfying characteristics, but which never
+enjoyed the popularity of the straight staircase. Some few of the
+staircases in the old Derby Street mansions at Salem are of this type,
+as is the staircase at Oak Knoll, in Danvers, the poet Whittier's last
+residence. The common name for this type of staircase was winder.
+
+A large number of representatives of the finest type of the colonial
+hall are scattered throughout the North and South, and their sturdiness
+of construction bids fair to make them valued examples indefinitely. One
+particularly good example is shown at Hey Bonnie Hall, in Bristol, Rhode
+Island, a mansion built on Southern lines, and suggesting in its
+construction the hospitality of that section. Here the hall is twenty
+feet wide; the walls are tinted their original coloring, a soft rich
+green, that harmonizes perfectly with the white woodwork and the deep,
+mellow tones of the priceless old mahogany of the furnishings. A
+well-designed, groined arch forming a portion of the ceiling, and
+supported at the corners by four slender white pillars, is one of the
+apartment's attractive adjuncts, while the dominant feature is the
+staircase that rises at the farther end, five feet in width, with treads
+of solid mahogany and simple but substantial balusters of the same wood
+on either side. The upper hall is as distinctive as the lower one, and
+exactly corresponds in length and width. Wonderful old furnishings are
+placed here, and at one end is displayed a fine bit of architectural
+work in a fanlight window, overlooking the garden.
+
+One wonders, when viewing such a hall as this, how this type could ever
+have been superseded in house construction, but with the gradual decline
+in favor of the colonial type of dwelling, it was abolished, and in
+place of its lofty build and attractive spaciousness, halls of cramped
+dimensions came into vogue, culminating in the entry passage typical of
+houses built toward the middle of the nineteenth century. Happily,
+present-day house builders are coming to a realizing sense of the
+importance of the hallway, and are beginning to appreciate the fact
+that, to be attractive, the hall must be ample, well lighted, and of
+pleasing character. With this realization the beauty of the colonial
+hall has again demanded attention, and in a large number of modern homes
+it has been copied in a modified degree.
+
+
+
+
+CHAPTER VI
+
+FIREPLACES AND MANTELPIECES
+
+
+It is a far cry from the fireplaces of early times to those of the
+present, when elaborate fittings make them architecturally notable. We
+read that in the Middle Ages, the fire in the banquet hall was laid on
+the floor in the center of the large apartment, the smoke from the
+blazing logs, as it curled slowly upward, escaping through a hole cut in
+the ceiling. Later, during the Renaissance period, the fire was laid
+close to the wall, the space set apart for it framed with masonry jambs
+that supported a mantel shelf. A projecting hood of stone or brick
+carried the smoke away, and the jambs were useful, inasmuch as they
+protected the fire from draughts. From this time, the evolution of the
+fireplace might be said to date, improvement in its arrangement being
+worked out gradually, until to-day it is numbered among the home's most
+attractive features. It is interesting to note, in reference to these
+latter-day specimens, that many of them are similar in design to those
+of the Renaissance, Louis Sixteenth, and colonial periods.
+
+Not a few of the early fireplaces were of the inglenook type, a fad that
+has been revived and is much in evidence in modern dwellings; and many
+of them followed certain periods, such as the Queen Anne style and the
+Elizabethan design. Several, too, were topped with mantels, features
+practical as well as ornamental, which are almost always associated with
+the fireplaces of to-day. Many of the old mantels were very narrow,
+prohibiting ornamentation with pottery or small bits of bric-a-brac;
+they were so built, because the designers of early times considered them
+sufficiently decorative in themselves without any additional
+embellishment, and their sturdiness and architectural regularity seem to
+justify this opinion. Mantels and fireplaces of early Renaissance type
+show in detail an elegance that is characteristic of all the work of
+that period, the Italian designers being masters in their line.
+
+In the baronial halls of Merrie England, we find huge fireplaces, wide
+enough to hold the Yule log, around which, after the chase, the
+followers gathered to drink deep of the wassail bowl. Such pictures must
+have lingered long in the minds of the colonists in their new
+surroundings, and to us they are suggestive of the Squire in "Old
+Christmas," who, seated in his great armchair, close by the fire,
+contentedly smoked his pipe and gazed into the heart of the flickering
+flames, filled with the joy of his ancestral possessions.
+
+[Illustration: PLATE XVI.--Historic Fireplace at Ipswich, Mass.]
+
+Life with the early colonists was a stern reality. The climate here was
+far more rigorous than that of the motherland, and a home and a warm
+fire were the two necessities first demanded. Logs from the near-by
+forest afforded the former, while rocks taken from the clearings
+supplied the latter. The fireplaces of those days were perhaps the
+largest ever built in any land, some ten feet or more in depth, and
+broad enough to hold the logs which were stacked just outside the cabin
+door. The rude stones which formed the fireplace were piled wall
+fashion, the largest at the bottom and the smallest on top, the chinks
+between made strong by daubings of clay. Later, the builders gave a more
+finished effect to this feature, and the hearths were then extended many
+feet into the single large apartment, while on either side were placed
+rude, home-made benches with high backs, to shield the inmates from the
+cold felt outside the circle of the fire's warmth.
+
+[Illustration: PLATE XVII.--Old Fireplace in Wentworth House,
+Portsmouth, N. H.]
+
+At the rear of the fireplace was arranged a huge backlog, to afford
+protection to the stones, and also to throw the heat into the room. This
+was often of unseasoned timber, that it might last the longer, two feet
+in diameter, and eight feet or more in length. Firedogs were used to
+hold the smaller logs, while creepers were employed for the smallest of
+all, and to start the fire, small pine boughs and small timbers were
+heaped high, flint and tinder serving to ignite them. Once started, the
+fire was kept indefinitely, being carefully covered at night or piled
+with peat; above the blaze swung the soot-blackened crane, with its
+various pots and kettles. Such was the early colonial kitchen, the
+fireplace its dominant feature, the light from its glowing logs throwing
+into relief the sanded floor, bare, unplastered walls, and the rafters
+overhead. With the coming of prosperity, these rude log huts gave way to
+timber houses, two stories in height, and with their advent the better
+type of colonial fireplaces came into vogue.
+
+[Illustration: PLATE XVIII.--First Hob Grate in New England, Waters
+House; Mantel Glass and Fireplace, showing decoration of floral basket.]
+
+Dating as far back as the earliest fireplaces are found fire sets, as
+they were sometimes called, comprising the hearth accessories necessary
+for an open fire. The oldest of these sets, which were in use long
+before coal was burned as fuel, consisted usually of a pair of
+andirons, a long-handled fire shovel, and a pair of tongs. In some cases
+more than one set of andirons was included, for in the great, cavernous
+fireplaces of the colonists' log cabins, the high supports used for the
+heavy forestick and logs were not suitable for the smaller wood, and
+creepers had to be set between the large andirons to hold the short
+sticks in place. Bellows were often found beside the fireplace in those
+times, but the poker was rarely if ever included in fire sets, previous
+to the introduction of coal as a fuel.
+
+In material and design these fire sets, particularly the andirons,
+differed widely. Iron, steel, copper, and brass were the metals most
+commonly used for their construction, although in other countries even
+silver was occasionally made into fire irons. As for design, they ranged
+from the very simplest and most unpretentious styles up through the
+quaint dogs' heads to the grotesque figures and elaborately wrought
+pieces to be found among good collections of antique hearth accessories.
+
+Andirons for kitchen use were as a rule very plain and substantial.
+Sometimes they were merely straight pieces supported by short legs and
+having uprights of either plain or twisted metal, topped by small knots
+of some sort. They were probably most commonly made of iron, and not a
+few were rudely hammered and shaped on the pioneer blacksmith's anvil.
+It is consequently little to be wondered at that many of the andirons
+once used in colonial kitchens give one the impression of having been
+designed for strength and utility rather than for ornament.
+
+The better class of andirons in use during the seventeenth and early
+part of the eighteenth centuries were for the most part of graceful,
+but, at the same time, simple and dignified designs. The finest ones
+were of brass, which was kept brightly polished by the energetic
+housekeeper. Short knobs or uprights were often placed a few inches back
+of the main uprights and served the double purpose of holding the
+forestick in place and of protecting the shining brass. Occasionally
+andirons were made in rights and lefts with the shanks curving outward
+from the short knobs where they joined the straight, horizontal
+supports.
+
+[Illustration: PLATE XIX.--Middleton House Steeple Top Andirons, and
+Bellows; Southern Andirons, Atkinson Collection.]
+
+Among other popular andiron designs of this period were the twisted
+flame, the urn topped, the queer iron and brass dogs with claw feet, the
+colonial baluster, and the steeple topped. Of these, the steeple-topped
+andirons were perhaps the rarest, while the colonial baluster pattern
+with ball tops was, without doubt, the most popular and commonly used.
+
+A good example of the style of andirons which came into favor during the
+latter half of the eighteenth century is found in the Hessian design.
+They take their name from the fact that the upright of each iron is cast
+in the form of a Hessian soldier, posed as if in the act of marching.
+Since this particular pattern first made its appearance immediately
+after the close of the American Revolution, it is not difficult to
+comprehend its significance, for it is a well-known fact that the
+patriotic colonists heartily hated the hired allies in the employ of
+King George of England who had fought against them. This humbling of the
+Hessian to service among the flames and ashes, although only in effigy,
+seemed to afford the Americans a great deal of satisfaction, if the
+great popularity of these andirons stood for anything.
+
+Probably no finer collection of colonial hearths is to be found anywhere
+than in Salem. The Derby Street mansions even now show wonderful bits of
+the skill which has made Salem a name synonymous of the best in the
+architectural world. McIntyre designed many of these, following in some
+cases the style of the decorator, Adams. Many of the mantels show a
+wonderful harmony of contour, capped by a simple shelf, for the most
+part unadorned. One such is seen in the Gove house on Lynde Street, its
+straight, simple lines affording dignity and grace that are most
+attractive. The decoration is the head of Washington, fixing the period
+of its construction about the time of the Revolution.
+
+Other popular decorations were the eagle, which came into favor at the
+same period as the Washington decoration, baskets of flowers,
+wonderfully delicate in their carving, garlands, and many such designs,
+in all of which McIntyre shows a versatility that, considering the
+limitations of his day, is truly remarkable.
+
+While many of the mantels were of wood, some few were of marble. Two
+such of special interest are to be found, one in the Thomas Sanders's
+house on Chestnut Street, and the other in Hon. David M. Little's
+residence on the same thoroughfare. The former shows an exquisite
+design, supported on either side by caryatids, gracefully carved; and
+the latter, of the same period, is practically of the same design. A
+third marble mantel is found in the home of the Salem Club, formerly the
+residence of Captain Joseph Peabody. This mantel is of Florentine marble
+and was imported by the captain in 1819. It is particularly beautiful
+in its finish, and has served as an inspiration for many similar mantels
+to be found in New England.
+
+Belonging to the early type is the quaint fireplace found in the hallway
+of the Robinson house on Chestnut Street. This apartment was formerly
+the kitchen, and the fireplace in its original condition was discovered
+in the process of remodeling. Upon investigation, it was found to be a
+composite of three separate fireplaces, built one within the other, and
+culminating outwardly in a small grate; and when opened, it showed
+portions of the old pothooks. It was restored to its original aspect,
+appearing to-day as it was first constructed, its narrow mantel adorned
+with rare bits of pewter.
+
+In what was formerly the home of Mrs. Nathaniel B. Mansfield in Salem,
+is a curious mantel, which was first owned by Mr. Fabens. It is one of
+the rarest bits of McIntyre's work, decorated with his best wrought and
+finest planned carving. Another fine mantel is in the home of Hon.
+George von L. Meyer at Hamilton, Massachusetts. This is as historic as
+it is beautiful, and was part of the original equipment of the
+Crowninshield house in Boston.
+
+Many of the later style fireplaces, more especially of the better class,
+showed firebacks. These were of iron, and were designed to keep the
+back of the fireplace from cracking. Some of these old firebacks had
+flowers for ornamentation, while others showed decoration in the form of
+family coats-of-arms. In the Pickering house on Broad Street, Salem, is
+a quaint fireback which was made in the first iron foundry at Saugus,
+now Lynn. This has on the back the initials of the then owners of the
+dwelling, John and Alice Pickering, inscribed as follows, "J. A. P.
+1660." This same Alice Pickering was very fond of dress, and an old
+record of 1650 tells that she wore to church a silken hood. For this
+offense she was reprimanded and brought before the church, but was
+allowed to go when it was learned that she was worth two hundred pounds.
+
+By the beginning of the eighteenth century, fireplaces had come to be
+considered of great decorative importance, and in an account written in
+1750 Isaac Ware says of them: "With us no article in a well-furnished
+room is more essential. The eye immediately falls upon it on entering
+the room, and the place for sitting down is naturally near it. By this
+means it becomes the most prominent thing in the furnishing of the
+room."
+
+The popularity of the fireplace was somewhat checked in 1745 through the
+invention of the Franklin stove, which immediately came into favor.
+These stoves were constructed of iron, with trimmings of rosettes and
+railing and knobs of varying size; in appearance they were very similar
+to the small, open fireplace with andirons for burning logs. As heat
+producers, however, they were a decided improvement over the old-time
+hearth, which in many cases smoked abominably, and sent much of the heat
+up the chimney instead of into the room. The new stoves proved
+economical, and there was but little waste of heat through the pipes
+connecting them with the chimneys.
+
+In the dining room of Harriet Prescott Spofford's house at Newburyport
+is one of these stoves, before which Whittier delighted to sit during
+his frequent visits to this old home. It is a fine specimen of its kind,
+and as interesting in its way as the quaint room which it graces. For
+many years this dwelling served as an inn, kept by one Ebenezer Pearson,
+being one of the favorite resorts for pleasure parties, and in the
+old-time dining room much brilliant parrying of wit took place, as
+distinguished visitors amiably chatted over their teacups.
+
+Later in the eighteenth century, another form of heating came into
+vogue. This was the fire frame, which appeared about thirty years after
+the invention of the Franklin stove, and in type was something of a
+compromise between the open fireplace and the stove, possessing certain
+characteristics of each. It was so arranged that it could be used in a
+fireplace that had either been filled in with brick, or finished with a
+fireboard, and in appearance was very similar to the upper part of a
+Franklin stove. Unlike the stove, however, it rested directly upon the
+fireplace hearth, instead of being raised from the floor.
+
+When coal first came into use, a Salem man saw it burn, and so impressed
+was he with its worth that he told Dr. George Perkins of Lynde Street
+about it. The doctor immediately ordered a barrel of the fuel to be
+brought down in a baggage wagon from Boston, and he also ordered a
+new-fangled stove of the hob grate order. The trial took place in the
+living-room of his home, and the neighbors gathered to watch it burn. So
+great was the success of the venture that a load of coal was ordered,
+and it landed at the North River wharf, where the water was then so deep
+that vessels could easily come to pier there. The cargo consisted of
+from one hundred and sixty to one hundred and seventy tons, considered
+an enormous load at the time.
+
+The first coal burned in a stove was in Wilkes-barre, Pennsylvania,
+where Judge Jesse Fell, in the main room of the old tavern, in February,
+1808, started the first coal fire. Previous to that time coal had been
+burned in open forges, under a heavy draught, by a few blacksmiths, but
+it had never been adapted for household purposes, and the discovery that
+it could be used changed it from a useless thing to something of great
+value.
+
+In 1812 Colonel George Shoemaker discovered coal in the Susquehanna
+Valley, and he took twelve tons of it to Philadelphia to sell. He
+disposed of two tons, but was compelled to give the rest away, as people
+considered him a fraud, proving that the use of coal was not general at
+this period.
+
+The hob grate came into use in 1750, a few years after the advent of the
+Franklin stove, and it proved especially valuable for the burning of
+coal, when that product became popular. At first it was known as "Cat
+Stone," but later was called hob grate, by which name it is known at the
+present time.
+
+Fenders of brass or iron were generally used with these grates, a small
+one placed close to the fire to prevent the ashes from falling over the
+hearth, and a larger one arranged around the entire fireplace. Although
+hob grates were popular in Northern houses, they were much more
+frequently used in the South.
+
+Tiles were little used in America until the hob grate era, when they
+seem to have come into vogue. They were used to surround both hob grates
+and Franklin stoves. Some of them showed decorations of religious
+subjects, while others, like a set in a Salem house, told in pictures
+the story of AEsop's Fables. There is a tiled fireplace still in
+existence in the Saltonstall-Howe house at Haverhill, Massachusetts, a
+dwelling originally owned by Dr. Saltonstall, the first medical
+practitioner in the city. This fireplace, in the dining-room, shows a
+double row of tiles, depicting a series of Scriptural events, and it is
+equipped with a fender of ancient hammered brass, a family heirloom. The
+date of the fireplace can be definitely determined without knowledge of
+the time of the erection of the house from the fact of the absence of a
+mantel above. Another similar fireplace adorned with quaint Dutch tiles
+is shown in the Pickering house living-room. Like the Saltonstall one,
+this fireplace has a beautiful, ancient fender of brass and a pair of
+bellows that were made by Rev. Theophilus Pickering, a preacher in
+Essex, Massachusetts, who succeeded the Rev. John Wise.
+
+The first hob grate ever placed in a Salem home is to be seen in the
+Waters house on Washington Square. It is topped with one of McIntyre's
+famous mantels, showing that the original fireplace was brought down to
+be used with the grate.
+
+Elias Hasket Derby, one of Salem's most famous merchants, had a
+beautiful estate where Market Square now stands. The house, which was a
+marvel of elegance, stood in the center of the square, surrounded with
+terraced gardens that swept to the water's edge. After his death the
+house was too large and elegant to be kept up, and it was torn down and
+the land sold. The timbers of the house, the wood carving, and mantels
+were purchased by Salem house owners, one hob grate finding its way to
+the old Henry K. Oliver house on Federal Street. This dwelling, which
+was built in 1802 by Captain Samuel Cook for his daughter, who married
+Mr. Oliver, shows old-time fireplaces in many rooms, one of brass being
+found in the parlor. This was the first of its kind ever placed in a
+Salem home, and it has a grate, on either side of which are brass
+pillars about three feet in height, with brass balls on top. A brass
+band extends from pillar to pillar below the grate, and the fender is
+also of brass. The mantel above is elegantly carved, and came from the
+Elias Hasket Derby mansion.
+
+A soapstone fireplace with grate is shown in the General Stephen Abbot
+house on Federal Street, where General Abbot, who served under
+Washington, entertained the latter during his visit to Salem. Behind
+this fireplace is a secret closet, large enough to conceal three men,
+where, during troublous times, slaves were hidden.
+
+With the advent of the furnace, many beautiful fireplaces were closed
+up, or taken away to be replaced by modern ones that lacked in every
+respect the dignity and grace of the colonial specimens. Happily this
+state of affairs was of short duration, and to-day the fireplace in all
+its original charm is a feature of many homes. To be sure, it is now a
+luxury rather than a necessity, but it is a luxury that is enjoyed not
+only by the wealthy classes, but by those in moderate circumstances as
+well, who appreciate the great decorative advantages of this feature.
+Surely there is nothing more homelike than the warm glow of blazing
+logs, and it is a delight to sit before the sputtering flames, and enjoy
+the warmth and glow, as did our ancestors in the long ago.
+
+
+
+
+CHAPTER VII
+
+OLD-TIME WALL PAPERS
+
+
+The records of many old-time features are scanty in detail, and, in
+consequence, their meaning is differently and often wrongly interpreted.
+Even one who has spent years in delving into the past secures facts that
+differ materially from those obtained by some one else who has spent a
+like time in research, and thus accounts of varying dependency are
+propounded for reference. This is especially true in tracing the origin
+of the old picture wall papers that, with the revival of colonial ideas,
+are again coming into vogue.
+
+One may prate about the papers of to-day, but they cannot compare either
+in style or in effect with these early types, which show designs
+patiently and carefully worked out by men who were masters of their
+craft, and who, while lacking the advantages afforded the designers of
+the present, nevertheless achieved results that have never been
+surpassed. This fact is especially noteworthy, and it is wholly to the
+credit of these old-time craftsmen that their products are to-day an
+inspiration to architects and home builders who are seeking the best in
+the way of interior decoration.
+
+When wall papers first came into use is uncertain, for various
+authorities with apparently good reason set different times. China
+claims the honor of having originated them, as does Japan, while Holland
+boasts the distinction of having first introduced them into other lands.
+We know for a certainty that wall papers fashioned in strips three feet
+long and fifteen inches wide were made in Holland centuries ago and
+introduced into England and France, and latter-day specimens, of similar
+type, are to be found in the homes of the colonists in our own land.
+
+The printing of these decorative wall papers was at first done from
+blocks, much as books were printed in early times. While it may not have
+been block printing, a unique wall hanging of like type was to be seen
+until within the last few years in a colonial house on Essex Street, at
+Salem--the Lindall-Andrews dwelling, built in 1740 by Judge Lindall.
+This wall paper, printed and hung in squares, adorned the parlor at the
+left of the hallway, and before its removal a reproduction was made by
+Bumstead for a descendant of the first owner to use on the walls of a
+room in her summer home.
+
+Dr. Thomas Barnard, minister of the First Church, who succeeded in
+arranging for a compromise at the time of Leslie's Retreat, lived in
+this dwelling during his pastorate, and on the walls of the hallway he
+caused to have painted by one Bartol of Marblehead, father of Dr. Cyrus
+Bartol, a series of wonderfully realistic pastoral scenes, that have
+never been removed and are still to be seen, although their brightness
+has been dimmed by time.
+
+Pictorial wall paper did not come into general favor in Europe until the
+eighteenth century, the period that marked the adoption of the long roll
+still in vogue. To be sure, this type had been used much earlier by the
+Chinese, but machinery for its fashioning was not invented until the
+latter half of the eighteenth century. Up to this time, wall paper was
+made in small squares and laboriously hung,--a fact that made it
+expensive and accordingly prohibitive to all but the wealthy classes.
+
+Jackson of Battersea in 1744 published a book of designs taken from
+Italian scenes and bits of sculpture. These were pictures done as panels
+and printed in oils, and resulted in the adoption of printed wall paper
+throughout England. From that time on, as their cost grew less, wall
+papers were extensively used in the motherland, which fact accounts for
+the general adoption of this type of wall hanging by the colonists, as
+the new land grew richer, and square, substantial homes were built.
+
+In the early days of the colonies, there were few mechanics who were
+able to furnish settings for the new homes, and consequently the home
+builders were forced to depend on foreign lands for most of their
+furnishings. Among these, wall hangings were not included, due partly to
+the fact that there was no place for them in the rude cabins of early
+times, and partly because they were not then in general use. Wall papers
+were first brought to this country in 1735, though, owing to their
+expensiveness, they were not used to any extent until many years later.
+The frugal housewife preferred to paint the walls either in soft gray
+tones, with a mixture of gray clay and water, or with yellow paint,
+ornamented with a hand-painted frieze of simple design, often
+supplemented by a narrow border stenciled above the chair rail. The
+earliest examples of this work depicted the rose, the poppy, the violet,
+or the pink, followed later by depictions of human interest, such as
+Indians, wigwams, forest scenes, etc. This idea has been carried out in
+the recently renovated Kimball house at Georgetown, Massachusetts, where
+the mistress of the home has used for wall adornment hand-painted
+friezes of soft-tinted flowers and emblematic designs.
+
+Later, wall papers were brought here in quantities, and while a number
+of these rare old hangings have been removed and replaced by others of
+modern type, yet there are many left, each rich in memories of bygone
+days. The stories connected with them will never be known, save the
+legends which have been handed down from generation to generation, and
+which the present grandames love to repeat, as they sit at twilight by
+the open fire, and the roaring of the logs recalls to mind the olden
+days.
+
+Much of the wall paper brought here was made to order from accurate
+measurements, and much was carefully selected in accordance with
+previous instructions. Often special patterns were purchased for a new
+home by a young lover, and into their selection went fond and happy
+thoughts of the bride-to-be.
+
+Even to this day one occasionally finds, stored away in some old attic,
+rolls of priceless paper which had been brought here years ago and never
+used. To the student and dreamer such a discovery is rich in
+association, and even to the practical home maker it is fraught with
+suggestions. There is something genuine about it, a touch of quaintness
+and simplicity that, for lack of a more accurate term, we call colonial.
+
+From one such attic, not so very long ago, were brought to light rolls
+of rare old paper, which had been hidden away under the eaves for forty
+years. Upon investigation this was found to be the Don Quixote pattern,
+one of the three rarest types known, depicting the story of this quaint
+character from the time of his leaving his home accompanied by his
+faithful squire, Sancho Panza, to the time of his return, a sadder and
+wiser man. The scenes are worked out in soft gray tones, wonderfully
+blended, providing a harmonious and attractive ensemble.
+
+On the walls of a third-story room in the Andrew house on Washington
+Square, Salem, is shown a wonderful wall paper, representing an old-time
+English hunt. In the first picture of the series the soft green of the
+trees furnishes a contrasting background for the red coats of the
+hunters who, on prancing steeds, with yelping hounds grouped about, are
+ready for the start. Then follow the run over hill and dale, past
+cottages where wondering peasants gape in open-mouthed admiration at the
+brilliant train as it flashes by, and the bringing of the fox to bay,
+ending with the luncheon upon the greensward, showing the huntsmen and
+their ladies fair enjoying a well-earned repast.
+
+[Illustration: PLATE XX.--Cupid and Psyche paper, Safford House.]
+
+When this dwelling was first built, the parlor, at the right of the
+hallway, was papered in a rare old hanging, that was removed when
+defaced, the owners at the time giving little thought to its value. In
+the room, since its erection, has hung a great, handsomely framed
+mirror, occupying an entire panel space. Behind this mirror, a short
+time ago, when the room was to be repapered, a panel of the first wall
+covering was discovered, as distinct in coloring and detail as the day
+it was placed there. It is one of twelve panels,--consisting of
+twenty-six breadths each five feet seven inches long by twenty inches
+wide, fifteen hundred blocks being used in its printing,--depicting the
+marriage of Cupid and Psyche, Psyche's lack of faith, and the sad ending
+of the romance, and is a pattern that is numbered among the most noted
+designed. The panel found here has been preserved, and the old mirror
+hung in place hides it from view.
+
+Such papers are a keen delight to lovers of the colonial, for they
+convey their meaning clearly and attractively in well-chosen and
+harmonious coloring. Contrasted with present papers, depicting designs
+figured or flowered, they show their worth, and it is little wonder that
+architects have discovered their fascination, and are having old ideas
+in new dress depicted on the walls of many modern dwellings.
+
+The colonists understood harmony in home decoration, and their wall
+hangings as well as their furniture were carefully chosen. They
+purchased papers to suit their apartments, and the colors were selected
+with a view to the best effect, so that the soft white of the woodwork
+might be in keeping with their pictorial value. Consistency is the
+keynote of the colonial interior, and it is this feature that has given
+to homes of this type that touch of distinction that no other period of
+architecture possesses.
+
+[Illustration: PLATE XXI.--Venetian paper in Wheelwright House,
+Newburyport.]
+
+The old wall papers all represent foreign scenes, those of France and
+England predominating, the latter in a greater degree than the former,
+though the French papers were more highly finished than the English.
+When the colonist became prosperous, and the newest fashions of the
+motherland were eagerly copied, wall papers of both types were imported;
+many of these are still preserved, showing shadings done by hand with
+the utmost care, and colorings of lovely reds, blues, and browns, all
+produced by the use of from fifteen to twenty sets of blocks.
+
+[Illustration: PLATE XXII.--Roman Ruins paper, Lee Mansion, Marblehead.]
+
+One of the most exquisite of French papers is shown in the Knapp house
+at Newburyport, Massachusetts, built by a Revolutionary hero, at the
+time of the erection of the Lee Mansion at Marblehead. This paper is
+thought to have been fashioned in the first quarter of the nineteenth
+century, and in type it is like that found on the hall of the
+"Hermitage," Andrew Jackson's residence near Nashville, Tennessee. It is
+produced in wonderful shades of soft green, red, peacock blue, and
+white, all undimmed by time, and it represents scenes from Fenelon's
+"Adventure of Telemachus," a favorite novelty in Paris in 1820.
+
+[Illustration: PLATE XXIII.--Adventures of Telemachus paper, Nymphs
+Swinging.]
+
+Other fine examples of this type of paper, which have never been hung,
+are still preserved in the home of Major George Whipple at Salem, having
+been imported about 1800. These show different scenes, including
+representations of gateways and fountains, with people in the
+foreground.
+
+Natural scenes were favorite themes with many designers, one such
+example being a Venetian scheme still shown on the walls of the
+Wheelwright house in Newburyport, a fine, colonial dwelling, built a
+hundred years ago by an ancestor of William Wheelwright, whose energies
+resulted in the first railroad over the Andes. This paper is found in
+the drawing-room, and another, illustrative of a chariot race, is shown
+in one of the chambers.
+
+The Bay of Naples was another favorite theme with designers; in fact, it
+was numbered among the best-liked subjects. Its faithfulness of detail
+and exquisite coloring are no doubt responsible for this popularity, and
+then, too, no other subject could better bear repetition. Other favorite
+views were scenes of France, more particularly of Paris, and these types
+were in great favor during Washington's administration and that of John
+Adams, though later they lost caste.
+
+The new landscape papers suggest the old ones, though they are unlike
+them in tone and character, except in cases where specimens have been
+taken as models and copied with faithful exactness. Such instances,
+however, are rare. The best examples of old specimens of this type date
+from twenty-five years prior to the Revolution up to about fifty years
+afterwards.
+
+Fine examples of such paper are still to be seen at the Lee Mansion at
+Marblehead, now the home of the Marblehead Historical Society. These,
+like many others, were made to order in England by accurate
+measurements, proof positive of this fact being gleaned a few years ago
+when the panel between the two windows in the upper hall was peeled off,
+and on the back was found the following inscription, "11 Regent Street,
+London. Between windows, upper hall." They are all excellently
+preserved, and constitute probably the most remarkable set in America.
+For the most part, they are done in gray, outlined in black, and depict
+old Roman ruins, set like framed pictures, in alternation with strange
+heraldic devices, like coats of arms. In some of the rooms the papers
+are in sepia tones, showing castellated scenery, sailboats gliding over
+lakes, and peasant figures loitering along the shore.
+
+Another interesting wall paper is found at Hillsboro, New Hampshire, in
+the home of Governor Pierce, father of Franklin Pierce, fourteenth
+President of the United States, which is now used as an inn. The room
+that it adorns is set apart, and the pattern depicts galleys setting
+sail for foreign lands, while to the music of the harpsichord, the
+gentry dance upon the lawn. In its prime this estate was one of the show
+places of Hillsboro, with beautiful gardens surrounding the house, and
+interesting features in the way of peacocks that proudly displayed
+themselves to the gaze of admiring guests.
+
+Unlike these old-time papers, and yet equally as distinctive, is the
+wall covering in the hall of the Warner house at Portsmouth, New
+Hampshire. This is a series of paintings, extending the length of the
+staircase, and constituting the most unique wall adornment in the
+country. Ever since the hall was finished, there has been displayed at
+the staircase landing, in the broad spaces at either side of the central
+window, life-sized paintings of two Indians, highly decorated and finely
+executed, thought to be representations of fur traders of early times;
+but the rest of the series was lost to view for a long time until about
+sixty years ago, when the hall was repaired. During the process of
+renovation, four coats of paper that had accumulated were removed, and
+as the last coat was being torn off, the picture of a horse's hoof was
+disclosed. This led to further investigation, and soon a painting of
+Governor Phipps, resplendent in scarlet and yellow, seated on his
+charger, was brought to light, followed by the representation of a lady
+carding wool at a colonial spinning-wheel, who had been interrupted in
+her task by the alighting of a hawk among chickens. Next came a
+Scriptural scene, that of Abraham offering up Isaac, followed by a
+foreign city scene, and several other sketches, covering in all an area
+of between four and five hundred square feet. The entire paintings
+to-day are presented in their original beauty, and they lend to the fine
+hall an atmosphere of interesting quaintness.
+
+But whatever their type, the old wall hangings are always attractive.
+Sometimes it is the subject that most strongly appeals, again it is the
+coloring, or it may be the effect, but in any event each and every one
+serves the purpose for which it was intended, and a room hung with
+old-time wall paper is undeniably beautiful, affording a setting that
+modern effects rarely equal.
+
+
+
+
+CHAPTER VIII
+
+OLD CHAIRS AND SOFAS
+
+
+There is a charm about old furnishings that cannot fail to appeal to all
+lovers of the quaint and interesting, and a study of their
+characteristics is a diversion well worth while. Old-time cabinet-makers
+understood the value of bestowing upon details the same consideration
+they gave main features, and, as a result, their work shows that harmony
+that gives to it an interest not found in later types, and which, more
+than anything else, has helped bring it into prominence in the equipment
+of modern dwellings. While this is true of all colonial fittings, it is
+especially true of the chair, for this article more than any other
+depicts the gradual betterment of rudely formed beginnings culminating
+in the work of the three master craftsmen, Chippendale, Hepplewhite, and
+Sheraton, whose designs, even to-day, serve as an inspiration to
+high-class cabinet-makers.
+
+In the early days of the colonies, chairs were scarce appurtenances,
+and the few used, generally not more than three in number in each home,
+and known as forms, were very rudely constructed, being in reality
+stools or benches, fashioned after the English designs then in vogue.
+Later, these developed into the high-backed settles, which are so much
+used in a modified form to-day.
+
+[Illustration: PLATE XXIV.--Queen Anne, Fiddle Back; Queen Anne, stuffed
+chair; Dutch Chair, carved; Empire Lyre-backed Roundabout on Chippendale
+lines, 1825.]
+
+By the middle of the seventeenth century, chairs had come into more
+common usage, the type then in favor being strong and solid of frame,
+with seat and back covered with durable leather or Turkey work.
+Generally, the legs and stretches were plain, though sometimes the legs
+and back posts were turned.
+
+Specimens of the turned variety, which are the first seats that really
+could be termed chairs, are very scarce to-day, the best examples being
+found at Pilgrim Hall at Plymouth, in the home of Hon. John D. Long at
+Hingham, Massachusetts, in the Heard house at Ipswich, Massachusetts,
+and in the Waters collection at Salem, where one specimen shows a
+covering which is a reproduction, having been fashioned to exactly match
+in design and texture the original one it replaced when that one wore
+out.
+
+The year 1700 marked the introduction of the slat-back chair, which
+enjoyed a long period of popularity. The number of slats at the back,
+characteristic of this type, varied with the time of making, the first
+specimens showing but two, while later types showed five. These chairs
+were solid and strong of frame, and in Pennsylvania were made curved to
+fit the back, affording a comfortable support. They included, in
+addition to ordinary chairs, armchairs, and it was to an armchair of
+this make that Benjamin Franklin affixed rockers, thus inventing the
+first American rocking-chair and inaugurating a fashion that has never
+waned in popularity. This first rocking-chair and its contemporaries,
+which did not antedate the Revolutionary War by any great number of
+years, had rockers that projected as far in the front as they did at the
+back,--a peculiarity that makes them easily recognizable to-day. Later,
+this objection was remedied, and the present type of rocking-chair came
+into fashion.
+
+[Illustration: PLATE XXV.--Chippendale, Lord Timothy Dexter's
+Collection, H. P. Benson; French Chair, showing Empire influence;
+Flemish Chair; Banister-back Chair.]
+
+From 1710 to 1720 the banister-back chair was much used, though it never
+enjoyed equal favor with the slat-back type. Instead of the horizontal
+slats typical of the earlier model, the banister-back chair showed
+upright spindles, usually four in number, and generally flat, though
+sometimes rounded at the back. Its seat, like that of the slat back,
+was of rush, and it was fashioned of either hard or soft wood, and
+almost always painted black. One interesting example of this make is
+found at "Highfield," the ancestral home of the Adams family at Byfield,
+Massachusetts, having been brought here in the early days of the
+dwelling's erection by Anne Sewall Longfellow, who came here the bride
+of Abraham Adams, and who brought the chair herself from her old home
+across the fields that divided the two estates, so that no harm would
+befall it. It has been carefully treasured by her descendants, and
+to-day occupies its original resting place by the side of the wide old
+fireplace, where, on the night before the Battle of Bunker Hill, leaden
+bullets used in that historic encounter were cast.
+
+Slightly later than these types came the Dutch chair, sometimes severely
+plain in design, and again pierced and curiously carved. One excellent
+example of this model, formerly owned by Moll Pitcher, the famous
+soothsayer of Lynn, who told one's fate by the teacup at her home at
+High Rock, is now preserved in a Chestnut Street dwelling at Salem, and
+shows the straight legs and straight foot of the best class of the
+Dutch type, and the usual rush seat. Most Dutch specimens found their
+way to Dutch settlements, though many were brought to New England direct
+from northern Holland.
+
+Easy chairs which came into style not long after the slat-back model,
+proved the most comfortable type yet invented, and served as a welcome
+variation from the straight and stiff-backed chairs up to that time in
+favor. They were stuffed at back and sides, and covered with patch or
+material of like nature. Owing to the amount of material which was used
+in stuffing and covering them, their cost was considerable, varying from
+one to five pounds, according to the style and quality of covering used.
+
+The most common and popular chairs of the eighteenth century were those
+of the Windsor type, manufactured in this country as early as 1725, and
+deriving their name from the town in England where they originated. The
+story of their origin is most interesting. The reigning George of that
+day, the second of his name, saw in a shepherd's cottage a chair which
+he greatly admired. He bought it to use as a model, thus setting the
+stamp of kingly approval on this type, and bringing it into immediate
+favor. It is not related what color he had his chairs painted, but
+the general coloring employed was either black or dark green, though
+some chairs were not painted at all. The finish of the back of this type
+was varied to suit different fancies, some few having a comblike
+extension on top as a head-rest, while others had a curved or bowlike
+horizontal top piece, like a fan. These types originated the names comb
+back and fan back, by which Windsor chairs of these types are known.
+American manufacturers in general copied the English styles, though they
+also developed several variations. Many American Windsors, particularly
+the fan backs, are equipped with rockers, the date of their manufacture
+coming after the Revolution.
+
+[Illustration: PLATE XXVI.--Chippendale Arm Chair, showing straight,
+square legs; Chippendale Chair; Chippendale, one of a set of six,
+showing Rosette design; Chippendale Arm Chair with Cabriole legs, Ball
+and Claw feet.]
+
+But Windsor chairs, popular and fine as they were, by no means were the
+best type developed in this century, for this period marked a great
+change in the history of cabinet-making, resulting in the development of
+wonderful designs, exquisitely blended and finished. First on the list
+of the new master craftsmen was Chippendale, who in 1753 issued his
+first book of designs, and whose models were given first consideration
+for more than thirty years. Then, in 1789, followed Hepplewhite, and two
+years later came Sheraton, while lesser lights, such as the Brothers
+Adam, Manwaring, Ince, and Mayhew, all contributed their share to the
+betterment of chair manufacture.
+
+The chair seems to have been Chippendale's favorite piece of furniture,
+and in its design he has blended the finest points in French, Dutch, and
+Chinese patterns. His first chairs showed Dutch influence, and for these
+he used the cabriole leg, greatly improving its curving, with the Dutch
+or ball-and-claw foot, the latter more frequently than the former. His
+chair seats were broad and flat, and in his backs he disregarded the
+usual Dutch types, his uprights generally joining the top at an angle,
+and his top piece being usually bow-shaped. His backs were a little
+broader at the top than at the bottom, and he used the central splat
+carved and pierced.
+
+Next, his chairs showed Louis the Fifteenth characteristics, notably in
+the splats, which were often handsomely carved and pierced. During this
+time he produced his ribbon-back chair, though his best chairs, showing
+this influence, were upholstered armchairs, with legs terminating in
+French scroll feet. Later, he introduced in his chairs Gothic and
+Chinese features, even though the backs still preserved the Dutch and
+French features. Finally, the details of the several features became
+much mixed, and at length resulted in a predominance of Chinese
+characteristics. Most of his chairs were done in mahogany, which was a
+favorite wood in his day, and his skill is especially displayed in the
+wonderful carving which is typical of much of his work. Not only are his
+chairs excellently proportioned, but they are so substantially built
+that even to-day, after more than one hundred and fifty years' usage,
+they show no sign of wear.
+
+[Illustration: PLATE XXVII.--Empire Sofa; Cornucopia Sofa; Sofa in Adams
+style, about 1800.]
+
+Not a little of his work found its way to New England homes, many fine
+specimens at one time gracing the dwelling of "Lord" Timothy Dexter,
+Newburyport's eccentric character, who made his fortune by selling
+warming pans to the heathen, who used the covers for scooping sugar, and
+the pans for sirup. His home was filled with quantities of beautiful
+furniture, including many excellent Chippendale chairs.
+
+Hepplewhite, the second of the master cabinet-makers, succeeded
+Chippendale in popular favor in 1789, and his furniture, while much
+lighter and consequently less durable than that of his predecessor,
+showed a beauty of form and a wealth of ornamentation that rendered it
+most artistic. He employed not only carving of the most delicate and
+exquisite nature, but inlay and painting as well, introducing japanning
+after the style of Vernis-Martin work.
+
+The shield or heart-shaped back is one of the characteristics of his
+chairs, though he also used oval backs and sometimes even square backs.
+They are all very graceful and delicate, with carved drapery, and many
+of the shield-shaped type show for decoration the three feathers of the
+Prince of Wales, Hepplewhite being one of the Prince's party when
+sentiment ran strong during the illness of George III. Other decorations
+employed by him were the urn, husk and ear of wheat. The wood he
+generally used was mahogany, though occasionally he made use of painted
+satinwood.
+
+[Illustration: PLATE XXVIII.--Sheraton, mahogany frame, about 1800;
+Sheraton with solid arms and straight, slender legs; Sheraton, about
+1790. Note the graceful curve of the arms.]
+
+Following close upon the heels of Hepplewhite came Sheraton, the last of
+the three great masters in cabinet-work. His designs were delicate, but
+strong, and generally his chair backs were firmer than those of
+Hepplewhite. When he had exhausted other forms of decoration, he
+indulged his fancy for brilliant coloring, mixing it with both inlay and
+carving. Later he embellished his work with the white and gold of the
+French style, finally employing features of the Napoleonic period,
+such as brass mounts and brass inlay. His last seats show the
+influence of the Empire type, which came into vogue in the early days of
+the nineteenth century, and the curved piece which he brought in about
+1800 served as a model for nearly a century, though it was not adorned
+with the brass mounts that he had intended.
+
+His greatest glory as a constructor lies in his skillful workmanship and
+his excellent choice of woods,--satinwood, tulipwood, rosewood,
+applewood, and occasionally mahogany, being his selection; and as a
+decorator in the color and arrangement of his marquetry, as well as in
+the fact that he never allowed consideration of ornament to affect his
+work as a whole.
+
+Among the chairs he fashioned was one that has come to be known in this
+country as the Martha Washington chair, from the fact that a specimen of
+this type was owned at Mount Vernon. Several excellent examples of his
+chairs are found at "Hey Bonnie Hall," in Bristol, Rhode Island, one of
+them being the chair in which John Adams is said to have died.
+
+Chairs of all types are found in any number of old-time homes, those in
+Salem being as representative as any, for to this old seaport more than
+to any other, in proportion, rare furnishings were brought. Many of the
+pieces are of historic interest, such as the old-time chair of Flemish
+make, brought over in the ship _Angel Gabriel_, which was wrecked off
+the coast of Maine; much of its cargo was recovered, including this old
+chair, which was later brought to Salem in another ship. Another fine
+old specimen is the armchair, for many years the prized possession of
+Hawthorne, and an heirloom in his family, which he presented to the
+Waters family, in whose possession it now is.
+
+With the passing of Sheraton, Empire models held full sway, and, while
+some of these were comfortable and graceful, the majority were massive,
+stiff, and extreme in style. Early nineteenth-century chairs
+manufactured in America are of this type, some of them of rosewood, some
+of mahogany, and some painted, while many are of mahogany veneer.
+
+But while chairs were the most common seats in the colonies, they were
+not the only ones, for old-time homes were supplied with sofas as well.
+To be sure, these did not come into use until many years after the
+advent of the chair, the time of their appearance being about the year
+1760; the majority shown are the work of the master cabinet-makers.
+Sheraton models are those most commonly found here, though the earliest
+specimens are of Chippendale manufacture, excellent examples of his work
+being still found, many of them characterized by Louis XV features. A
+special design of Chippendale's much in favor was "The Darby and Joan"
+sofa, in reality a double seat, which model, as well as many others that
+became very popular, was never shown in his catalogue.
+
+[Illustration: Plate XXIX.--Sheraton, about 1800; Sofa, about 1820;
+Sofa, about 1820, winged legs.]
+
+Sheraton sofas came in vogue about 1800, their graceful designs and
+handsome carving making them at once favorites. Many of these showed
+eight legs, though later, when his designs became heavier and more
+elaborate, only four legs were used. The coverings of these later
+specimens were generally haircloth, fastened with brass nails.
+
+The Brothers Adam also made some of the sofas found here, their designs
+showing a peculiar slanting or curved leg which is known as the Adam
+leg, and which is also characteristic of some of Sheraton's pieces.
+
+About 1820 what was known as the Cornucopia sofa came into style, the
+carving at the arms showing horns of plenty, which design was often
+repeated in the top-rail, while the hollow made by the curve of the
+decoration was filled with hard, round pillows, known as "squabs."
+Contemporaneous with this type was the Empire sofa, with winged legs and
+claw feet, often covered with haircloth. One example of this model,
+exquisitely carved, is in the possession of a Salem family. But whatever
+their type or characteristic, the old-time chair and sofa are
+distinctive, and it is a tribute to their worth that in the equipment of
+modern homes designers are reverting to them for inspiration. Likewise
+it is with relief that we welcome them, after so long harboring the ugly
+monstrosities that followed in favor the Empire types.
+
+
+
+
+CHAPTER IX
+
+SIDEBOARDS, BUREAUS, TABLES, ETC.
+
+
+The present interest in antiques has brought into prominence the
+old-time furnishings, and as a result ancient hiding places have been
+forced to give up their treasures, and hitherto little appreciated
+relics are now reinstated with all their original dignity. The architect
+of the twentieth century is responsible in a great measure for this, for
+in his zest to give to modern homes the best that could be afforded, he
+has seen fit to revert to early types for inspiration; and with the
+revival in favor of these specimens, genuine antiques have come to be
+appreciated, and their value has correspondingly increased.
+
+Included among these old-time pieces are chests, which in early days did
+service for numerous purposes. In America they were first fashioned by
+workmen who came to this country from foreign lands, through the efforts
+of the first governor, John Endicott, many of them being employed on
+plantations, where much of their work was done. These chests were made
+of the wood of forest trees, which then grew so plentifully, and are
+rude and simple in construction, in striking contrast to the rich,
+hand-carved, mahogany chests, which many of the colonists brought from
+the motherland, packed with their clothing, and which, later on, were
+shipped here in large numbers. Old inventories frequently mention both
+these types of chests, those manufactured here generally being spoken of
+as "owld pine chests." They were principally used in the chamber and at
+one side of the fireplace in the general room, the larger ones to hold
+family necessities, such as the homespun clothing and anything else that
+needed to be covered, while the smaller ones served as receptacles for
+the skeins of wool from which the handy housewife fashioned the family
+wearing apparel.
+
+Such chests were an intimate part of the home life in those early times,
+and viewing their quaintness it is not hard to picture the scenes of
+which they were a part, when the house mother, in her homespun gown,
+busily spun at her old clock wheel, drawing the skeins from the chest at
+her side, while the little ones, seated on rude benches before the open
+fire, carefully filled the quills for the next day's supply. Mayhap
+the eldest daughter fashioned on the big wheel, under her mother's
+guidance, her wedding garments, weaving into them loving thoughts of the
+groom-to-be, while the song in her heart kept time to the merry whirr of
+the wheel.
+
+Of the larger type of the "owld pine chest" is the treasured specimen at
+Georgetown, known for many generations as the magic chest, and so called
+from the feats it is said to have performed in the early days of its
+history, such as walking up and down stairs, and dancing a merry jig
+when a deacon sat upon its lid. It stands to-day quiet and demure,
+giving no hint of its former hilarious tendencies, though it is no
+longer used for its original purpose,--the storing of meal for the
+family use.
+
+[Illustration: PLATE XXX.--Sheraton Night Table; Block Front Bureau
+Desk, owned by Dr. Ernest H. Noyes, Newburyport, Mass.; Cellarette,
+1700, owned originally by Robert Morris.]
+
+With the betterment of financial conditions, the rude pine chests went
+out of fashion, and in their stead beautiful hand-carved specimens were
+brought from foreign countries. Many of these show exquisite coloring,
+any number of examples being still preserved; sometimes they were placed
+in the chamber, but more frequently on the landing at the head of the
+stairs.
+
+[Illustration: PLATE XXXI.--Dressing Glass with Petticoat legs; Empire
+Bureau, 1816.]
+
+Chests with drawers were in fashion as early as 1650, according to the
+old records, many of them handsomely carved, and all showing little
+egg-shaped pieces upon the drawers. Some of the finest of these old
+chests are shown in the Waters collection at Salem. Generally they were
+fashioned of oak, and a frequent characteristic was a lid on top which
+lifted off, allowing for the packing of large articles, while the
+drawers at the front were used for storing smaller things. Sometimes
+chests are found constructed on frames, but not often. This type was
+probably fashioned to hold linen, being the forerunner of the high chest
+of drawers which came into vogue in the later days of the seventeenth
+century. Up to some time after 1700, chests continued in general use,
+though it is doubtful if they were made in any great quantity after
+1720. The number of legs found on these chests varies with the time of
+making, some showing six, while others have but four.
+
+[Illustration: PLATE XXXII.--Chest of Drawers, 1710; Six-legged High
+Chest of Drawers, about 1705.]
+
+With the advent of the high chest of drawers, other woods than oak, such
+as walnut and cherry, and later mahogany, became popular; the use of
+these woods produced a marked change in chest designs, notably in the
+massiveness of build. Many specimens of both types are found throughout
+New England, one very fine example of the early type showing the drop
+handle, which is a characteristic of the early chest, being included in
+the Nathaniel B. Mansfield collection. Another of the later type, now in
+the Pickering house, carefully stored away that no harm may befall it,
+shows on one side the initials of Colonel Timothy Pickering, who used it
+during his army days.
+
+[Illustration: PLATE XXXIII.--Dressing Table with Brass feet; Bureau and
+Dressing Glass.]
+
+Dressing tables were made to go with these chests, following the same
+lines of design, though constructed with four rather than six legs.
+These came to be designated as "lowboys" in distinction from the chests
+mounted upon high legs, which were known as "highboys." Examples of both
+were found in the old General Abbot house at Salem, until a few years
+ago; while a highboy, showing bandy legs, a characteristic of the
+earliest high chest, is a prized possession in the Benson home, also at
+Salem.
+
+Many highboys and lowboys show inlay work, one of the former, of English
+manufacture, being found in the Warner house at Portsmouth, while
+another, of different style, is shown in the Osgood house at Salem.
+
+Lowboys were made to correspond with every style of the high chest, and
+frequently they were constructed of maple, beautifully marked, after
+the fashion of the chests made of walnut and cherry. Highboys sometimes
+took the form of a double chest, showing drawers extending almost to the
+floor, and mounted on varied-style feet, frequently of the claw-and-ball
+type. These, as well as lowboys, continued to be regularly used until
+well into the last quarter of the eighteenth century. Hepplewhite's book
+of designs, published in 1789, shows models for chests of drawers
+extending almost to the floor, but it is not probable that they were
+made in any number after this date.
+
+[Illustration: PLATE XXXIV.--Block Front Bureau Desk, owned by Nathan C.
+Osgood, Esq. One of the best specimens in New England; oak paneled
+Chest, about 1675.]
+
+The desk occupied a prominent place in New England homes in the early
+days of the colonies, though not to the extent of the other and more
+necessary articles of furniture. It varied in size and design according
+to the period of its manufacture, the earliest type being little more
+than a box that locked, with flat or sloping top, and placed on the
+table when used. This type was often ornamented with rich carving, and
+sometimes it was arranged upon legs, with a shelf beneath.
+
+The form in common use about 1700 was known as the "scrutoir," being in
+reality a desk resting on a chest of drawers; the sloping front opened
+on hinges, and afforded a writing desk. One example of this type, fitted
+with ball feet, and showing secret drawers and many cupboards, is found
+in the Ropes house in Salem, being an inheritance from the original
+owner, General Israel Putnam. Another of equal interest is in the home
+of Mrs. Guerdon Howe at Haverhill. This originally belonged to Daniel
+Webster, who was at one time a law partner of Mr. Howe's grandfather.
+This desk, which was brought to the house after the death of Webster, is
+filled with old and interesting letters.
+
+[Illustration: PLATE XXXV.--Secretary, showing shell ornamentation;
+Highboy with shell ornamentation and ball and claw feet, 1760; Highboy
+with shell ornamentation.]
+
+The earliest "scrutoirs" were of foreign manufacture, chiefly English,
+but by 1710 they were being made in this country. These early American
+"scrutoirs" are very plain in form, generally made of cherry, though
+occasionally one is found constructed of walnut. After the first quarter
+of the eighteenth century, American manufacturers improved their output,
+and made some very handsome specimens of the type known as bureau desks.
+One excellent example of the very early bureau desk of foreign make is
+found in the possession of the Alden family, having been brought to this
+country in the _Mayflower_ by John Alden himself.
+
+By 1750 the desk in its various forms had come to be considered an
+important part of the household equipment, and in their manufacture
+many woods were employed, such as mahogany, cherry, apple, and black
+walnut, sometimes solid, and sometimes veneered. The following thirty
+years saw the advent of many new styles, two of which were more dominant
+than the rest; one of these was the development of the early "scrutoir,"
+and the other the forerunner of the bookcase desk or secretary.
+
+During this period Chippendale designed several desk models, the most
+notable of which was probably his secretary, characterized by Chinese
+fret designs in the glass doors, and an ingenious arrangement of secret
+drawers. In 1790 Hepplewhite followed with his designs, many of which
+were severe in contour, being wholly straight in front and arranged with
+two glass doors above, sometimes fancifully framed. Then Sheraton's
+desks and secretaries came into favor; many of his models showed
+practical features and beautiful finish, and after 1793 were generally
+characterized by inlay work, with the lower portion consisting of a
+cupboard instead of the usual drawers.
+
+[Illustration: PLATE XXXVI.--Dressing Table, 1760; Mahogany Commode,
+collection of Nathan C. Osgood, Esq.]
+
+During these latter days of the eighteenth century, beautiful
+secretaries were manufactured in this country, ranging in form from the
+very plain to the very elaborate, but after 1800, when some few
+French Empire desks found their way here, serving as models for American
+manufacturers, the domestic output became less graceful, depending for
+beauty on the grain of the veneering used.
+
+Many of all these types of desks are found throughout New England, one
+particularly good specimen being shown in the Noyes house at
+Newburyport. This belongs to a period antedating the Revolutionary War,
+and shows the oval which is characteristic of its type. Among its
+features are paneled doors one and one half inches thick.
+
+Though the date of their introduction was not until well along in the
+eighteenth century, sideboards are prominent among the old-time
+furnishings, and in the highest state of their development they were
+articles of beauty and utility. In reality they are a development of the
+serving table, which came into vogue in the first half of the eighteenth
+century, and in form are a combination of the serving table and its
+accompanying pieces. At first they were little more than unwieldy,
+unattractive chests of drawers, gradually developing to their best form,
+with carved front, slender legs, and other details. In their
+construction, mahogany was chiefly used, inlaid with satinwood, holly,
+tulip, and maple, and veneered occasionally with walnut; and they showed
+in their finished lines the best work of the skilled craftsman. The last
+type of the old sideboard showed Empire characteristics, being more
+massive than graceful, but yet containing features of marked beauty.
+
+While Chippendale is often credited with having made sideboards, no
+record of this fact is found among his designs, though he makes frequent
+mention of several large tables, which he calls sideboard tables. No
+doubt, many of the sideboards credited to him were made by Shearer, a
+designer to whom belongs the credit of originating the sideboard, and
+who included in his designs pieces with curved and serpentine fronts, a
+style which was later perfected by Hepplewhite. There is no doubt that
+Hepplewhite made sideboards, for in his book of designs he shows a
+sideboard model, with a deep drawer at each end and a shallow one in the
+center, as well as four different designs in the table form, without the
+drawers, which are similar to Chippendale's work. Hepplewhite's
+sideboards are characterized by square legs, often ending in the
+spadefoot, the ends sometimes square and sometimes round, the front
+swelled, straight, or curved, affording a great variety to his work.
+Generally his sideboards are made of mahogany, and almost invariably
+they are inlaid, though occasionally they show carving.
+
+Sheraton also designed sideboards, and while in general appearance they
+somewhat resemble Hepplewhite's designs, in many respects they are
+superior. They were equipped with any number of devices, such as
+cellarets, closets for wine bottles, slides for the serving tray, and
+racks for plates and glasses, and many of them are lavishly ornamented
+with inlay work, though few show carving.
+
+[Illustration: PLATE XXXVII.--Sheraton Sideboard; Simple form of
+Sheraton Sideboard, with line inlay around drawers and doors. Date
+1800.]
+
+Examples of all these types are found in the colonies, one of
+Hepplewhite design showing the fine inlay work and graceful proportions
+typical of his pieces and originally owned by Governor Wentworth, being
+in the possession of a Salem family. Another, of Sheraton make, is
+preserved in the Stark home, having been brought here from the Governor
+Pierce house at Hillsboro. Another of like make is found in the Howe
+house, having originally belonged to an ancestor of the present owner,
+Governor John Leverett, governor of Massachusetts during the time of
+King Philip's War.
+
+Shortly after 1800, the style of sideboard greatly changed, becoming
+more massive, with the body placed nearer the floor, and the legs
+shorter. French Empire styles influenced the manufacture in this country
+to a great extent, though carving and the grain of the wood were still
+depended upon for ornament, rather than the French features. The best
+examples of this type are to-day found in the South; 1820-1830 saw the
+advent of a plainer model, being in reality an adaptation of one of
+Sheraton's types; in the following years other variations were made, all
+showing the heaviness of the Empire style in a more or less degree,
+until about 1850, when the architectural merits of the sideboard
+disappeared.
+
+Intimately associated with the sideboard is the table which probably
+shows more variety in design than any of the other old-time furnishings.
+From the table board or top used in 1624, square, oval, or round in
+contour, evolved the butterfly table popular about 1700, many examples
+of which are found throughout Connecticut. These followed in form the
+outline of a butterfly, and were supported by pieces of wood shaped much
+like the rudder of a ship. Other types popular here were the Dutch
+table, the hundred-legged table, the dish-top table, and the tea table.
+
+The first table used in this country was the table top, which was
+literally a board made separate from its supports, which was taken off
+and placed at one side of the room after meals. This showed different
+forms, and was known by different names, one called the chair table, and
+so constructed that when not in use it served as a seat, being probably
+the most unique. It was invariably fashioned with drawers.
+
+Included in the later designs were writing tables fashioned by Sheraton,
+showing elegant carving at the back, the most decorative of these, known
+as the "Kidney" based table, being used either for writing or as a
+lady's worktable. Another model of Sheraton's was a worktable known as
+the Pouch Table, arranged with a bag of drawn silk. These were often
+fitted with drawers and a sliding desk, which drew forward from beneath
+the table top.
+
+The dining table of this period showed the pillar and claw style with
+central leg fixed to a block, on which the table hinged. This principle
+received the support of the English people for many years, and Sheraton
+tables of this make had four claws to each pillar, and castors of brass.
+So much did Sheraton designs resemble those of French artisans that only
+close inspection will decide as to which cabinet-maker a certain piece
+belongs.
+
+Following this type came the telescopic table, showing extensions fitted
+through slides moving in grooved channels.
+
+Other later tables were card tables, which closed and could be stood
+against the wall when not in use, the pie-crust table of the Dutch style
+of make, and the table with scalloped moldings carved from solid pieces
+of wood, with legs terminating in claw-and-ball feet. Tables of Empire
+design often have brass feet and lyre supports, while others show the
+rope carving and acanthus leaf.
+
+Popular types of the later days of the eighteenth century were Pembroke
+tables, small and of ornamental design, with inlaid tops and brackets to
+supply the two side flaps, as well as Pier tables, circular or
+serpentine in shape.
+
+
+
+
+CHAPTER X
+
+FOUR-POSTERS
+
+
+At no time since the days of the Renaissance has interest been so keen
+in interior decoration as it is at the present day, not only as regards
+the main living rooms of the home, but the sleeping apartments as well.
+This has resulted in a revival of old-time features, and the chamber
+fittings of the present in many cases are similar in type to those of
+early times, when purely classical designs were in vogue,--models that
+have never been surpassed in beauty by later designers, though many a
+fine piece of furniture has been made since then by expert
+cabinet-makers.
+
+Early specimens showed a delicacy of touch and a mastery of thought that
+gave to them a lasting place in the world of architecture, and while the
+coming historian may dilate upon twentieth-century models, he cannot
+make any comparison that will in any way be derogatory to these
+wonderfully fine old pieces. In early days, labor was a very different
+problem from what it is to-day, years being often spent in the making of
+a single specimen of furniture, and, indeed, in some countries, a
+workman has been known to have spent his whole life in the fashioning of
+a single piece.
+
+Taking these points into consideration, one cannot wonder that early
+century pieces are still as perfect as they were the day that they left
+the makers' hands, and it is with regret that he views the hurry and
+rush of modern times resulting in the practical abolition of hand
+carving, and the introduction of machinery that has helped in the
+deterioration of the art. Reproductions, as they are made to-day, while
+in many cases very beautiful, cannot equal in finish the originals
+fashioned at a time when art was the first consideration.
+
+Fortunately, many genuine antiques are still in existence, and present
+interest for the most part centers in their types and periods of
+manufacture. With so many periods and so many makers, it is not
+surprising that mistakes in these respects are sometimes made,
+especially as regards the bedstead. For the best of these, one need not
+search farther back than the seventeenth century, for the most valuable
+specimens were made in the seventeenth and eighteenth centuries, many
+of these to-day bringing from two to three hundred dollars apiece.
+
+Of course, these fine beds were not the first beds used here, though no
+doubt the earlier types, as well as these later specimens, were imported
+from England, along with the other household furnishings. If any
+bedsteads were made here, they were undoubtedly simple and
+unpretentious, along the lines of the settle and board tables.
+
+The articles of furniture devised by people of different countries for
+comfort in sleep vary according to climate and the progress of
+civilization. The bed of our primeval ancestors consisted of dried
+mosses and leaves, with a canopy of waving leaves above. Later, through
+the need of shelter from the frost and protection from crawling insects,
+a rude structure consisting of a framework of poles, covered with
+branches, was substituted. Probably the first authentic representation
+of a bed is found on ancient Egyptian tombs, depicting a long, narrow
+receptacle, suited for but one person. Greek and Roman beds,
+representations of which have also been found, are of the single type,
+resembling in shape the Flemish couches made in the latter half of the
+seventeenth century, while the Greek thalamos, another type, showed a
+framework of great beauty, curiously carved, and decked with ivory,
+gold, silver, and precious stones. Roman luxury outvied that of Greece,
+as is shown by specimens that have been found in Pompeii, and the
+hangings of the bed, while receiving special attention, seemed to be
+less highly prized than the frame, probably on account of the mildness
+of the climate.
+
+The eleventh century saw the half-savage people of northern Europe
+building beds into the walls of their rooms, and fitting them with doors
+and sliding panels to insure against the cold. These cupboard couches
+are reproduced in a modified form in many summer homes to-day, being
+arranged like steamer berths.
+
+After the Norman Conquest, beds of this type came into favor in England,
+though they were quickly superseded by a great oaken bed with
+roofed-over top. This was arranged in the center of the room, and
+heavily curtained for protection against the wind that blew in through
+the cracks of the poorly hung doors and the unglazed windows, closed
+only by loosely fitted shutters. Many of these beds were of prodigious
+size, the most historic, "The Great Bed of Ware" to which Shakespeare
+alludes, being twelve feet square, built of solid oak, and finished with
+the most elaborate carving imaginable. This bed is known to have
+furnished sleeping accommodations for twelve persons at one time, and it
+has stood for nearly four centuries in an ancient inn, located in the
+town of Ware. In style, this is a four-poster, and doubtless marks the
+induction of this, the most expensive but the most popular bed of its
+day.
+
+[Illustration: PLATE XXXVIII.--Bedstead in Middleton House, 1798.]
+
+Old-time four-posters consisted, as do those we see to-day, of four
+posts, supporting a tester, and connected laterally by sidepieces which
+were almost always undecorated, as the bedspread was supposed to fall
+over the sides of the bed and cover them. A headboard was considered
+almost indispensable, although it is absent in some cases. It was
+usually rather low and decorated with carving, more or less elaborate.
+The footboard was sometimes used, but was quite often omitted in the
+older specimens, and seems to have come into favor later on, as an
+additional detail. When the posts were lowered, the footboard rose into
+prominence, but this was not until after the first quarter of the
+nineteenth century had elapsed.
+
+Many of the beds had a canvas bottom, held in place either by iron rods
+or ropes, or sometimes by both. It was "sackcloth and ashes" at
+house-cleaning time in those days, for either kind required the united
+strength of several muscular arms to put it together. The hair mattress
+was unknown at that period, and in its place was used brown linen
+sacking filled with straw and buttoned at one side, so that the straw
+could be easily removed at any time. This formed the lower strata of the
+bed, and above it were laid innumerable feather beds, piled one above
+the other, so high that often steps were necessary assistants in getting
+into bed.
+
+[Illustration: PLATE XXXIX.--Sheraton type, in Kittredge House;
+Four-poster, about 1825.]
+
+In colonial homes, where bedrooms were fireless, curtains and hangings
+were important accessories of the bed to shield the sleeper from drafts.
+These were often made of linen, handspun by some member of the
+household, and while many were white, some were in colors. One of these,
+of blue and white homespun pattern, edged with hand-made ball fringe,
+has been in constant use for generations, and as yet shows not the
+slightest sign of wear. It is now owned by a fortunate Salem woman.
+
+[Illustration: PLATE XL.--Field Bedstead, slept in by Lafayette, in
+Stark Mansion. Owned by Mrs. Charles Stark, Dunbarton, N. H.]
+
+Many of these hangings were made of chintz and hand-embroidered linen,
+and in homes of limited means they were also made of patch, following
+the style of the quilt. Blankets were likewise home-made, of handspun
+wool, adorned with roses in each corner, which gave them the name of
+rose blankets. A blue and white homespun counterpane added the
+finishing touch, and often the hangings of the bed were of this same
+material, the curtains being drawn back loosely so that, on cold nights,
+they could be permitted to fall about the bed. Often both counterpane
+and hangings were finished with a hand-made netted fringe, varying in
+width from five to eight inches.
+
+While beds were a scarcity in the rude homes of our early ancestors,
+still they were sometimes brought here from over the seas, as is proven
+from an account written by Rev. Robert Crowell in his _History of
+Essex_, in which he speaks of two bedrooms in Darius Cogswell's house.
+These were divided off from the main room by handsome curtains that were
+stretched the whole way across, and, in the bed reserved for visitors,
+the guests of the night lay inclosed with curtains to exclude the night
+air; these, when drawn in the morning, allowed one to peer through the
+cracks in the shrunken logs at the world outside.
+
+Most of our ancestors, however, were content with much simpler beds than
+this, for mere frames, with curtains and valances, were most frequently
+used, the beds stuffed with straw or feathers plucked from live geese,
+or poultry, and laid on the floor. Among these early types are
+"Cupboard" or "Presse" bedsteads, frequently mentioned in the
+inventories from which we gather much of our information. These, when
+not in use, were fastened up against the wall, proving valuable space
+savers where space was limited. Bunks were another type of the early bed
+in use here, one specimen, used in early days for slaves who were in the
+family, being still shown at the Adams house at Byfield.
+
+Possibly the early settlers may have used a bed that is still in fashion
+among the Kentucky mountaineers, known as "Wild Bill." This is a
+one-poster, rather than a four-poster, and occupies a corner of the loft
+in a log cabin. The side and end of the cabin serve for headboard and
+one side of the bed; saplings nailed to the solitary post that runs from
+roof to flooring supply footboard and sidepiece; springy poles, running
+crosswise, uphold the home-made straw mattress and feather bed.
+Doubtless the rest of the mountaineer who uses this is sweet, but to one
+unused to it, it seems a diabolical bed!
+
+When life in the new country became easier, furniture of all kinds was
+brought here from England, much of it of the Queen Anne period. This
+comprised, among other details, four-posters made of black walnut, this
+wood having superseded English oak in popular favor during the preceding
+reign of William and Mary. Panelings and moldings that had done duty
+during the Jacobean period were retained in all their splendor, and to
+these were added the new feature of the claw-and-ball foot. Our oldest
+beds belong to this period, unless we consider Presse bedsteads or
+Cupboard bedsteads, already spoken of, as real beds. The Dutch name for
+such contrivances was "slaw-bank," and they might be said to be the
+forerunner of the latter-day folding bed.
+
+Mahogany was first used in England in the year 1720, and therefore it
+belongs to the Georgian period. Four-posters of this material, as
+constructed in the early days of their popularity, had slender and
+delicate posts, which were sometimes fluted and sometimes carved. In
+these earlier specimens the headboards were simply made and left
+undecorated. At this time great advance in the designing of furniture
+was made, for cabinet-makers published books of designs, and
+Chippendale, who was doubtless the greatest English exponent of his
+craft, designed beds with footpieces and sidepieces, carefully paneled
+and carved. He used tall and slender posts, and carving of the most
+elaborate nature. Genuine Chippendale beds are rare in America, and they
+are not common in England, seeming almost as if he had executed this
+piece of furniture less frequently than any other. We have, however,
+beautiful specimens which were modeled after Chippendale designs.
+
+In English furniture making, the brothers Adam held the supremacy from
+1775 until the end of the century. They endeavored to restore the simply
+classical styles of Greece and Rome, with Greek ornamental figures, such
+as the acanthus, urns, shells, rosettes, and female heads. They made a
+smaller bed than the Chippendale pattern, with lower posts and less
+abundant carving.
+
+Hepplewhite's influence culminated some ten years later than that of the
+brothers Adam. He designed four-posters of attractive delicacy, used
+carved rosettes and a delicately carved beading by way of decoration,
+and delighted to place an urn-shaped section, lightly festooned with
+drapery, on the post where the sidepiece joins the standard.
+
+[Illustration: PLATE XLI.--Sheraton Four-poster; Four-poster showing
+decided English characteristics.]
+
+Sheraton was the last of the noted cabinet-makers of the Georgian
+period, commencing to publish his designs in 1790. They were
+distinguished for the use of inlaid work, and later on he developed
+painted designs. In his work he introduced many light woods, such as
+whitewood, satinwood, and sycamore, which, when painted green, was
+termed harewood. The trend of sentiment at that time seemed to be toward
+simplicity and delicacy.
+
+The last great change in the old four-poster was made, curiously enough,
+in deference to Napoleon, for it was through his influence that ancient
+Roman decorations, such as the laurel wreath and the torch, were
+revived. England had her mental reservations regarding this type,
+however, and by the time the fashion reached America it simply lowered
+the bedposts. It was the beginning of the end, however, and forty years
+later came the Renaissance of black walnut, and with it the relegation
+of the old four-posters to attic and storehouse, or else to the chopping
+block. Saddest of all, their owners were glad to see them go, on account
+of the difficulty of putting them together. In the revival of colonial
+fittings, the four-poster has again been restored to favor, and in many
+modern homes the old four-poster is the chamber's most pleasing feature.
+
+There are some wonderfully fine old four-posters in America. One of
+these, in the Howe house at Haverhill, showing slender posts,
+surmounted by the ball and eagle, is made of brass. Originally it
+belonged to the first owner of the dwelling, Dr. Nathaniel Saltonstall,
+a contemporary of George Washington, and a descendant of Sir Richard
+Saltonstall. It has never been out of the family since its importation,
+the present owner being the widow of the first owner's great-grandson.
+
+Historic through the fact that it once graced the chamber of Oliver
+Wendell Holmes is the exquisite four-poster now in a Salem house. This
+is characterized by a richness of design that is most attractive, and
+the hangings are in keeping with the exquisiteness of the whole. In this
+same dwelling is another old poster, this time of the low type, that
+came into vogue about 1825. This shows but little of the carving that is
+a feature of the older types.
+
+Other fine old four-posters can be found in Salem. One is of Hepplewhite
+make, showing the slender posts and fluting of his type, while another
+is considered one of the best specimens in New England, with a drapery
+of patch that is probably all of a hundred years old.
+
+At Dunbarton, New Hampshire, in the old Stark mansion, is a fine example
+of the Field bedstead, standing exactly as it did when Lafayette
+occupied it so many years ago, and still known by the name then given to
+it, the Lafayette bed.
+
+In the Middleton house at Bristol is a most interesting four-poster,
+done in white, the gift to a bride of long ago. Lately this has been
+repainted exactly as it was when first placed in the house, the design
+depicted, that of the bow and arrow, showing as clear and dainty as when
+first traced. In another chamber in this same old home is another
+four-poster that was brought direct from Leghorn. Both of these rare
+specimens have been in the family since the building of the homestead.
+
+Examples of these fine old beds are growing scarcer and rarer each year,
+and their value is correspondingly increasing. Some years ago they could
+be had almost for the asking, but with their revival in favor, their
+worth has increased. They depict an era that is associated with the best
+in the way of design and craftsmanship, and not a few of them have
+historic associations that render them particularly notable.
+
+
+
+
+CHAPTER XI
+
+MIRRORS
+
+
+The heavily freighted ships that came into the harbor in the days of
+Salem's commercial prosperity brought in their holds many valuables,
+including mirrors, several of which are to-day found in Salem homes. Not
+a few of these are ancestral heirlooms, closely interlinked with
+interesting family histories, and their depths have reflected the faces
+of many old-time belles.
+
+Even in the earliest days of the colonies, mirrors formed a part of the
+household accessories, for our Puritan ancestors, scorning as they did
+all pretence of personal vanity, did not forbear to glimpse their
+appearance before they wended their way to service on Sabbath morn.
+Proof positive of their use at this time is to-day in existence in the
+form of inventories that list the prices and tell odd, descriptive
+stories concerning them, as, for instance, a record of 1684 that speaks
+of "a large looking-glass and brasses valued at two pounds, five
+shillings."
+
+The origin of the mirror is shrouded in mystery and the time of its
+invention uncertain, but there is no doubt that rude reflectors were
+made to serve the purpose in South Europe and Asia, at least three
+hundred years before the Christian Era. These were made of metal, varied
+in shape, and they were considered necessary toilet accessories. All
+were highly polished, and several showed handles elaborately wrought.
+
+Small mirrors of polished iron or bronze were used by the early Chinese,
+who wore them as ornaments at their girdles, attached to a cord that
+held the handle or knob. Who knows but these may have been forerunners
+of the "vanity case" in use to-day!
+
+Small circular placques of polished metal known as pocket and hand
+mirrors came into vogue between the twelfth and the fifteenth centuries.
+These, too, were worn at the girdle, and placed in shallow boxes covered
+with a lid. The cases were of ivory, beautifully carved with
+representations of love, romance, and, less frequently, of the hunt.
+
+Looking-glasses when first used were fastened to the wall like panels,
+but in the fifteenth century they became movable. These earlier mirrors
+show a great variety of shapes, and were made of different kinds of
+polished metal.
+
+The Venetians undoubtedly made the first looking-glasses, having been
+the ones to discover the art of coating plates of glass with an amalgam
+of tin foil and mercury. For over a century they guarded their secret
+well, and it was not until 1670 that the art became known in England
+through the keenness of an Englishman named Lambert.
+
+Salem merchants sent their ships to Venetian ports, and an occasional
+mirror of this make is found here. One of these is owned in Salem. It is
+about a foot and a half in length, its frame of gilt surmounted by a
+cornice and gilt pineapple, with claw feet.
+
+The introduction of glass mirrors gave rise to a new industry,--the
+making of mirror frames. In this occupation, cabinet-makers found a new
+vent for their skill, since by far the larger number of frames were made
+of wood. Of course, there were a few odd frames made, such as those of
+glass fitted together at the joints with gilt molding, but the majority
+were of wood. The different styles are characteristic of certain periods
+or designers, and it is upon the frame rather than upon the glass
+that one must rely for value, as well as for date of manufacture.
+
+Previous to the Revolution, the colonists manufactured little furniture,
+and were dependent upon England, Holland, Spain, and France for their
+house furnishings, including mirrors. Many beautiful specimens thus
+found their way here, and many are still to be found in colonial homes.
+One such is owned in Salem. This is a Bilboa glass, an especially fine
+type, one of several still preserved in New England, principally in
+Marblehead. There is a popular legend that these old glasses were
+brought from the Bay of Biscay by sailors for sweethearts at home,
+though some authorities insist that they were imported from Italy and
+paid for with dried fish. However this may be, they are certainly
+excellent illustrations of the early craftsmen's skill.
+
+The distinctive feature of the Bilboa glass is a column of
+salmon-colored marble on either side of the gilt frame. This marble is
+glued or cemented in small sections to the wood, and in some cases
+strips of marble form the border around the frame. It is ornamented on
+top by a broken arch surmounted by an urn. Grotesque and grinning heads
+top the columns, and a narrow bead molding surrounds the glass and
+decorates the lower part in scroll design.
+
+[Illustration: PLATE XLII.--Girandole in George Ropes House, 1800;
+Girandole, 1800; Constitution Mirror, 1780.]
+
+The earliest type of looking-glasses came into vogue in the first half
+of the eighteenth century, during the reign of Queen Anne of England.
+The frames of simple wood gave little hint of the extravagant
+decorations that were to follow, the only ornamentation being gilded
+wooden figures and squat urns, which were occasionally used.
+
+[Illustration: PLATE XLIII.--Picture Mirror showing Dawn, in Adams
+House, 1703; English Georgian Mirror, 1750; Two-piece Looking-glass,
+1750.]
+
+Owing to the extreme difficulty of making large pieces of glass, and
+also because it was not deemed prudent to waste the smaller pieces, many
+of the Queen Anne mirrors were made of two pieces of glass arranged so
+that one plate overlapped the other. Later, these parts were joined by
+strips of gilt molding. Several of these mirrors are still in existence,
+one of the earlier type being owned by Mrs. Walter L. Harris of Salem,
+showing a simple glass with gilt figure ornament.
+
+One of the finest mirror designers was Chippendale, who wrought out
+Chinese patterns, his schemes showing a wonderful weaving of birds,
+flowers, animals, and even human beings. One design, typical of his
+work, shows a flat wooden frame cut in graceful arches, with a gilded
+eagle perched on top with outspread wings. Gilt rosettes and flowers,
+as well as ornaments strung on wire, were frequently used by him, and
+are considered characteristic of his type.
+
+It was customary for the frames to rest on a pair of mirror knobs, which
+were fitted to the lower edge of the frame and screwed firmly to the
+wall. These knobs were often made of brass, but the most fashionable
+ones were of copper overlaid with Battersea enamel, and framed in rings
+of brass. Among the most quaint designs which were carried out on these
+mirror knobs were heads of prominent persons such as Washington,
+Lafayette, and Lord Nelson. Bright-colored flowers and landscapes, the
+American eagle, and the thirteen stars, representing the original
+colonies, were also frequently used, as were the queer designs of the
+funeral urn and weeping willow, that seemed to especially appeal to our
+ancestors' taste.
+
+By the year 1780 American mirror manufacturers had evolved a style
+peculiarly their own, and the glasses made at that time were known as
+Constitution mirrors. The frames were not unusual in design, generally
+being made of wood, in more or less elaborate shapes, but they were
+original in their decoration, especially in their tops. These generally
+were graced by the American eagle, the newly chosen emblem of the
+Republic, executed either in plaster covered with gilt, or in wood. A
+good example of the Constitution type is shown in the Lord house at
+Newton. The top shows the usual eagle decoration, though the cornice is
+overhanging, fixing the date of manufacture early in the nineteenth
+century. This mirror is especially historic, having belonged to the
+brilliant Revolutionary hero, Henry Knox, General Washington's most
+intimate friend.
+
+Another handsome mirror of the same period is one that was originally in
+the Harrod mansion at Newburyport. It was one of the few things saved
+when the house was burned at the time of the great fire in 1812. This
+mirror now hangs in the home of a lineal descendant of the Harrod family
+in Salem. It is in perfect condition, and shows the eagle top and draped
+sides.
+
+The overhanging cornice came into vogue early in the nineteenth century.
+A mirror characteristic of this date is shown in the living room at
+"Highfield," the Byfield home of the Adams family, built by Abraham
+Adams in 1703. It has a gilt frame of the ordinary picture type, and on
+account of its association is most interesting.
+
+A specimen of the same period is shown in the Lord house at Newton.
+This is decorated with the figure of a goddess sitting in a chariot
+drawn by two rams. The frame is of fine mahogany, with handsomely carved
+columns, simply ornamented.
+
+[Illustration: PLATE XLIV.--Oval Mirror, showing Acanthus leaves, once
+on Cleopatra's Barge, the first pleasure yacht built in America; Mirror,
+1710, resting on ornamental knobs; Mirror, 1810, in Dudley L. Pickman
+House.]
+
+Other types of mirrors popular in the days of our forefathers were the
+mantel mirrors that came into favor early in the eighteenth century,
+first in England and later in America. Their greatest period of
+popularity was from 1760 until the commencement of the nineteenth
+century. Many of these glasses were oval in shape, though the majority
+consisted of three panels of glass separated only by narrow moldings of
+wood. This style was probably originated by some economical
+cabinet-maker who, in order to avoid the heavy expense which the
+purchase of large plates involved, designed these. They were most
+favorably received upon their introduction, and many of the old glasses
+to be found at the present day are of this style.
+
+One of the most valuable of these three-piece mantel glasses is that in
+the drawing-room of the Pierce-Nichols house on Federal Street at Salem,
+the frame of which has attracted the attention of antiquarians all over
+the country. It was made for a bride, who in 1783 came to be mistress
+of this old home, and it shows a finish of gold and white harmonizing
+admirably with the surrounding white woodwork, exquisitely carved by
+Samuel McIntyre, the noted wood-carver. Its principal features are
+slender, fluted columns twined with garlands, which fancy is repeated in
+the decorations of the capitals. Above the glass are two narrow panels,
+one of white ornamented with gilt, and the other of latticework over
+white. Just beneath the overhang of the cornice is a row of gilt balls,
+a form of decoration that came into style during the latter part of the
+eighteenth century, and which continued to characterize a certain class
+of mirrors for several decades.
+
+Late in the nineteenth century mirrors known as bull's-eyes and
+girandoles came into vogue. These were circular in form, the glass
+usually convex, and they were made by Chippendale, the Adam Brothers,
+and others. The fact of their being convex rendered them impractical for
+common use, though it allowed for elaborate framing, and they were
+employed rather for ornament than for use. Looking up the old
+definition, we find these glasses alone have the right to be called
+mirrors, and that all else save "circular convex" should, properly
+speaking, be termed looking-glasses.
+
+One good example of this type was in the George house at Rowley,
+Massachusetts, now demolished. It showed a heavy gilt frame, surmounted
+by an eagle.
+
+Originally, there were shown in Hamilton Hall, at Salem, two fine
+examples of girandoles, with glass pendants, which in the midst of
+lighted candles reflected myriad sparkles. Interesting, indeed, would be
+the tales they could tell of fair ladies in powder and patches, and
+courtly gallants who in the long ago gathered in this famous hall to
+tread the measures of the minuet! These girandoles were the gift of Mr.
+Cabot, and they are now replaced by simpler examples, the originals
+having been given to the Saltonstall family, in whose possession they
+still are.
+
+Of the late colonial looking-glasses, there are two general types, the
+earlier dating back to about 1810 and characterized by an overhanging
+cornice, beneath which pendant balls or acorns are frequently found,
+with frames of wood carved and gilded, or painted. Further decoration is
+found in a panel beneath the cornice ornamented with various designs,
+such as a horn of plenty, floral subjects, or classical scenes.
+
+In the later type, the cornice has disappeared, and the frame as a rule
+is more simply ornamented. The upper panel, however, has been retained,
+and almost invariably it shows a painting of some sort. Until within a
+comparatively few years, it was not a difficult matter to secure mirrors
+of this type, but the recent fad for collecting old furniture has caused
+many of the best specimens to be purchased, and, in consequence, really
+good colonial mirrors are rapidly becoming scarce, and one is a
+treasured possession.
+
+The Kittredge house at North Andover, Massachusetts, shows several fine
+examples of this later type, and other examples are to be found in the
+Lord house at Newton, and in several Salem residences. These show a
+great variety of panels, ranging from pastoral scenes to horns of
+plenty, and from ships to simple baskets of flowers.
+
+It is interesting to note, in connection with these old-time mirrors,
+the influence of the period reflected in the framing, and also how
+graphically the frame depicts the social life of its date of
+manufacture, and the country in which it was designed. There is a marked
+flamboyancy in the Venetian designs of the early eighteenth century,
+changed in the middle of the same century to a heavy splendor and
+inartistic grandeur. England, slightly earlier, gave examples of fruit
+which many think were designed by Gibbon, but which materially lack the
+freedom of his work.
+
+Scrolls and angles, arabesques and medallions, belong to the second half
+of the eighteenth century. Many such came to New England, and one of
+these mirrors is still seen in a Salem home. Its decorations hint of the
+influence of the Renaissance, and it shows medallions decorated with
+grotesque figures on either side of the upper panel.
+
+[Illustration: PLATE XLV.--Mirror, 1770; Lafayette Courting Mirror,
+Osgood Collection; Empire Mirror, 1810.]
+
+Perhaps as interesting as any of the old mirrors is the Lafayette
+mirror, one excellent example of which is seen in the Osgood house at
+Salem. This is small in size, surmounted with a painting of Lafayette,
+and is one of a great number designed in compliment to the beloved
+Frenchman's visit to Salem in 1784. It is known as the Courtney Mirror.
+
+Many of the fine old specimens to be seen in Salem were brought to New
+England at the time of the old seaport town's commercial glory, about
+the period of the Revolution, and previous to the restrictions following
+the War of 1812. These were halcyon days in Salem, "before the great
+tide of East India trade had ebbed away, leaving Derby Street stranded,
+its great wharves given over to rats and the slow lap of the water
+among the dull green piles."
+
+Probably there are few of these old-time mirrors but have been connected
+with interesting traditions and events, and it seems a pity that their
+histories have never been compiled, but have been allowed to pass
+unrecorded, leaving the imagination to conjure up scenes of joy and
+sorrow that have been reflected in their depths. Still, for all their
+unwritten stories each and every one possesses a glamor of mystery that
+makes the work of collecting them most fascinating. The personal note so
+prevalent in nearly all workmanship of past centuries is particularly
+noticeable in the looking-glass, and perhaps it is this very attribute
+more than anything else that lends so great a degree of charm and
+attractiveness to them.
+
+
+
+
+CHAPTER XII
+
+OLD-TIME CLOCKS
+
+
+There is something quaintly pathetic about an old colonial clock. Its
+sociability appeals to all home lovers, as it cheerily ticks the hours
+away, with a regularity that is almost human.
+
+The first clocks, if so they might be called, were composed of two bowls
+connected by an opening through which water trickled, drop by drop, from
+one to the other. Next came a simple contrivance consisting of a greased
+wick tied into knots. The smoldering of the lighted wick determined the
+flight of time.
+
+The first clock, which was made in 807, was given as a present to the
+Emperor Claudius. It was a small clock of bronze inlaid with gold, and
+was fitted with twelve small doors. Each one of these opened at a given
+time, and allowed tiny balls to roll out, differing in number according
+to the hour represented. Promptly at the strike of twelve, toy horsemen
+came prancing out, and closed every open door. This was a marvel of
+clock-making that attracted a great deal of attention.
+
+In 1335, a monk, Peter Lightfoot by name, constructed a wonderful clock,
+which he presented to Glastonbury Abbey. During the fifteenth and
+sixteenth centuries, many and varied kinds of clocks were made, and we
+are assured that this was a successful venture, even in the early ages,
+from the fact that in 1500 a clock-makers' union was formed.
+
+To one who is interested in the history of clocks, there is no better
+place to view them than in Europe, where the most skilled clock-makers
+lived during the seventeenth and eighteenth centuries. Marseilles,
+Exeter, and Westminster Abbey are the homes of some of the most
+wonderful clocks in the world.
+
+Some of the most beautiful of these were made by Chippendale and
+Sheraton, the former manufacturing specimens that stood nine feet high
+and measured twenty-five inches across. On the door, was placed a
+reliable thermometer, while on the inner circle, the signs of the Zodiac
+were marked, the outer circle showing the movable features by means of a
+sliding ring.
+
+The manufacture of clocks in America began early in the eighteenth
+century. Among the earliest clock-makers was one Benjamin Bagnall, who
+learned his trade in England and settled in Boston in 1712. A record of
+a meeting of the selectmen of the town on August 13, 1717, reads: "that
+Mr. Joseph Wadsworth, William Welstead, Esq., and Habijah Savage, Esq.,
+be desired to treat with Mr. Benjamin Bagnall about making a Town
+Clock," and according to the record in September of that year he was
+paid for it.
+
+The earliest Bagnall clock on record is of the Pendulum type, in a tall
+case of pine; on the inside of the lower door was written: "This clock
+put up January 10, 1722." Another, very similar to this type, belongs to
+the New England Historical Genealogical Society of Boston. The case,
+though plain, is handsome and unusual, being made of solid black walnut.
+Most of the cases, however, were made of pine, veneered. The use of this
+wood was characteristic of old American-made cases, while those of old
+English make were veneered on oak.
+
+A particularly fine Bagnall clock is in the Hosmer collection at
+Hartford, Connecticut. It is a black walnut veneer on pine. A
+peculiarity of the Bagnall make is the small dial, only twelve inches
+square. Above the dial is an arched extension, silvered and engraved
+with the name of the maker. Samuel Bagnall, son of Benjamin, has left a
+few good clocks, thought to be equal to the work of his father.
+
+The clocks of Enos Doolittle, another colonial maker, are not numerous
+enough to give him a prominent place among the great manufacturers.
+Nevertheless, he deserves much praise for the few good clocks which he
+has left behind. One of them is at Hartford, Doolittle's native town.
+The case is of beautifully carved cherry, ornamented with pilasters on
+the sides of the case and face; the top of the case is richly ornamented
+with scrolls and carvings. A circular plate above the dial has the
+legend "Enos Doolittle, Hartford."
+
+[Illustration: PLATE XLVI.--Willard Banjo Clock, 1802; Banjo Clock,
+1804; Willard Banjo Clock, 1802.]
+
+There were many small clock-makers in colonial days, one, we might say,
+in every town, who left a few examples of their work; but none of them
+left the number or quality produced by the great clock-makers, the
+Willards. Benjamin Willard, who had shops in Boston, Roxbury, and
+Grafton, made a specialty of the musical clock, which he advertised as
+playing a tune a day and a psalm tune on Sundays. Aaron Willard, a
+brother, made tall, striking clocks. One of his productions, owned by
+Dr. G. Faulkner of Boston, has run for over one hundred and twenty
+years. On the inside of the case is written: "The first short timepiece
+made in America, 1784." It is a departure from the ordinary Aaron
+Willard clock, because it is so short. The case of mahogany stands only
+twenty-six inches high; and there are scroll feet, turning back. A
+separate upper part, with ogre feet, which can be lifted off, contains
+the movements. Simon Willard, another brother, in 1802 patented the
+"Improved timepiece" which later was known as the "banjo" because of its
+resemblance in shape to that instrument. The "banjo" which Willard
+manufactured had a convex glass door over the face, a slim waist with
+brass ornaments running parallel to the curve of the box, and a
+rectangular base, which was sometimes built with legs for a shelf,
+sometimes with an ornamental bracket on the bottom, in which case the
+clock was intended for the wall. The construction of these clocks was
+simple; the works were of brass, and capable of running eight or nine
+days. There was no strike, but this clock was a favorite, because of its
+accuracy.
+
+Hardly less famous than the Willards was Eli Terry, born April, 1773,
+in East Windsor, Connecticut. Before he was twenty-one, he was
+recognized as having unusual ingenuity at clock-making. He had learned
+the trade from Thomas Harland, a well-known clock-maker of the times,
+had constructed a few old-fashioned hanging clocks and sold them in his
+own town. He moved to Plymouth and continued to make clocks, working
+alone till 1800, when he hired a few assistants. He would start about a
+dozen movements at a time, cutting the wheels and teeth with saw and
+jack-knife. Each year he made a few trips through the surrounding
+country, carrying three or four clock movements which he sold for about
+twenty-five dollars apiece.
+
+Felt tells in his annals that "in 1770, Joseph Hiller moved from Boston
+to Salem and took a shop opposite the courthouse on the exchange." Later
+on, in 1789, we learn that Samuel Mullikin made an agreement to barter
+clocks for both English and West Indies goods, and also in exchange for
+country produce. So popular did they become that we learn that in 1844
+there were in Salem ten clock-makers and eleven jewelers all working at
+this trade.
+
+While the colonists still imported many of their clocks, yet in 1800
+clock-making had become such a thriving industry that wooden cases were
+constantly being made, the manufacture of the works being a separate
+field.
+
+[Illustration: PLATE XLVII.--English Grandfather's Clock, William Dean
+Howells; Collection of Old Clocks, property of Mr. Mills, Saugus, Mass.;
+Grandfather's Clock, formerly owned by President Franklin Pierce.
+Property of Mrs. Charles Stark.]
+
+One of the most interesting is a tall grandfather's clock, showing the
+moon above the face, at the Stark house in Dunbarton. This clock
+formerly stood in the old Governor Pierce mansion at Hillsboro. It is
+very handsome, showing fine inlaid work on the case.
+
+Varied in shape and size were the numerous clocks which were found in
+colonial homes in New England. They ranged from the tall grandfather's
+clock to the smaller wall and bracket pieces. One kind that was in use,
+though rarely seen to-day, is the table clock, a type highly prized by
+the colonists, and recorded as a fine timekeeper.
+
+By the early nineteenth century we find the making of American clocks
+had become so universal that they were to be found not only in many New
+England houses, but throughout the South and Middle states as well. Many
+of the rarest and oldest were at the plantation manors of Virginia and
+Kentucky as well as in New England.
+
+There are to-day in many houses colonial clocks valued not only for
+their worth, but for association's sake. One of these is in the home of
+Mr. John Albree at Swampscott, Massachusetts. It is considered one of
+the oldest of its kind in the United States, and was brought from
+England in the year 1635 by one John Albree, and has been in the family
+ever since. It is known as the weaver's clock, and has one hand only.
+These clocks are very rare, only a very few being known of.
+
+Singularly enough, few people, even those who are the most interested in
+clocks and their making, know much about their early history and
+construction. The purchase of a clock at the present time means not only
+the case, but the entire works as well. It was, however, far different
+in the early days, at least while the tall clocks were so popular.
+Transportation was difficult, so the clock peddlers contented themselves
+by slinging half a dozen clock movements over the saddle and starting
+out to find purchasers. After the works were purchased, and the family
+felt they had twenty pounds to spare, they called in a local
+cabinet-maker, and often the whole of the amount went into the making of
+the case. Naturally, a certain-shaped case was made to fit a certain
+movement, so that definite types of clocks were found, but it must be
+remembered that the case gave no indication of the period of the maker
+of the movements.
+
+[Illustration: PLATE XLVIII.--General Stephen Abbot Clock; Terry Shelf
+Clock, 1824; English Clock, with Ball ornamentation.]
+
+One of the first types of clocks made in America was the wall clock.
+This was set on a shelf through which slits were cut for the pendulum
+and weight cords to fall. These were known as "lantern," "bird cage," or
+"wag-at-the-wall," later replaced by the more imposing "Grandfather,"
+which served a double duty as timekeeper and as one of the "show pieces"
+of furniture.
+
+The first known Terry clock was made in 1792. It was built with a long,
+handsome case and with a silver-plated dial, engraved with Terry's name.
+This clock, just as it was when Eli Terry set it going for the first
+time with all the pride which he must have had in his first
+accomplishment, is now in the possession of the Terry family.
+
+There was an interesting clock of this type in the General Stephen Abbot
+house on Federal Street, Salem, and another is still in the possession
+of Mr. Henry Mills of Saugus, Massachusetts.
+
+Terry introduced a patent shelf clock, with a short case. This made the
+clock much more marketable, because it was short enough to allow of easy
+transportation and at the same time offered the inducement of a
+well-made and inexpensive case.
+
+The patent shelf clock was a surprise to the rivals of Terry, because
+this change in construction had produced an absolutely new and improved
+model,--an unheard-of thing in clock making. The conservatism before
+shown by the colonial makers had stunted the growth of clock
+improvements in many ways, hence Terry's new invention produced a
+sensation.
+
+The change was such as to allow the play of weights on each side and the
+whole length of the case. The placing of the pendulum, crown wheel, and
+verge in front of the wheels, and between the dial and the movement, was
+another space-saving device, as was also the changing of the dial wheels
+from the outside to the inside of the movement plates. The escapement
+was transferred by hanging the verge on a steel pin, instead of on a
+long, heavy shaft inside the plates. This allowed the clock to be
+fastened to the case in back, making the pendulum accessible by removing
+only the dial. Thus Terry fairly revolutionized small-clock making, by
+introducing a new form, more compact, more serviceable, and cheaper than
+any of the older makes.
+
+In 1807 Terry bought an old mill in Plymouth and fitted it up so as to
+make his clocks by machinery. About this time several Waterbury men
+associated themselves to supply Terry with the materials, if he would
+make the clocks. With this steady income from machine-made clocks, and
+the profits from extra sales, he made, in a very short time, what was
+then considered quite a fortune.
+
+In 1808 he started five hundred clocks at once,--an undertaking which
+was considered foolhardy. People argued that there weren't enough people
+in the colonies to buy so many clocks, but nevertheless the clocks sold
+rapidly. In 1810 Terry sold out to Seth Thomas and Silas Hoadley, two of
+his head workmen. The new company was a leader in colonial clock
+manufacturing for a number of years, until competition brought the
+prices of clocks down to five and ten dollars.
+
+All these years Terry had been experimenting, and in 1814 he introduced
+his pillar scroll top case. This upset the clock trade to such an extent
+that the old-fashioned hanging, wooden clocks, which hitherto had been
+the leading type, were forced out of existence. The shape of the scroll
+top case is rectangular, the case, with small feet and top, standing
+about twenty-five inches high. On the front edges of the case are
+pillars, twenty-one inches long, three quarters of an inch in diameter
+at the base, and three eighths at the top, having, as a rule, square
+bases. The dial, which takes up a half or more of the whole front, is
+eleven inches square, while below is a tablet about seven by eleven
+inches. The dial is not over-ornamental and has suitable spandrels in
+the corners. The scroll top is found plain as well as highly carved, but
+always the idea of the scroll is present.
+
+Terry sold the right to manufacture the clock to Seth Thomas for a
+thousand dollars. At first they each made about six thousand clocks a
+year, but later increased the output to twelve thousand. The clocks were
+great favorites and sold easily for fifteen dollars each.
+
+Another conservatism of the colonial clock-makers was the sharp division
+which they made between the use of wood and brass in the manufacture of
+the movements. The one-day clocks were made of wood throughout, and this
+prevented their use on water or even their exportation, because the
+works would swell in the dampness and render the clock useless. The
+eight-day clocks were made of brass, but the extra cost of the
+movements sufficient to make the clock run eight days excluded many
+people, who had to remain content with the one-day clock.
+
+It was not till 1837 that it occurred to any of these ingenious makers
+of timepieces to produce a one-day clock out of brass. To Chauncey
+Jerome, the first exporter of clocks from America to England in the year
+1824, the honor was reserved of applying the principle of the cheap wire
+pinion to the brass, one-day clock. Thus began the revolution of
+American clock manufacturing, which has placed this country before all
+the world as a leader in cheap and accurate watch and clock making.
+
+The whirr and bustle of hundreds of factories of to-day, which
+manufacture watches and clocks at an output of thousands per year, is a
+strong contrast to the slow and laborious construction of the old
+colonial clocks. And not only is there a contrast in their manufacture,
+but when one compares the finished products of the year 1700 and 1900
+side by side, one is conscious of conflicting emotions. There is
+naturally a decided feeling of admiration for the artistically designed
+timepiece of the twentieth century on the one hand, and, on the other,
+an irresistibly sentimental sensation when standing before a dignified,
+ancient, tall clock, on the door of which one reads:--
+
+  "I am old and worn as my face appears,
+  For I have walked on time for a hundred years,
+  Many have fallen since my race began,
+  Many will fall ere my race is run.
+  I have buried the World with its hopes and fears
+  In my long, long march of a hundred years."
+
+
+
+
+CHAPTER XIII
+
+OLD-TIME LIGHTS
+
+
+Since the introduction of gas and electric light, the old-time lamp has
+ceased to be a necessity, though in many instances it still does service
+as the receptacle for the gas jet or electric bulb. Likewise,
+candlesticks and candelabra are still in use, not, of course, as
+necessities, as they were a century ago, but yet doing efficient service
+in the homes of people who realize that the soft glow of the candle
+affords an artistic touch that nothing else can give. Undeniably, there
+is a peculiar fascination about candlelight that few can resist, and in
+whatever room it is used, that room is benefited through its
+attractiveness.
+
+It is only when harking back that one realizes the strides that have
+been made in house lighting. In the early days, when the country was
+new, the only light was firelight, candlewood, or pine torches. To be
+sure, there was always the punched lantern, hung on the wall ready for
+use at a moment's notice, but this was for outside rather than inside
+lighting.
+
+The earliest artificial light used by the colonist was candlewood, or
+pine torches. These torches were cut from trees in near-by forests, and
+were in reality short sections of dry, pitch-pine log from the heart of
+the wood, cut into thin strips, eight inches in length. The resinous
+quality of the wood caused these little splinters to burn like torches,
+hence their name. The drippings from them were caught on flat stones,
+which were laid just inside the fireplace; and to make a brighter light
+several torches were burned at one time, their steady flame, combined
+with the flickering blaze of the roaring logs, casting into the room
+just enough light by which to accomplish the simple tasks which had to
+be performed after nightfall.
+
+Even this rude means of lighting was not available in some homes, for it
+is not uncommon to read in old chronicles of lessons being learned by
+the light of the fire only. While such a state of affairs would be
+looked upon as a calamity to-day, it was not without compensation, for
+the merry flames of the huge logs, as they flickered and danced on the
+hearth, cast a cheerful light on the closed shutters, and against the
+brown walls, much to the delight of the little ones, who, seated on rude
+benches close at hand, threw hickory shavings into the fire to make it
+flame faster, or poked the great backlog with the long iron peel to make
+the sparks fly upward.
+
+Candlewood fagots were in use throughout New England until the early
+part of the eighteenth century, and it was customary each fall to cut
+enough wood to supply the family demand for a year. In some Northern
+states, these fagots were commonly used until 1820, while in the South
+they are used in a few sections even to-day, being often carried in the
+hand like a lantern.
+
+When candles were first used here, they were imported from England, but
+their cost was so high that they were prohibitive save for festive
+occasions. The scarcity of domestic animals in the new land barred their
+being killed save for meat, and thus was lost an opportunity for candle
+making that was seriously felt. Some people, including Governors
+Winthrop and Higginson, in 1620 sent to England for supplies of tallow
+or suet to make their own candles, but the majority had to be content
+with candlewood. These first candles were fashioned without wicks, being
+provided instead with pith taken from the common rush and generally
+known as rush light,--a lighting which possessed disadvantages, inasmuch
+as it burned but dimly and lasted but a short time. Even in 1634 we find
+that candles could not be bought for less than fourpence apiece,--a
+price above the limited purses of the majority. Fortunately, the rivers
+were abundantly stocked with fish, and these were caught and killed, and
+their livers tried out for oil. This oil, which was crude, was
+principally used in lanterns, the wicks being made of loosely spun hemp
+and tow, often dipped in saltpeter.
+
+[Illustration: PLATE XLIX.--Whale Oil Lamps with Wicks; Mantel Lamps,
+1815; Paul and Virginia Candelabra.]
+
+The earliest lamp was a saucer filled with oil, and having in the center
+a twisted rag. This rude form of wick was used for over a century. Then
+came the Betty lamp, a shallow receptacle, in form either circular,
+oval, or triangular, and made of pewter, iron, or brass. Filled with
+oil, it had for a wick the twisted rag, which was stuck into the oil and
+left protruding at one side. This type came into use before the
+invention of matches, and was lighted by flint and steel, or by a live
+coal.
+
+A most unique specimen of the early lamp is seen in a Salem home. It
+stands about six inches high, with a circumference of about twelve
+inches, and is an inch thick. It is made of iron, showing a liplike
+pitcher, while at the back is a curved handle. It is arranged to be
+filled with oil, and the wick is the twisted rag, which rests on the
+nose. Tradition relates that this lamp was used at the time of the
+witchcraft delusion, to light the unfortunate prisoners to jail.
+
+When whale-fishing became the pursuit of the colonists, an addition to
+the lighting requisites was discovered in the form of sperm secured from
+the head of the whale. This proved very valuable in the manufacture of
+candles, which gave a much brighter light than the older type. So
+popular did this oil become that in 1762 a factory was established at
+Germantown, at that time a part of Quincy, to manufacture sperm oil from
+its crude state; and candles made from this oil were later sold in Salem
+by one John Appleton.
+
+At this period, candle making was a home industry, being included in the
+fall work of every good housewife. At candle season, two large kettles,
+half filled with water, were hung on the long iron crane over the
+roaring fire in the kitchen, and in this the tallow was melted, having
+to be scalded twice before it was ready for use. Across large poles
+placed on the back of two chairs, smaller ones, known as candle rods,
+were laid, and to each one of these was attached a wick. Each wick in
+turn was dipped into the boiling tallow and then set away to cool. This
+way of making candles was slow and tedious, and it required skill to
+cool them without cracking, though an experienced candle-maker could
+easily fashion two hundred a day.
+
+Bayberry candles, so much in favor to-day, were also made in early
+times. The berries were gathered in the fall, and thrown into boiling
+water, the scum carefully removed as it formed. At first a dirty green
+color was secured, but as the wax refined, the coloring changed to a
+delicate, soft green. Candles of this type were not so plentiful as
+those of tallow, for the berries emitted but little fat, and they were
+therefore carefully treasured by their makers. To-day these candles are
+the most popular of all makes, emitting a pungent odor as they burn, but
+their cost sometimes makes them prohibitive. Instead of the housewife
+always attending to this tedious task, it was sometimes performed by a
+person who went from house to house, making the winter's supply of
+bayberry candles. It was customary for every housekeeper in those
+days to have quantities of these in her storeroom, often as many as a
+thousand.
+
+With the increase in sheep, many were killed, and the tallow obtained
+used for candle making. Such candles were provided with wicks made from
+loosely spun hemp, four or five inch lengths being suspended from each
+candle rod. The number of wicks used depended largely on the size of the
+kettle of boiling water and tallow. First the wicks were very carefully
+straightened, and then dipped into the tallow, and when cold this
+process was repeated until the candle had attained the right shape.
+Great care had to be exercised in this respect, and also that the tallow
+was kept hot, the wicks straight, and that the wicks were not dipped too
+deep in the boiling tallow. In drying, care was taken lest they dry too
+quickly or too slowly, and also that a board was placed underneath to
+catch the drippings. These drippings, when cool, were scratched from the
+board and used over.
+
+The introduction of candle molds lessened the task of candle making to a
+great extent, and, in addition, secured a better-shaped candle, and one
+that burned longer than the old dip type. With their advent came into
+vogue professional candle-makers, men who traveled all over the country,
+taking with them large molds. In two days' time, so rapidly did they
+work, they could make the entire stock for a family's winter supply.
+These candles, when complete, were very carefully packed away in wooden
+boxes to insure safety from mice. They were a jolly set of men, these
+candle-makers, who pursued the work for love of the roving life it
+afforded, as well as for the money it netted. They came equipped with
+the latest gossip, and their presence was a boon to the tired house
+mother, whose duties did not allow of much social intercourse.
+
+Ordinarily, candles were very sparingly used, but on festive occasions
+they were often burned in great quantities. At Hamilton Hall, in Salem,
+built at a cost of twenty-two thousand dollars, this mode of lighting
+was a feature, and in the early part of the nineteenth century, when the
+hall was the scene of the old assemblies, it was lighted by innumerable
+candles and whale-oil lamps, so many being required to properly illumine
+it that it took John Remond, Salem's noted caterer of that period,
+several days to prepare them for use. In those days, informal parties
+were much in vogue, commencing promptly at six and closing promptly at
+twelve, even if in the midst of a dance. The dances then enjoyed were of
+the contra type, waltzes and polkas being at that day unknown. The
+gentlemen at these gay assemblies came dressed in Roger de Coverley
+coats, small-clothes, and silken stockings, while the ladies were
+arrayed in picturesque velvets and satins, the popular fabrics of the
+period.
+
+[Illustration: PLATE L.--Astral Lamps, 1778; English brass branching
+Candlestick, showing Lions.]
+
+Candlesticks seem always to have been considered a part of the house
+furnishings in America, for we find accounts of them in the earliest
+records of the colonies. Many of these were brought from England, and in
+colonial dwellings still standing we find excellent specimens still
+preserved. The first candlesticks extensively used here were rudely
+fashioned of iron and tin, being among the first articles of purely
+domestic manufacture found in New England. Later, with the building of
+more pretentious homes, candlesticks made of brass, pewter, and silver
+came into vogue, the brass ones being the most commonly used, as well as
+candelabra, and in the homes of the wealthier class were found brass
+wall sconces that were imported from London and France.
+
+[Illustration: PLATE LI.--Colonial Mantel Lamp; Single bedroom brass
+Candlestick; Sheffield Plate Candlesticks.]
+
+A particularly fine pair of these sconces is found in the Osgood house
+on Chestnut Street, Salem. Here the brass filigree work is in the form
+of a lyre encircled with a laurel wreath, and surmounted by the head of
+Apollo. The tree branches curve gracefully outward from the wreath and
+below the lyre.
+
+In the early part of the eighteenth century, snuffers and snuffer boats,
+as the trays in which the candlesticks rested were known, came into use.
+These were sometimes of plain design, and sometimes fanciful, made
+either of brass or silver. Pewter was also used for this purpose, and
+later it became a favorite metal for the manufacture of hall lamps and
+candlesticks.
+
+[Illustration: PLATE LII.--Pierced, or Paul Revere Lantern; Old Hand
+Lantern; English Silver Candlesticks; Brass Branching Candlesticks,
+Chippendale, 1760.]
+
+Lanterns next came into style and were a prominent feature of the
+hallway furnishing. Many of these were gilded and many were painted, and
+their greatest period of popularity was during the first part of the
+eighteenth century. About 1750 the first glass lamps came into favor.
+These were not like those of a later period, being very simple in form,
+and not particularly graceful.
+
+In 1782 a Frenchman, named Argand, introduced the lamp which still bears
+his name. This marked the beginning of the lamp era, and while at first
+these lamps were so high in price that they could only be afforded by
+the wealthier classes, later they were produced at a more reasonable
+figure, when they came into general use.
+
+The last half of the eighteenth century marked the adoption of
+magnificent chandeliers, many of which are still preserved. One such is
+found in the Warner house at Portsmouth, in the parlor at the right of
+the wide old hall, a room wherein have assembled many notable
+gatherings, for the Hon. Jonathan Warner was a generous host. This
+specimen is among the finest in the country, and is in keeping with the
+other fine old-time fittings.
+
+About the beginning of the nineteenth century, candelabra and lamps with
+glass prisms were much used, some of them very simple in design, being
+little more than a plain stick with a few prisms attached, while others
+were very elaborate. Many of these candlesticks and candelabra are still
+preserved, together with the other old-time lights. In a Jamaica Plain
+home are some very valuable specimens of lighting fixtures that once
+stood on the mantel in the Sprague House on Essex Street, Salem, having
+been brought to this country by the first owner at the time the dwelling
+was being furnished for his bride.
+
+With Fashion's decree that lamps and candelabra should be hung with
+cut-glass prisms, they attained great popularity, and sets of three came
+to be regular ornaments of the carved mantelpieces. These sets consisted
+of a three-pronged candelabrum for the middle, and a single stick on
+either side. The stand was of marble, while the standards were of gilt.
+At the base of each candle a brass ornament, like an inverted crown,
+supported the sparkling prisms, which jingled and caught rainbow
+reflections at every slight quiver. In the lamps, frequently the side
+portions were of bronze, the lamp for holding the oil being surrounded
+by prisms which depended from the central standard. The flaring chimneys
+of ground glass softened and shaded the light, while they also kept it
+from flickering in case of sudden draughts.
+
+Up to the year 1837, flint and steel were the only mode of ignition, and
+their long association with old-time lights makes them an intimate part
+of them. At first both flint and steel were very crudely made, but later
+on, some of the steels were very ornamental. With them was used a tinder
+box, with its store of charred linen to catch the tiny flame as it
+leaped toward the steel, and this, too, must be considered in the review
+of old-time lights.
+
+Examples of these and the old forms of lighting are found in every part
+of New England and throughout the South, though perhaps the largest
+collection in any single section is found in Salem, the home of
+excellent examples of all things colonial. As one views them, he cannot
+but be impressed with their quaintness, and while no doubt he is
+thankful for the strides in science that have made possible the
+brilliant illumination of the present, yet in his heart he must
+acknowledge that the present lights, though in many instances undeniably
+beautiful, lack the charm of the old-time types.
+
+
+
+
+CHAPTER XIV
+
+OLD CHINA
+
+
+China constituted an important part of the household equipment in
+colonial days, and while not as antique as pewter and wooden ware, it
+outrivaled both in beauty and popular favor. Its daintiness of coloring,
+variety of make, and exquisiteness of texture afforded a welcome change
+from the somber-colored and little varied ware hitherto used; and its
+fragility proved of wondrous interest to the careful housewife, causing
+her to bestow upon it her tenderest care and to zealously guard it
+against harm, since it was her delight to boast that her sets were
+intact. To-day it is equally appreciated, and it is displayed on the
+shelves of built-in cupboards, with all the pride of possession
+exhibited by its original owners.
+
+[Illustration: PLATE LIII.--Peacock Plate of Delft, very rare; Decorated
+Salt Glaze Plate, about 1780.]
+
+Old cupboards are somehow always associated with old china in this
+country, and in most instances they are worthy of the admiration in
+which they are held. In colonial times, cupboards formed a decorative
+feature of the house furnishings, and they were fashioned with as much
+regard for shape and finish as the rooms in which they were to be
+placed. In time they came to be considered almost indispensable
+adjuncts, and with their increase in favor, their development became
+marked. Perhaps the finest type is that with the shell top, some
+excellent examples of which are still preserved, notably in the Brown
+Inn at Hamilton and in the Dummer house at Byfield, Massachusetts.
+
+[Illustration: PLATE LIV.--Liverpool Pitcher, showing Salem Ship; Old
+Chelsea Ware; Canton China Teapot; Wedgwood, with Rose decoration. Very
+rare.]
+
+[Illustration: PLATE LV.--Gold Luster Pitcher; Staffordshire Pitcher
+with Rose decoration; Peacock Delft Pitcher; Jasper Ware Wedgwood
+Pitcher. Blue and White.]
+
+Of all the old wares used here, salt glaze is most rarely found, most
+collections including not even a single specimen. This is probably due
+in a great measure to its fragility; it is not owing to its scarcity of
+import, as large quantities of this ware were brought here in early
+times. Examples now found are principally of Staffordshire manufacture,
+made between 1760 and 1780, though much of the ware that was made about
+1720, belonging to the so-called second period, was shipped here.
+
+A study of all forms of salt glaze is of interest, but that of English
+manufacture is of most importance to American collectors, for it is that
+type that the colonists imported, and with which American collections
+are most closely associated.
+
+The process of salt glaze manufacture was known in England as early as
+1660, and a familiar legend as to its origin was that it was
+accidentally discovered through the boiling over of a kettle of brine,
+the salt running down the outside of the earthen pot, and, when cold,
+hardening upon it, forming a glaze. This theory has been discredited by
+later scientists, and it is not unlikely that it was the invention of
+some imaginary individual, but however that may be, the ware in itself
+is of unusual attractiveness, and records show that upon its
+introduction into Staffordshire, it superseded in favor the dull lead
+glaze.
+
+The first ware finished by this method was coarse and brown, a type that
+remained in vogue until the early years of the eighteenth century, when
+a gray ware was produced. Some of this latter found its way to America,
+but the type most familiar here is that manufactured in the closing
+years of the eighteenth century,--a ware with a white or nearly white
+body, thin and graceful in contour, and characterized by a very hard
+saline glaze.
+
+Pepper pots, soup tureens, plates, and pitchers were among the most
+common pieces manufactured, though teapots in various shapes, bottles,
+vases, etc., were also made. Some of these pieces have a plain center
+and decorated border, while others show an entirely decorated surface.
+
+[Illustration: PLATE LVI.--The Shepherd Toby, one of the rarest Tobies;
+English Toby. Very old; Very old Toby, showing Cocked Hat.]
+
+Another output of the Staffordshire factories, now much valued here, are
+the old toby jugs, many excellent examples of which were brought here
+and have been carefully preserved. In their way they are as interesting
+as the finest china bits, their gay coloring and quaint shape affording
+a striking contrast to the delicately tinted and daintily shaped
+Lowestoft and like wares.
+
+The first tobies were in reality scarcely more than hollow figures to
+which a handle had been attached, but as time went on they grew more and
+more like mugs, and while at first the cap or hat lifted off, forming a
+cover, the succeeding style had the hat incorporated into the mug.
+
+Tobies are broadly classed as Staffordshire, and while this is probably
+true of a large portion, Dutch and German tobies as well as French ones
+are not uncommon. A supposed example of the last named is included in
+the Page collection at Lynn, and is known as the Napoleon toby. It is
+thought to be French from the fact that the likeness of the little
+corporal is not a caricature. English potters delighted to depict
+Bonaparte, but they seldom gave him the attractive countenance of this
+jug. They made him tall and thin, or short and abnormally fat, and they
+decked him in queer clothes, and labeled him "Boney." This jug depicts
+Napoleon in a very pleasant guise, suave of countenance and very well
+dressed. There is a smoothness of texture and finish about the work
+which marks it as distinct from the English tobies, which unfortunately
+frequently lacked these desirable qualities.
+
+English tobies are sometimes classified as young and old tobies. The
+terms are expressive, for the young toby is a figure standing, as if
+full of vigor and life, with a jovial, happy-go-lucky expression, while
+the old toby is represented seated, with a worldly-wise face that has
+the appearance of having experienced life to the fullest. Both types
+always carry a mug in one hand, or both hands, from which a foaming
+liquid is about to issue. The coloring of the old toby is principally
+yellow, while the young toby is a combination of brown and yellow. Of
+course, both these colorings are varied with others.
+
+Tobies show considerable variety in modeling and decoration. Some are
+jovial in appearance, others placid, and still others leering. In fact,
+every kind of a toby is represented, except a dry one. In addition to
+depicting the figures of human beings, some tobies represented animals,
+and not a few were in the form of teapots. The latter were generally
+finished in blue, with a band of green and a bit of copper luster, and
+in height they varied from twelve to eighteen inches.
+
+Although these drinking mugs were made in many factories, none bear
+hallmarks, save those made at Bennington, and, in consequence, those are
+more highly prized by connoisseurs. A unique specimen among the output
+of this factory has no mug in the hand, the arms being arranged close to
+the body, which has the appearance of having no arms at all.
+
+Delft ware, which is at the present time enjoying great favor among
+collectors, made the country where it originated famous, and its history
+is in reality the history of Holland's commercial rise.
+
+Besides its age, old Delft has the charm of individuality. As the
+designs were handworked, the ware lacks the precision in drawing that
+later stamped pieces have, and shows softened outlines instead of
+sharply defined pictures. Nor is old Delft ware so intense in coloring
+as its descendants of to-day. Comparing them side by side on a plate
+rail, or hanging on the wall, old Delft is told by its soft, beautiful
+blue. Then there is the charm of association. Coming from a nation of
+thrift and exemplary housekeeping, Delft, much more than fragile glass,
+aristocratic china, or curious foreign objects, appeals to the collector
+as a cheerful, comfortable, homelike thing to collect.
+
+There are undoubtedly many good specimens in this country to-day, but
+many more are inaccessible. Connecticut, as well as New England
+generally, has considerable, for the merchant princes who brought so
+many other treasures to Eastern ports brought also Delft. How much more
+of this charming old ware is hidden under peaked roofs of
+story-and-a-half farmhouses in some of the old Dutch settlements along
+the Hudson and on Long Island, is unknown, but perhaps we shall know in
+another generation or so.
+
+Among our specimens we find more of the English than the Dutch Delft.
+The latter, which is the original ware, took its name from the town of
+Delft, where the ware was first produced, and which, for several
+centuries, continued to be the chief center of the Delft industry.
+Although it was probably made as early as the latter part of the
+fifteenth century, but little is known of it until about one hundred
+years later. Its origin was an attempt on the part of Dutch potters to
+imitate, in a cheaper form, Chinese and Japanese wares. At that time
+were made large importations of Eastern wares, and Holland, as the only
+European power allowed a port by Japan, had a great variety of types to
+copy. The first potteries were established at Delft about the year 1600,
+and almost from its inception the industry was protected by a trust. For
+nearly one hundred and fifty years, the protection of this trust or
+"Guild of St. Luke" made Delft an important manufacturing center, giving
+employment to nearly one twelfth of its inhabitants. The best examples
+of this old Dutch Delft are beautiful copies of Chinese and Japanese
+porcelain, which are hardly distinguishable from the Oriental.
+
+A fact worth noting in connection with the rapid rise and great
+popularity of Delft is that the combination or Guild which was
+instrumental in the prosperity of the industry was also at least partly
+responsible for its downfall. In Holland, an independent maker could not
+flourish, but the progressive English made it very well worth while for
+workmen to emigrate.
+
+There was another and perhaps more potent factor in the decline of the
+Dutch Delft industry; the very success of Delft potters became their
+ruin. The market was glutted with their products, and there ceased to be
+the same demand for it as formerly. Gradually, the English ware, made
+of better clay, although cheaper in price, supplanted the Dutch ware,
+even in Holland, and as early as 1760 the struggle for existence began
+among the Dutch potteries. Of the thirty establishments existing in the
+beginning of the century, only eight were working in 1808, and most of
+these soon after stopped.
+
+The most common pieces made, in point of numbers, were the Delft plates.
+Some excellent examples of these are found in the Page collection at
+Newburyport, one, a peacock plate, being a good example of Dutch Delft
+in one of its most popular patterns. Another shows the design of a
+basket of flowers, and this same adornment is on an old English platter,
+a piece that deserves not only a compliment to its beauty, but also a
+tribute to its Dutch-English durability, since within a few years it has
+been used to hold all of a New England boiled dinner.
+
+Delft tile was produced almost as commonly as plates, although at first
+it was used to illustrate many designs essentially Dutch, and also
+religious subjects. It is on record that the _Boston News Letter_ of
+1716 advertised the first sale of "Fine Holland Tile" in America, and in
+that same paper, three years later, is a notice of "Dutch Tile for
+Chimney." From that date on, all through the century, one may find
+recurring advertisements of chimney tiles, on the arrival of every
+foreign ship. They must have been imported in vast numbers in the
+aggregate, and they were not expensive, yet they are rare in New
+England.
+
+Americans have always been patrons of Delft ware, and as a result a
+representative lot of the very best types is found here, and while it is
+to be regretted that the old tiles are not included in any great numbers
+in this list, yet those preserved are eminently satisfactory.
+
+An English writer has said that controversy always makes a subject
+interesting. Lowestoft was already so enchanting a topic that the
+searchlight of exposition was scarcely needed to reveal additional
+charms.
+
+Of the several wares that have been labeled Lowestoft, there seem to be
+four distinct varieties. There is the Simon-pure, soft-paste, Lowestoft
+china, made and decorated in the town of Lowestoft; there is the
+so-called Lowestoft, which is purely Oriental, being both made and
+decorated in China; there is probably ware made in China and decorated
+in Lowestoft; and there is probably ware made in Holland and decorated
+in Lowestoft. All of these may bear the printed name of the town, since
+members of the company which traded in them resided at that place. Doubt
+has been cast upon every one of these four wares, but the first two, at
+least, seem to be cleared of all uncertainty.
+
+For the last half of the eighteenth century, a factory existed at
+Lowestoft. This is true, beyond the shadow of a doubt. It was, however,
+a small factory, employing at its best but seventy hands, and having but
+one oven and one kiln. It is simply impossible that great quantities of
+hard-glaze porcelain should have been brought from overseas, to be
+decorated, and then fired in this one small kiln. If the whole output
+charged up to Lowestoft had been really hers, the factory must needs
+have been the largest in England, which it certainly was not.
+
+The first ware produced was of a dingy white, coarse, and semi-opaque.
+The glaze was slightly "blued" with cobalt, and speckled with bubbles
+and minute black spots, which seemed to show careless firing. When
+viewed by transmitted light, the pieces had a distinctly yellowish
+tinge. There was never any distinctive mark, as in the case of Crown
+Derby.
+
+About 1790 a change for the better took place in the character of the
+ware. Certain French refugees, driven from their own country by the
+lawlessness of the great Revolution, began to come into England. One of
+these men, who was named Rose, obtained employment at the Lowestoft
+works, where he soon became head decorator, and introduced taste as well
+as delicacy of touch into the product. Underneath many Lowestoft handles
+will be found a small rose, which denotes that the work was done by him.
+The rose is his mark, but before this was known, people supposed that it
+merely represented the coat of arms for Lowestoft borough, which was the
+Tudor rose.
+
+Roses set back to back appear on the highest grade of Lowestoft china;
+and at its best the ware was finer than any sent out by Bow and Chelsea.
+The Lowestoft red is of a peculiar quality, varying from carmine to
+ashes of roses, and often approaching a plum color. Roses and garlands
+of roses in these lovely hues of pink and purple distinguish this china.
+Dainty and familiar are the flowers and sprigs in natural colors, with
+delicate borders in color and gold.
+
+A familiar style of decoration was that of the dark blue bands, or dots,
+or other figures, heavily overlaid with gold and often with coats of
+arms. This ware is a hard-paste porcelain, and was doubtless made and
+decorated in China. The fact that some of it bears the mark of "Allen
+Lowestoft," and that Mr. Allen was manager of the Lowestoft works at
+this time, proves nothing beyond the fact that when the dealer sent his
+order to China to be filled, he ordered his name marked on the bottom.
+Small quantities of undecorated ware may have been brought from China
+and Holland to be painted, but we have no record of any such
+transactions; the duty was heavy, and the amount of such ware imported
+must have been inconsiderable. China was doing this same work for other
+countries, and it is only reasonable to suppose that the managers of the
+Lowestoft factory sent the greater part of their orders to China to be
+filled by Chinese workmen upon Chinese material.
+
+This also explains the failure of the company. It is recorded upon good
+authority that the ruin resulted partly from the sharp competition with
+the Staffordshire wares, but was precipitated in 1803 by the wreck of
+one of the vessels carrying a cargo of porcelain, and by the burning of
+the Rotterdam warehouse by the French army.
+
+Rotterdam, where Lowestoft ware was stored, was the seat of an immense
+commerce between Holland and China. It seems but natural that their
+trade in common Delft wares should lead the Lowestoft company into
+communication with wholesale importers of Chinese porcelain, from whom
+they could purchase large supplies; and should also lead them into the
+establishment, in England, of a more highly remunerative branch of their
+business, through underselling the Dutch East India Company.
+
+It was customary for the Dutch firms to send over to their foreign
+settlements shapes and designs obtained from European sources, to be
+reproduced by native hands. The Lowestoft people did what all other
+merchants had done before them, and through the same channel forwarded
+to China the designs of coats of arms, English mottoes, and initials
+that were to be printed upon the porcelain which they had undertaken to
+supply.
+
+And so the great conflagration of the Lowestoft controversy was
+furnished with fuel, and there is no knowing where it will end, because
+conclusive proof is so slight in each case and the partisans so eager
+and aggressive. Meantime, our grandmother's sprigged china remains a joy
+and a delight, whether or no we dare to call it genuine Lowestoft.
+
+There is no mystification about Crown Derby, but the old ware, which
+along with Lowestoft was beloved of the colonists, is as distinctive as
+any, and fortunate indeed is the individual who can boast of having in
+his possession a specimen. The works of Derby were established by a
+French refugee, named Planche, who had been sojourning in Saxony until
+the death of his father, when he came to Derby in 1745, bringing with
+him the secret of china manufacture, as he had learned it in Saxony. We
+have reason to suppose that he made in Derby many china figures of cats,
+dogs, shepherdesses, Falstaffs, Minervas, and the like, which William
+Duesbury, who was an expert enameler in London, colored for him.
+Unfortunately, none of this early output of the factory was marked, and
+in consequence it has become sadly confused, not only with the work of
+Bow and Chelsea, but with that of Lowestoft as well. After 1770, a mark
+was adopted, and the ware after that date is easily distinguishable.
+
+William Duesbury bought out Planche's interest in the Derby works,
+though he did not dispense with Planche's services. Keenly artistic,
+with a taste at once discriminating and appreciative, Duesbury combined
+a winning personality with his intellectual gifts. He possessed the
+faculty of securing the services of potters of unusual worth, and
+throughout his management, which continued until his death in 1796, he
+maintained in his output a standard of pure English art work of the
+highest order.
+
+Prominent in the group of potters in his employ stands the name of
+William Billingsley, who was connected with the factory from 1774 to
+1796. At Derby he established his reputation as a painter of exquisite
+flowers, and his work is characterized by a singularly true perception
+of intrinsic beauty and decorative value, being original and unhampered
+by traditional technique. The rose was his favorite flower; he
+invariably painted the back of a rose in his groups, and his justly
+famed "Billingsley Roses" are exceedingly soft in their treatment.
+Another favorite of his is the double-flowered stock, either yellow or
+white, and always shaded in gray.
+
+In 1785 Duesbury associated with himself his son, the second William
+Duesbury, and then followed the most successful period of the work,
+being in reality the Crown Derby epoch _par excellence_. After the death
+of the elder Duesbury, the second William Duesbury became sole owner of
+the Derby works, but failing health compelled him to take Michael Kean
+into the firm as partner. After the death of the younger Duesbury, Kean
+assumed control of the whole works, but his mismanagement soon resulted
+in the sale of the factory to Robert Bloor in 1810.
+
+This marked the commencement of a new dispensation, and after this date
+the trademark became "Bloor-Derby." For a time things went on in the old
+way, but soon Bloor, in his eagerness to amass a fortune, yielded to
+temptation and began to put on the market ware that had been
+accumulating in the storehouse for sixty years, and which Planche and
+the Duesburys had considered of inferior quality and discarded. This
+ware he decorated with so-called Japan patterns, to hide defects and, to
+make a bad matter worse, he used for coloring the flowing under-glaze
+blue, which was wholly unsuited to the soft glaze of the Delft ware, and
+was sure to "run" in the glost oven.
+
+The train of ruin was now well laid, and by 1822 Bloor was forced to
+resort to auction sales in the factory, in order to dispose of his
+output. The result was an utter loss of reputation for factory and
+product, and before the manufacture had reached the century mark of its
+existence, Derby china was relegated to the past.
+
+Many beautiful specimens of Crown Derby were imported to this country,
+one of the finest being in Mrs. William C. West's collection at Salem,
+showing the head of Bacchus with grapevine and wreath decoration, the
+whole beautifully colored.
+
+Expressive of the greatest heights which English pottery reached, is the
+ware of Wedgwood, and a review of his achievements forms the most
+interesting chapter in the history of England's ceramic art. Of a family
+of potters, Josiah Wedgwood early exhibited the traits which later made
+him so justly famous, and a review of his life from the age of eleven
+years, when he was put to work in the potworks, as a thrower, until his
+death in 1795, covering a period of fifty-four years, is a review of the
+most remarkable story of progressiveness in a chosen profession ever
+recorded.
+
+During the early days of his pottery making, about five years after his
+apprenticeship had expired, Wedgwood became associated with Thomas
+Whieldon, a potter who had attained considerable success in the
+manufacture of combed and agate wares, and the period of their
+partnership, which ended in 1759, was of benefit to both. One of
+Wedgwood's first successes was made at this time, in the invention of a
+green glaze which Whieldon used with excellent effect on his
+cauliflower ware.
+
+With the expiration of this partnership, Wedgwood returned to Burslem,
+where he soon purchased an interest in the Ivy Works, where he worked
+independently, and laid the foundation for many of his future successes.
+Among other things he experimented in perfecting the coarse cream wares
+then on the market, and six years after his coming to the Ivy Works he
+succeeded in producing his first real achievement, "Queen's Ware."
+
+The success of this ware was most pronounced, and its popularity caused
+Wedgwood to realize that a division of labor which would allow him to
+look after the creative part and supply some one else to care for the
+commercial side of the undertaking was most important. In 1768, Thomas
+Bentley was taken on for this purpose, and at the new works, to which
+Wedgwood had previously removed, and known as the Bell House or Brick
+House, the new regime went into effect. The popularity of Queen's Ware
+had netted him enough to allow him to make finer productions, and after
+the finish of several schemes, in 1769, he removed to the famous factory
+known as Etruria, where his finest work was accomplished, and at
+which place he remained until his death.
+
+The several wares he manufactured are as varied as they are beautiful,
+and, in addition, he possessed the power to reproduce in a remarkable
+degree. This is best exemplified in his replica of the famous Portland
+Vase, which is so perfect that it has often deceived even connoisseurs.
+An amusing incident is related in connection with one of his
+reproductions, a Delft piece of a dinner set, which had become broken,
+and which he fashioned and sent to the owner by a messenger. The
+messenger started for his destination, which was but a short distance,
+but he did not appear again for a week. Upon his return, Wedgwood
+questioned him, and learned that the family was so delighted with the
+reproduction that they had kept the messenger, feasting him the entire
+time.
+
+While old Wedgwood in all its forms is appreciated in this country, for
+some reason or other cream ware and jasper ware are especially favored
+among American collectors. Fine pieces of both are included in the
+Rogers collection at Danvers, the jasper piece being an especially fine
+specimen.
+
+A review of old china would not seem complete without including the
+luster wares, several excellent examples of which are in American
+collections. Silver-tinted comes first in point of rarity, though the
+rose-spotted Sunderland luster is a close second in this respect, and
+really commands a higher price. Originally, silver luster was a cheap
+imitation of silver, and first specimens were lustered inside as well as
+out, to further increase the deception. When the ware became common, and
+the deception was well known, silver luster was used only on the
+exterior of vessels in decorations, and occasionally in conjunction with
+gold luster. After 1838, which year marked the introduction of
+electroplating, silver luster declined in favor, and shortly after the
+completion of the first half of the nineteenth century ceased to be
+manufactured. Numberless beautiful articles were made of this ware,
+including quaint candlesticks, teapots, cream jugs, bowls, salt cellars,
+and vases.
+
+Copper and gold luster are likewise shown in a variety of attractive
+forms, and these, unlike silver luster, were never made as shams.
+Wedgwood is credited with having first made the copper-and gold-lustered
+wares, but authentic proof of this is lacking. Jugs were often lustered
+with gold and copper, the latter usually characterized by bands of
+brilliant yellow or colored flowers, sometimes printed and sometimes
+painted. The gold luster was especially fine, and it is this type,
+together with copper luster, that is most commonly found. Excellent
+specimens of gold-lustered ware are found in a collection at Lynn, one
+piece of exceptional interest having been secured at the time of the
+Civil War by a party of Northern soldiers while devastating a Southern
+plantation.
+
+
+
+
+CHAPTER XV
+
+OLD GLASS
+
+
+Of all the old-time wares, glass, until recently, has been most rarely
+collected, and in consequence, whereas specimens of silver and pewter
+are comparatively abundant, examples of glass are scarce. There are
+several reasons for this, the principal being its fragility; and then,
+too, the date of its manufacture is very uncertain. To be sure, the
+shape and finish of a glass piece determines in a measure the period of
+its make, but it is not proof positive, any more than are the traditions
+handed down in families as to the time of purchase of certain specimens.
+Yet, notwithstanding all this, the price of old glass is constantly
+increasing, and within the last few years has almost doubled.
+
+The first glass made was of a coarse type, crude in shape, and of
+greenish coloring, with sand and bubbles showing on its surface,
+detracting from its finish. Examples of this type are very scarce
+to-day, bringing prices wholly at variance with their attractiveness. Up
+to the eighteenth century, all glass was very expensive, making it
+prohibitive to all but the wealthy classes, but since that time its cost
+has been greatly reduced, and beautiful specimens, of exquisite design,
+can now be purchased at prices within the means of almost every one. Of
+course, these later specimens do not possess the quaintness of old-time
+pieces, and to the collector they are of no interest whatever. The fad
+of collecting has brought into favor the old types, and throughout the
+country the regard for old glassware is constantly increasing, although
+it will be some time before it comes into prominence here in the same
+measure that it has in England.
+
+[Illustration: PLATE LVII.--Venetian and English Decanters; Toddy
+glasses, about 1800; English Glass with Silver Coasters. Very old.]
+
+While the origin of glass is not definitely certain, yet specimens are
+in existence which are known to have been made before the coming of
+Christ, such as the celebrated Portland Vase, a Roman product, now seen
+in the British Museum. After the decline of glass making in Rome, the
+craft was gradually taken up in Venice and Bohemia, the output of the
+former country ranking among the finest made, and including, among other
+things, the exquisite Venetian drinking cups, which are unrivaled in
+beauty.
+
+[Illustration: PLATE LVIII.--Russian Glass Decanter and Tumblers; Note
+the exquisite cutting on this Decanter.]
+
+So important was the craft considered in these early times that
+manufacturers received great attention from the government, were dubbed
+"Gentlemen," and were looked upon with awe by the common people.
+Naturally, great secrecy surrounded the plying of the craft, and this
+secrecy led to the circulation of mysterious tales. One legend was that
+the furnace fire created a monster called the salamander, and it was
+firmly believed that at stated intervals he came out of the furnace, and
+carried back with him any chance visitor. People who glanced fearfully
+into the furnace declared that they saw him curled up at one side of his
+fiery bed, and the absence of any workmen was at once attributed to this
+monster's having captured him.
+
+The early green glass of the Rhine and Holland, while made by
+German-speaking people, cannot be considered as characteristic of German
+glass. These people lived on either side of the mountains which gird
+Bohemia on three sides, and divide that kingdom from Silesia, Saxony,
+and Bavaria respectively, and the glass they made was painted in
+beautiful colors, the finer kind being engraved in the upland countries,
+where water was abundant. Gilding was also much employed by them, and we
+learn that in the seventeenth and eighteenth centuries this decoration
+was fixed by a cold process; that is, by simply attaching the gold leaf
+by means of varnish. This form of decoration was only lasting when
+applied to the sunken parts of the glass.
+
+Very little of this glass was used in the section where it was
+manufactured, nearly the whole product being exported to Austria,
+Germany, Italy, the East, and even to America. The industry was popular
+in Bohemia, for it furnished labor to a part of the population, helping
+to keep them from want, and it procured for the rich landowners a
+revenue from the use of their woods.
+
+The factories, which were rudely built, were located in the center of
+forest tracts, and they produced, in addition to ordinary glass pieces,
+articles that were intended to be highly worked or richly engraved, also
+colored glass, decorated with gilding and painting. Long experience in
+the manufacture of colored glass had made these workmen expert in this
+branch, and any advice they needed, they obtained from men of
+information who made their living by seeking out and selling secrets
+concerning processes and improvements in glass manufacture. All capital
+required was advanced by rich lords, who were eager to insure the
+success of industries established upon their premises.
+
+Glass cutting and luster making were regarded as special trades, being
+carried on in huts beside small streams; and engraving, gilding, and
+painting likewise formed separate branches, all paid by the very lowest
+wages. Products of all the factories were collected by agents from
+commercial houses, and by them distributed among the various markets.
+
+Comparison between the Bohemian product and the older glass upon the
+market resulted strongly in favor of the former. It was clear, white,
+light, and of agreeable delicacy to the touch, and no other glass as
+purely colorless was made until the modern discovery of flint glass,
+made by the use of lead.
+
+Through the invention of one Gasper Lehmann, improved engraving on
+Bohemian glass became possible, opening a field for decorative art that
+hitherto had been undreamed of. With his pupil George Schwanhard, he
+improved designs, and the world went engraved-glass mad. Nothing but
+this type would sell, and as material became scarce, Venetian pieces,
+already a hundred years old, were brought into requisition and engraved.
+
+At the commencement of the seventeenth century, some of the Bohemian
+manufacturers were producing vases of various shapes enriched with
+engraved ornaments, representing scenes, and frequently portraits. Some
+of the former type are shown in the wonderful collection owned by Mr.
+W. J. Mitchell at Manchester, Massachusetts. With the pronounced
+popularity of the Bohemian engraved vases, artists in other countries
+began decorating their ware in like fashion, those of France employing
+interlaced flowers. These were etched on, rather than engraved, however,
+and cheapened the ware; in other countries the results obtained were no
+better, all failing to compare with the Bohemian specimens, for the art
+of engraving here had been learned from long experience by workmen who
+were experts in their line.
+
+Many Bohemian pieces showed an original decoration in the way of
+ornamentations in relief on the outside, while the art of cameo
+incrustation was also first used by Bohemian workers, who sometimes
+varied it to obtain odd and pleasing effects by engraving through an
+outer casing of colored glass into an interior of white, transparent, or
+enameled glass. One such specimen, a salt cellar, is shown in the
+Mitchell collection.
+
+[Illustration: PLATE LIX.--English Cut Class Decanter, about 1800;
+Typical Red Bohemian Glass Decanter; American Glass Bottle, Jenny Lind,
+about 1850.]
+
+Ruby coloring was a characteristic of many fine Bohemian pieces, and its
+acquirement was a source of despair to any number of workers, it being
+hard to hit on just the right combination to produce the desired shade.
+So important did this feature become that we learn of one Kunckel, an
+artist, being given sixteen hundred ducats by the elector of Brandenburg
+to assist in attaining perfection in this shade of coloring. The ware of
+this type was made in the last half of the seventeenth century, and
+specimens were the admiration of all beholders.
+
+[Illustration: PLATE LX.--Bohemian Glass. The center one is rare,
+showing figure of Peacock in Red and White; English Cut Glass
+Wineglasses, 1790; English Glass Decanters. Very fine and rare.]
+
+It is a ware that possesses a strange attraction. No other type of glass
+is more a favorite with collectors than this, and no other encourages
+the amateur to greater endeavor in its pursuit, no matter how
+discouraging it may be at first. Then, too, no matter how large the
+collection may be, it is never monotonous, for the various specimens
+show a great diversity of form and ornamentation.
+
+The collection of Bohemian glass shown at the Mitchell house at
+Manchester, contains some wonderful examples of the art, including
+decanters with long and slender stems, odd salt cellars in frames of
+silver, bonbon dishes, and numerous other pieces, some in the rare ruby
+coloring, and others in white and gilt.
+
+Other fine pieces are found at the Nichols house on Federal Street,
+Salem, and in the Atkinson collection, also at Salem, while at Andover,
+at the old Kittredge house, many rare bits are to be seen. All of
+these specimens are heirlooms, those in the Kittredge house having been
+in the family since the home was erected, in the latter part of the
+eighteenth century.
+
+While examples of all types of glass are to be found in America, perhaps
+the most common specimens are of English make, brought to the new
+country after business had become firmly established, along with the
+other fine household equipments. Among these are many fine decanters and
+tumblers of various designs, particularly interesting from the part they
+shared in the long accepted belief that glass drinking vessels of every
+kind, made under certain astronomical influences, would fly to pieces if
+any poisonous liquid was placed in them; and also that drinking glasses
+of colored ware added flavor to wine, and detracted materially from its
+intoxicating quality. Some of these drinking glasses, known in England
+as toddy glasses, were the forerunners of our present tumblers.
+
+English collections, of course, include much earlier specimens of the
+ware than do American, for it was not until the latter part of the
+eighteenth century, when the seaport towns of New England were at the
+height of their prosperity, that sea captains brought here from England
+and other ports all kinds of glass. Some of the finest of this found its
+way to Salem, and in the Waters house, on Washington Square, are stored
+some of the rarest of these specimens. These have all been collected by
+Mr. Fitz Waters, who has devoted years in research of old-time things,
+and they represent not only the different periods of manufacture, but
+the output of the different countries as well. Included are many
+engraved pieces, decanters which cannot be duplicated, and rare and
+wonderful bits, such as toddy glasses and numberless other glasses of
+varying kinds, many of them beautifully engraved with delicate tracery
+and the tulip of Holland.
+
+Many beautiful wine glasses and tumblers can be classified by their
+name, such as the white twist stem, made between 1745 and 1757,--the
+twisted appearance of the stem being the result of a peculiar
+process,--the baluster stem, and the air twist stem, some of the latter
+showing domed feet.
+
+Several of the best types of glasses are shown in the West collection in
+Salem. The cutting of the stems of several of these fix the date of
+manufacture at about 1800, while others of unusual shapes show bird and
+shield designs, also the wreath and flower. It is by the design more
+than anything else that the date of manufacture is fixed, determining
+the choiceness of the piece, and the money it should bring.
+
+While England has furnished most of the pieces shown here to-day, yet in
+the Northend collection in Salem are several fine Russian specimens.
+These are deeply cut, and were brought to this country from Russia by
+one John Harrod about the year 1800. For many years they were stored in
+the old Harrod house at Newburyport, finding their way to their present
+abode when the Harrod dwelling was dismantled, the owner being a
+descendant of this family. One piece, which is most unusual, is a deep
+punch bowl with a cover.
+
+Curiously enough, the first industrial enterprise undertaken in America
+was a factory for the manufacture of glass bottles. It was built very
+early in the history of the Virginia colony, and stood about a mile from
+Jamestown, in the midst of a woodland tract. Later, other factories were
+erected, many of them manufacturing glass beads to be used in trading
+with the Indians. The oldest glass plant still doing business, which has
+been continuous since its beginning, is located at Kensington in
+Philadelphia, having been established in 1711.
+
+To many it may be still unknown that Bohemian glassware has been
+manufactured in this country, and at a very early period. From Mannheim,
+in Germany, in the year 1750, came a certain Baron Steigel, whose
+parents had dubbed him William Henry. He laid out, in Pennsylvania, the
+village which bears the name of his native place, and there he
+established ironworks and glassworks, and deeded a plot of ground to the
+Lutheran congregation, in consideration of their annual payment,
+forever, of one red rose. The glasshouse was dome-shaped, and so large
+that a coach-and-six could enter at the doorway, turn around inside, and
+drive out again. He brought skilled workmen from the best factories in
+Europe, and made richly colored bowls and goblets, which have the true
+Bohemian ring, and which are now in the possession of local collectors.
+
+His works did not continue for any length of time, as he failed in
+business about five years after he started, but the old Steigel house is
+still standing in the heart of the town, distinguished by the red and
+black bricks of which it is built. And there still, in the month of
+June, is often celebrated the Feast of Roses, one feature of which is
+the payment of a great red rose by a church officer to the baron's
+descendants.
+
+But of all the old glass made here, perhaps the bottles form the most
+interesting portion. For the first seventy years of the nineteenth
+century, fancy pocket flasks and bottles were manufactured in the United
+States. The idea of the decorations probably came, in the first place,
+from the fact that English potters were decorating crockery with local
+subjects, in order to catch the American trade. This glassware, however,
+was wholly the result of our own enterprise. The objects here shown were
+blown in engraved metal molds, which had been prepared by professional
+mold cutters.
+
+Colors and sizes vary too much to be a test of age. The scarred base and
+the sheared neck are the surest sign of age. In all the older forms, the
+neck was sheared with scissors, leaving it irregular and without
+finishing band; also, the base always showed a rough, circular scar,
+left by breaking the bottle away from the rod which held it while the
+workman was finishing the neck.
+
+Smooth and hollow bases were made between 1850 and 1860 by means of an
+improvement called a "snap" or case, which held the bottle. At the same
+time, a rim was added to the mouth. The designs were worked out in
+transparent white, pale blue, sapphire blue, light green, emerald green,
+olive, brown, opalescent, or claret color. Twenty-nine of these historic
+flasks bear for ornament some form of the American eagle; nineteen
+different designs display the head of Washington, and twelve the head of
+Taylor.
+
+Their shapes varied with the passing of time. The very earliest were
+slender and arched in form, with edges horizontally corrugated; then
+came in vogue oval shapes, with edges ribbed vertically. The next
+pattern was almost circular in form, with plain, rounded edges; and at
+this time some specimens show a color at the mouth. Then appeared the
+calabash, or decanter form, no longer flattened and shallow, as the
+others had been, but almost spherical, with edges that showed vertical
+corrugation, ribbing, or fluting; with long, slender neck, finished with
+a cap at the top; with smoothly hollowed or hollowed and scarred base.
+
+These were superseded by bottles arched in form, deep and flattened,
+having vertically corrugated edges, a short and broad neck, finished
+with a round and narrow heading, and a base either scarred or flat. Last
+of all appeared the modern flask shape, also arched in form, with a
+broad shoulder, a narrow base, plainly rounded edges, and a return to
+the flattened and shallow type of the earliest manufactures. The neck
+had a single or double beading at the top, and the base was either flat
+or smoothly hollowed.
+
+All the Kossuth and Jenny Lind bottles were made about 1850. The Taylor
+or Taylor and Bragg bottles belong to the period of the Mexican War, and
+were probably blown in 1848. One of these bears Taylor's historic
+command, "A little more grape, Captain Bragg," as delivered at the
+battle of Buena Vista. Another has a portrait of Washington upon one
+side, and that of Taylor upon the other, with the motto, "Gen. Taylor
+never surrenders." This shows the circular, canteen shape.
+
+One of the very oldest forms known to have been decorated in this
+country is the one which bears in relief a design of the first railroad,
+represented by a horse drawing along rails a four-wheeled car heaped
+with cotton bales and lumps of coal. This picture runs lengthwise of the
+bottle and bears the legend "Success to the Railroads" about the margin
+of the panel. This could not have been produced earlier than 1825. Some
+of the Washington designs belong to earlier periods, as do the eagle
+and United States flag. Most of the Masonic decorations belong between
+1840 and 1850.
+
+The log cabin designs are connected with the notable Harrison "hard
+cider" campaign of 1840, as are the inkstands made in the form of log
+cabins, cider barrels, and beehives. The dark brown whisky bottles in
+the shape of a log cabin are souvenirs of the same period of political
+excitement, and were made by a New Jersey glass firm for a certain
+liquor merchant in Philadelphia.
+
+The Jackson bottles belong to the period of the stormy thirties. The
+"Hero of New Orleans" is represented in uniform, wearing a
+throat-cutting collar which entirely obscures his ear.
+
+A Connecticut firm, in the late sixties, sent out a bottle of modern
+shape, decorated with a double-headed sheaf of wheat, with rake and
+pitchfork, having a star below. At about the same time a firm in
+Pittsburg put upon the market a highly decorated flask, similarly modern
+in outline, having upon one side an eagle, monument, and flag; upon the
+reverse, an Indian with bow and arrow, shooting a bird in the
+foreground, with a dog and a tree in the background.
+
+Some bottles of unknown origin were decorated with horns of plenty,
+vases of flowers, panels of fruit, sheaves of wheat, a Masonic arch and
+emblems, ship and eight-pointed star, and a bold Pikes Peak pilgrim with
+staff and bundle to celebrate the passage of the Rocky Mountains.
+
+Among the early curio bottles shown are numerous fancy designs in the
+form of animals, fishes, eggs, pickles, canteens, cigars, shells,
+pistols, violins, lanterns, and the like. To this class belongs the
+Moses bottle, which also goes by the name of Santa Claus. It is of clear
+and colorless glass, with a string fastened about the neck and attached
+to each end of a stick which crosses the top.
+
+Should the collector enlarge his fad so as to take in bottles from
+foreign lands, he would find that his collection would gain much in
+beauty. In the Metropolitan Museum of New York there is a very
+comprehensive exhibit of rare Venetian glass bottles and vials, which
+was the gift of James Jackson Jarves. These are the most brilliant and
+elegant types of their kind, graceful and refined, dainty and ethereal.
+
+
+
+
+CHAPTER XVI
+
+OLD PEWTER
+
+
+There is a charm about old pewter that is well-nigh irresistible to the
+collector of antiques, its odd shapes, mellow tints, and, above all, its
+rarity, luring one in its pursuit. In the days when it was in general
+use,--after the decline in favor of the wooden trencher,--it was but
+little valued, and our forbears quaffed their foaming, home-made ale
+from pewter tankards, and ate their meals from pewter dishes with little
+thought of the prominence this ware would one day attain, or the prices
+it would command. To-day pewter represents a lost art, and the tankards
+and plates and chargers which our ancestors used so carelessly are now
+pursued with untiring energy, and, if secured, are treasured as prizes
+of priceless worth.
+
+Intrinsically, the metal is of little value, being nothing more than an
+alloy of tin and lead, with sometimes a sprinkling of copper, antimony,
+or bismuth, but historically it is hugely interesting. Like many other
+old-time features, records of its early history are scanty, affording
+but little knowledge of its origin, though proving beyond a doubt that
+it was in use in very early times. When it was first used in China and
+Japan,--those countries to which we are forced to turn for the origin of
+so many of the old industries,--it is impossible to ascertain, but it is
+certain that pewter ware was made in China two thousand years ago, and
+there are to-day specimens of Japanese pewter in England, known to be
+all of eleven hundred years old, these latter pieces being very like
+some shown in the Museum of Fine Arts in Boston. Some old chroniclers
+claim that the ware was used by the Phoenicians and early Hebrews, and
+all agree that it was manufactured, in certain forms, in ancient Rome.
+Proof positive of this fact was gleaned some years ago, when quantities
+of old pewter seals of all shapes and sizes were discovered in the
+county of Westmoreland, in England, where they had evidently been left
+by the Roman legions centuries before. It is indeed deplorable that,
+owing to their making excellent solder, all these seals should have been
+destroyed by enterprising tinkers in the neighborhood.
+
+As early as the fourteenth and fifteenth centuries, pewter was produced
+in quantities, in France, Germany, Holland, and Switzerland, and a very
+little in Italy and Spain. The year 1550 marked the period of the most
+showy development in the first-named country, of which Francis Briot was
+the most celebrated worker. His most noted productions were a flagon and
+salver, with figures, emblems, marks, and strapwork. These exquisite
+pieces were cast in sections, joined together, and then finished in the
+most careful manner, in delicate relief. Briot was followed by Gasper
+Enderlein, Swiss, and by the year 1600 the Nuremberg workers entered the
+field with richly wrought plates and platters. France continued to hold
+high rank in pewter manufacture until 1750, after which time the quality
+of her output considerably deteriorated.
+
+In the sixteenth century the trade sprang up in Scotland, many excellent
+pieces of the ware being produced here, and during the seventeenth
+century Dutch and German pewter came to the fore, being considered,
+during this period, the best made. Nuremberg and Ausberg were the
+centers of the industry in Germany, while in Scotland, Edinburgh and
+Glasgow appear to have been the chief trade centers. The ware made in
+Spain never seems to have attained any great degree of perfection, and
+records of its progress in this country are extremely scarce. Barcelona
+seems to have been the center of the industry, but just when or where
+the craft had its inception, research has been unable to disclose.
+Certain it is that no trace of any corporation or guild has been found
+prior to the fifteenth century.
+
+English pewter dates back as far as the tenth century, though few pieces
+are now in existence that antedate the seventeenth century. Here, as in
+other European countries, the ware was at first made solely for
+ecclesiastical purposes, its manufacture for household use not becoming
+popular until many years later. From the twelfth to the fifteenth
+centuries, the ware gradually grew in importance through northern
+Europe, though domestic pewter was used only by the clergy and nobility
+up to the fourteenth century. Just when it became popular for table and
+kitchen use is not definitely known, though it is certain that it
+supplanted wooden ware some time in the fifteenth century.
+
+Pewter reached the height of its popularity during the sixteenth and
+seventeenth centuries, though its use for household purposes continued
+throughout the eighteenth and the first part of the nineteenth
+centuries. In the sixteenth century the artistic quality of the ware was
+greatly improved, for by an act of James VI the ware was divided into
+two grades, the best to be marked with a crown and hammer, and the
+second with the maker's name. Specimens of this century are to-day
+extremely scarce, those few examples that do remain being for the most
+part found in museums or in old English castles, where they have
+remained in the same family from generation to generation. No doubt,
+specimens would have been more plentiful had not the greater part of the
+church plate in England and Scotland been destroyed during the
+Reformation.
+
+After 1780 pewter was but little used among the wealthy classes, except
+in their kitchens and servants' quarters, where it held sway for a
+considerable length of time. In fact, in some of the larger
+establishments, it continued to be used regularly until within the last
+thirty-five years, and even now it is used in the servants' hall in two
+or three of the large old country houses. It lingered longest in the
+taverns and inns, and in the London chop-houses, being used in the last
+named until they were forced out of business through the introduction of
+coffee palace and tea rooms.
+
+English pewter differs materially from that made in other countries, the
+workmen employing designs characterized by a sturdiness and sedate
+dignity that raised the ware above that made in other lands. Almost
+every conceivable domestic utensil was made of pewter as well as garden
+ornaments, and it is interesting to note, in connection with the latter,
+that several urns were designed by the brothers Adam.
+
+The history of pewter making in England might almost be said to be that
+of the London Guild or Worshipful Company of Pewterers, so closely is
+the ware allied with it. For a long time this company or guild
+controlled the manufacture and sale of the ware in England, and during
+the days of its greatest influence it did much to improve the quality.
+At one time it attempted to make general the employment and recording or
+marks, but the rule was not enforced, and an excellent opportunity of
+insuring the exact date of manufacture of a certain piece was thus lost.
+
+Several private touch marks were registered at Pewterers' Hall, but
+these, together with important records that the company had compiled,
+were destroyed in the great London fire of 1666. Very few pieces now in
+existence bear any of these touch marks, though occasionally a piece
+will be found that shows the regulation London Guild quality mark, a
+rose with a crown. The touch mark was the mark of the maker. This was
+generally his name alone, though sometimes his name was combined with
+some device, like an animal or flower.
+
+Scotland boasted a guild at Edinburgh that at one time enjoyed a fame
+second only to that of the celebrated London Company. Touch plates of
+the pewterers that were registered here are no longer in existence, and,
+indeed, much of the pewter made in this country bears no mark at all.
+The usual hallmark was a thistle and a crown, though there were several
+local marks that were frequently used, which are sometimes found on
+Scotch pieces.
+
+France, too, had its guilds, but they were abolished by Turgot on the
+ground that the free right to labor was a sacred privilege of humanity.
+Gradually the influence of all the guilds was less keenly felt, and in
+time the majority were abolished. After this the quality and use of
+pewter steadily declined, and with the coming into favor of china and
+other ware, pewter grew to be considered old-fashioned, and its use was
+discontinued during the first years of the nineteenth century.
+
+[Illustration: PLATE LXI.--Pewter half-pint, pint and quart Measures,
+one hundred years old; Three unusual-shaped Pewter Cream Jugs; German
+Pewter, Whorl pattern.]
+
+The old-time metal played a prominent part in the first colonial
+households in America, it being in many cases the only available ware,
+but after a time, as the population and strength of the young colonies
+increased, it had to give way, as in England, to the introduction and
+steadily increasing popularity of china. During the seventeenth century
+several English pewterers came to America to find employment, settling
+principally in Boston, Salem, and Plymouth County, and during the
+eighteenth century the manufacture of the ware here became quite common.
+It is interesting to note that the greater part of the American-made
+pieces bear the name of the maker.
+
+English and Continental pewter was also extensively used here, and, in
+consequence, American collections of the present include specimens from
+these countries. Most of the pieces now preserved belong to the
+eighteenth and early nineteenth centuries, though there are some few
+pieces which are of earlier manufacture.
+
+The value of pewter, like all other antiques, varies, and a piece is
+really worth what one can obtain for it. In England, the highest prices
+are paid for sixteenth-century pewter, while in our own country the
+product of the eighteenth century is that most sought after, and the
+best prices are paid for pieces of this period. Ecclesiastical pewter is
+rare here, and therefore is valuable, but it does not hold such high
+favor in the collector's regard as do the simple pieces that once graced
+the quaint dressers in colonial homes.
+
+The fad for pewter has been productive of much imitation ware. This is
+especially true of certain types which are particularly popular, and,
+indeed, were it not for this demand, it would hardly pay to imitate the
+old metal, even at the prices now paid for the same. It costs
+considerable to make up spurious bits that are almost entirely like the
+old-time pieces, in composition, and, besides, they must be put through
+several processes to make them look old. Consequently, it is safe to
+assume that at the present time the number of imitation pieces on the
+market is comparatively small, and in this country there are really few
+pieces that are entirely counterfeit. To be sure, plain pieces of the
+genuine metal are sometimes ornamented to increase their value, but
+lately collectors seem to regard plain pieces with the greatest favor,
+and this form of counterfeiting will no doubt soon disappear.
+
+To-day, in America, there is one manufacturer, and perhaps more, who is
+reviving some of the original forms and producing pewter reproductions
+which are being put on the market as such. For the modern colonial
+dining-room these are especially attractive, serving in every particular
+the purpose of decoration, but to the collector they are of no interest.
+
+America boasts of several fine collections of this ware, especially in
+the New England states, where the chief ports for the trade were
+located. The Bigelow collection at Boston includes, besides plates and
+platters, rare bits of odd design, many of them characterized by
+markings. One such piece is a hot-water receptacle, showing a shield
+decoration on which are marked the initials "H. H. D." and the date
+"1796." The lid is ornamented with two lines and the initials "R. G."
+Several quaint lamps are other prized possessions in this collection,
+some of them made about 1712, and most of them of American manufacture.
+One of them, the smallest of the group, is marked "N. Y. Molineux."
+Tankards of the "tappit hen" type are also preserved here, though they
+are not precisely the same shape as the measures of Scotch make which
+went by that name; other pieces included in the collection are cream
+jugs, milk pitchers, spoons, forks, a water urn, and several odd
+tankards.
+
+Equally as interesting is the Caliga collection at Salem. Here are to be
+seen quantities of this rare old ware, worked up into almost every
+conceivable device, and several of the pieces are numbered among the
+choicest in the country. A squatty little teapot with wooden handle is
+among the most interesting specimens, and its history is in keeping with
+its quaintness. It was secured by Mr. Caliga in a little German town
+during his residence abroad, and soon after it came into his possession,
+it was much sought after by a collector, who offered a large sum of
+money for its acquirement. Mr. Caliga refused to part with it, and later
+he learned that it was indeed a very rare piece, being a part of a set
+which the collector was endeavoring to obtain for the Duke of Baden, who
+owned one of the three pieces, the would-be purchaser having the second.
+This teapot has for a hallmark an angel; a quaint sugar bowl of like
+design, also in this collection, shows a crown and bird.
+
+An odd pewter lamp, known as a Jewish or Seven Days' lamp, is included
+in this collection, the receptacle for oil being in the lower portion.
+There are two large pewter plates, also, one of which has the royal coat
+of arms in the center, and is surrounded by the whorl pattern. These
+plates measure about twenty inches across, and one has the hallmark of
+three angels on the back.
+
+Perhaps the rarest bit of pewter in existence to-day is that owned by a
+Massachusetts lady. It is of Japanese manufacture, and is a family
+heirloom, through generations back. It first came into possession of the
+owner's ancestors in 1450; even at that date it had a history, and,
+indeed, its battered sides speak eloquently and forcibly of a past. It
+is said to have been the possession of a French nobleman, who, for some
+cause or other, was compelled to flee from his native land, and who
+sought refuge in England, where he met and married an English girl. The
+precious bit remained with his descendants until the year above
+mentioned, when the last of his race, dying without issue, bequeathed
+the old relic to his dearest friend, of whom its present owner is a
+direct descendant.
+
+But whatever its type and origin, the old ware is always interesting. To
+be sure, even at its best it is plain, relying on its form for its
+pleasing appearance, but no other metal better repays its owner for the
+care expended upon it. No doubt it costs an effort or two to keep it
+bright and shining, but who does not feel repaid for the time and energy
+expended, when the slow gleams of silver-like hue that gradually appear
+on the surface greet one in appreciation, like the smile of an old
+friend!
+
+
+
+
+CHAPTER XVII
+
+OLD SILVER
+
+
+There is a widespread and growing interest in all old silver, especially
+in such pieces as can be traced back to colonial origin. Salem, whose
+commercial prosperity was well established by the middle of the
+seventeenth century, has some wonderfully good pieces of colonial
+silver, many of which are family heirlooms.
+
+The early American silverware, like our early furniture and
+architecture, is thoroughly characteristic of the tastes and mode of
+life peculiar to that period in America. It is simple in design and
+substantial in weight, thus reflecting the mental attitude of the
+people. Social conditions here would not warrant any imitation of the
+magnificent baronial silver which was then being made and used in
+England. Many of the pieces in these collections come to us hallowed by
+a hundred associations and by traditions recalling the lives of our
+forefathers in all their manifold phases. The sight of the silver
+communion service recalls the early history of our New England
+churches, and reminds us of the devotion of the people to the
+institutions about which revolved both the social and political life.
+
+Only the identity of the maker is revealed by the hallmark on American
+silver. There is no trace of the date letter, so prevalent upon English
+pieces of the same period, although various emblems appear, which were
+used as trademarks, peculiar to the owner. In cases where the crown
+appears above the initials, it was merely a passing fad to copy the mark
+of certain English silversmiths who enjoyed royal patronage.
+
+The business of making silverware in the colonies seems to have been
+profitable from the first. The earliest silversmith of whom we have any
+record is John Hull, born in 1624 and dying in 1683, who amassed much
+wealth through his appointment as mintmaster for Massachusetts in the
+old days of the pine-tree shillings. His name, together with that of his
+daughter Betsey, has been immortalized by Hawthorne.
+
+That Captain Hull did not have a monopoly of his trade is proved by the
+fact that a beaker, which was presented to the Dorchester church in
+1672, was made by one David Jesse. Also, a certain Jeremiah Dummer,
+brother of Governor William Dummer, was apprenticed to John Hull, to
+learn the silversmith's trade, in 1659, and sent out much work stamped
+with his own name. He also taught his trade to his brother-in-law, John
+Cony, who engraved the plates for the first paper money that was ever
+made in America.
+
+Most famous of all New England silversmiths was Paul Revere. Besides the
+historic associations connected with his name, his works are most
+attractive in themselves, showing an exquisite finish and great beauty
+of workmanship; there are no certain marks to distinguish his work from
+that of his father, as each used the stamp "P. Revere."
+
+Of the many silversmiths of New York, none are so early in point of time
+as these New England men whom I have mentioned. Not until the middle of
+the eighteenth century did a certain George Ridout come over from
+London, and set up business "near the Ferry stairs." He has left us
+beautiful candlesticks, marked with his name, and by these he is
+remembered. At about the same time Richard Van Dyck, tracing his lineage
+to the Knickerbockers, made very handsome flat-chased bowls, and Myer
+Myers, seemingly of similar origin, set his stamp upon finely
+proportioned pint cans, having an ear-shaped handle and a pine-cone
+finial.
+
+At a later date, shortly subsequent to the Revolution, a silversmith
+named Tragees made beautiful sugar bowls with urn-shaped finials; and
+Cary Dunn, who held a position in the custom house, designed exquisitely
+engraved teapots, having the cover surmounted by a pineapple as the
+emblem of hospitality. These early makers stamped their names plainly
+upon their work, so that the task of approximating their age is thus
+rendered easy.
+
+In most families silver spoons of various patterns have been preserved
+for generations. Some of these were brought from England with other
+treasures of family silver, and are excellent examples of
+seventeenth-century ware. Up to that time, teaspoons had been made with
+very deep round or pear-shaped bowls and very short handles. Toward the
+middle of the seventeenth century, they assumed more nearly their
+present form, having handles twice as long as they had previously
+possessed, and bowls oval or elliptical. The new style was sometimes
+dubbed the "rat-tail spoon," in derisive comment upon its long and
+slender handle. It will be observed that many of our earliest teaspoons
+were no larger than the present after-dinner coffee spoons.
+
+It is probable that no other type of spoon possesses the interest, not
+to say the money value, of the old Apostle spoons, which came into
+fashion in the sixteenth century. At that time it was an English custom
+for the sponsors to present these spoons, as baptismal gifts, to the
+children for whom they made themselves responsible. A wealthy godparent
+would give a complete set of thirteen, but a poor man generally
+contented himself with giving simply the one spoon which bore the figure
+of the child's patron saint.
+
+The complete set consisted of the "Master" spoon and twelve others. The
+"Master" spoon has upon the handle a figure of Christ, holding in one
+hand the sphere and cross, while the other hand is extended in blessing.
+A nimbus surrounds the head, in all these spoons. Each apostle is
+distinguished by some emblem. Saint Paul has a sword, Saint Thomas a
+spear, and Saint Andrew a cross. Saint Matthias carries an ax or
+halberd, Saint Jude a club, Saint Bartholomew a butcher's knife, and
+Saint Philip a long staff with a cross in the T. Saint Peter appears
+with a key, Saint James the Greater with a pilgrim's staff, Saint James
+the Less with a fuller's hat, and Saint Matthew with a wallet. Saint
+John has one hand raised in blessing, while the other holds the cup of
+sorrow.
+
+Whole sets of these spoons are very rare. In fact, there are said to be
+but two whole sets in existence, with another set of eleven. One of
+these sets sold in 1903 for twenty-four thousand five hundred dollars,
+while another set of less ancient date brought five thousand three
+hundred dollars. A single Apostle spoon, bearing upon its handle a
+figure of Saint Nicholas, and upon its stem the inscription, "Saint
+Nicholas, pray for us," sold in London for three thousand four hundred
+and fifty dollars, a few years ago. This is said to be the highest price
+ever paid for one single spoon.
+
+The oldest hallmarked Apostle spoon is dated 1493, while the most modern
+of which we have any record bears the date of 1665. It is probable that
+the custom of giving these baptismal presents began to go out of fashion
+at that period.
+
+Other spoons of great interest, although not so old as the earliest
+Apostle spoons, are the curious little "caddy spoons," which came into
+vogue with the first popularity of tea drinking more than two centuries
+ago. The tea was at first kept in canisters, whose lids served as a
+measure. Then came into use the quaint and dainty tea caddy, with its
+two-lidded and metal-lined end compartments, and a central cavity to be
+used as a sugar bowl. A favorite and poetic custom of the old sea
+captains, upon visiting China, was to have their ships painted upon
+China caddies by Chinese artists, as gifts for wives or sweethearts at
+home.
+
+Now since the sugar bowl was a part of the tea caddy, the use of the
+caddy spoon or scoop became immediately popular. All of these spoons
+have very short stems and handles, with bowls of fanciful design,
+perforated, or shell-shaped, or fluted. A few were made like miniature
+scoops, with handles of ebony; while others were perfect imitations of
+leaves, the leaf stem curling around into a ring, to make the handle.
+
+In this country, caddy spoons came into use after the Revolution. Until
+very recently, they have been neglected by collectors, and were to be
+bought at a low figure; but all that is changed, and the price is from
+fifteen dollars upward in most cases, besides which the purchaser must
+take his chances as to the genuine worth of his bargain, as many
+imitations are being put upon the market. It is no proof of genuine
+worth that the spoon may be bought in an antique shop on a quiet street
+of some sleepy old seaport town. This is just the spot likely to be
+chosen for perpetrating a fraud. The most common counterfeit is made by
+joining a perfectly new bowl to the handle of a genuine Georgian
+teaspoon that bears an irreproachable hallmark. The unusual length of
+handle betrays the cheat, which can be further proved by the presence of
+a flattened spot similar to a thumb print, where the bowl joins the
+handle.
+
+Still another fraudulent specimen has a false hallmark. These
+counterfeits were probably made outside of this country, perhaps not
+even in England. The hallmark is the stamp of a head that bears no
+particular resemblance to George III, for whom it is possibly intended;
+a lion that may, perhaps, be near enough in design to pass for the royal
+British brute; and signs and letters, half-effaced, which, in
+conjunction with the king's head and the lion, make up an imitation of
+the Birmingham hallmark. Of course it would not deceive, for an instant,
+the experienced buyer in a good clear light; but the shops are often
+darkened to a kind of twilight, and the inexperienced amateur detects
+nothing wrong about the spoon, which is usually made after some uncommon
+and attractive style.
+
+As this fraud is of recent date, no examination would be necessary for
+spoons known to have been in a certain family for some years. These
+spoons were made of Wedgwood ware, china, glass, agate, or
+tortoise-shell, as well as of silver. There are beautiful silver ones in
+the shape of a hand or of a flower. In two cases, I have seen the spoon
+made to match the caddy. One of these sets was of decorated china, and
+the other of tortoise-shell set in silver.
+
+Another spoon, which passed out of date with the caddy ladle, was the
+so-called caudle spoon. It might be well to explain to the present
+generation that caudle was a preparation of wine, eggs, and spices which
+was commonly fed to invalids, in the latter part of the eighteenth
+century. The caudle spoon, perforated or entire, but with a longer
+handle and smaller bowl than the caddy spoon, was employed to stir the
+mixture. It is now obsolete, as is the snuff spoon, another relic of the
+whimsical customs of yore. There was a season when it was stylish to
+carry a snuffbox, and to take a pinch one's self, now and then, or to
+offer it to a friend. The snuff spoon was used to avoid dipping the
+fingers into the powder, which would of course stain both finger nails
+and cuticle.
+
+As the caddy was the companion piece of the caddy spoon, so the caudle
+bowl is associated with the caudle spoon. A Salem specimen stands six
+inches high, and has a capacity of three pints. It has two handles, and
+is embellished by a broad chasing at the base, and by fluted chasing
+about the body. The caudle cup used with it is severely plain, but has a
+good outline.
+
+Tankards both with and without covers were in common use, toward the
+close of the seventeenth century. In size, they varied from a capacity
+of one quart to three. They were often fitted with a whistle, by the
+blowing of which the butler's attention could be called to the fact that
+the tankard needed filling. From this custom arose the old saying, "Let
+him whistle for it." The singular expression, "A plate of ale" comes
+from the fact that in old inventories, tankards are listed as "ale
+plates."
+
+The largest Salem specimen has a capacity of one quart only, and is
+beautifully chased around the body and upon the cover in a
+rose-and-pineapple design. This chasing is much worn, not only by the
+passage of time, but also by the pitiless polishing of the methodical
+New England housekeeper. This is a straight-sided tankard, with a
+well-curved top, which necessitates a long and tapering thumb piece. The
+handle is large and well-tapered, extending well above the rim. All
+these specimens belong to the Revolutionary epoch.
+
+[Illustration: PLATE LXII.--Old Silver Coffee Urn with Pineapple finial;
+Sheffield Plate Teapot, formerly owned by Thomas Jefferson; Tall Silver
+Pitcher, of flagon influence.]
+
+The style of silver made and used in this country during the first half
+of the nineteenth century is well typified by the sugar, creamer, and
+teapot contained in an old-time collection. The teapot and sugar bowl
+are adorned with a pineapple finial. This style was originated by Cary
+Dunn of New York at the close of the Revolution, and won immense
+popularity. The pineapple, which is its most notable decoration, has
+always been accepted as the emblem of hospitality; while the primrose
+pattern about base and body is neat and tasteful. The lines in these
+designs are less severely simple than in some, but are excellent,
+nevertheless.
+
+[Illustration: PLATE LXIII.--Several old Silver pieces; Collection of
+Salem Silver, almost all inherited; Wonderfully fine Silver Bowl.]
+
+Another favorite style of this same period is shown in a graceful little
+pitcher in another collection, having for sole ornament a rosette where
+the handle joins the body. Rosettes were high in favor in the early part
+of the nineteenth century, and were shown in the furniture of that day
+as well as in the silverware.
+
+Another charming pitcher which stands upon three legs is a veritable
+prize, literally as well as figuratively. During the War of 1812, our
+Salem privateers seized many a valuable cargo. Among the confiscated
+treasures was this dainty little silver pitcher, handsomely engraved,
+and bearing the coat of arms of a prominent English family. In the
+division of the confiscated goods, this article fell to an ancestor of
+the owner, who received it by inheritance.
+
+Another interesting bit of silver, belonging to the same period as the
+pitcher, is a cruet stand. Fifty years ago these were in common use upon
+the tables of our ancestors. Fashion has relegated them to the sideboard
+or to the top shelf, where the old-fashioned, high silver cake basket
+keeps them company in exile. To the same period belongs the teapot
+showing a rosette bowl, and mushroom-shaped finial, which was among the
+bride's presents at a wedding in 1804, while the sugar and creamer
+included in the same collection belong to a later date, as they were
+bridal presents received in 1867. The beauty of the lines in these two
+specimens falls far short of the standard set by American manufacturers
+of colonial times.
+
+Still in use and highly prized is the wonderful old bowl which is in
+another collection. For many years this bowl was lost, and though
+diligent search was made for it, it was not discovered until one day the
+owner and some friends, riding through a rural district, stopped at a
+well in a farmhouse yard for a drink. Close at hand a pig was eating
+from a peculiar-looking receptacle, which, though blackened and
+mud-stained, yet showed an interesting contour. Negotiations were
+entered into with the house owner for the purchase of this receptacle,
+and it was secured for twenty-five cents. When polished, it was found to
+be the long-missing bowl, which has since then been called the hog bowl.
+
+Other specimens still preserved include a tall sugar bowl, mounted upon
+a standard, which is more than a hundred years old, as are the tongs
+used with it, with their delicate acorn-cup pattern. In the larger
+piece, the rings which form the handles pass through the mouth of a
+dog's head, upon each side. The feet which support the standard suggest
+the work done in the furniture of that day by Chippendale, Sheraton, and
+their followers. To the latter days of the eighteenth century belong an
+endless yet interesting variety of patterns of porringers, salvers,
+sugar bowls, perforated baskets for loaf sugar, tea and coffee pots, and
+innumerable table utensils.
+
+Another article which is now found but rarely is the nutmeg holder or
+spice box. The interior of the lid was roughed for use as a grater, and
+few were the "night caps" but had a final touch added through its use.
+While the usefulness of the spice box and the snuffbox has long since
+passed away, yet they are treasured because of the pictures they bring
+to the mind's eye of the old days of the Georges. No product of the
+present can outvie the charms of such old silver.
+
+All things colonial, whether house or accessory, are distinctive, and to
+the designers and craftsmen of that period the world owes a debt that no
+amount of tribute can ever wholly repay. Colonial is synonymous of the
+best, and objects created during its influence are always of a higher
+degree of perfection than the best of other periods. Looking about for a
+reason for this, we are confronted with the realization that the work
+of that time was carefully planned and carefully finished, craftsmen
+giving to their output the best their brains could devise, and allowing
+no reason, however urgent, to interfere with the completion of a certain
+object as they had originally planned it to be. Therein lies the real
+reason of the superiority of things colonial. Later-day artisans
+sacrificed quality to quantity; they complied with the demand of public
+opinion, and as that demand became more urgent, carelessness of detail
+became more marked. The simplicity of the colonial era gave way to the
+highly decorative and often ugly ornamentation characteristic of late
+nineteenth-century manufacture, and it was not until a few craftsmen
+found courage to revive colonial features that the beauty of that type
+of construction was truly appreciated. To-day, colonial influence is
+again dominant, and it is a relief to note that in modern homes it is
+usurping in favor its hitherto prized successors. It is only to be hoped
+that its influence will be lasting, for surely of all types it is the
+most worthy of emulation.
+
+
+
+
+INDEX
+
+
+  Abbot, General, 25.
+    house, 78, 109, 153.
+  Adam brothers, 98, 103, 128, 140, 215.
+  Adams, Abraham, 95, 138.
+    family, 95, 138.
+    John, 88.
+    the decorator, 69.
+  Albree, John, 152.
+  Alden, John, 111.
+  Allen, John Fiske, 51.
+    house, 51, 52.
+    of Lowestoft, 182.
+  Amesbury, Mass., 37.
+  Andirons, 67-69.
+  Andrews, John, 21, 101.
+    house, 13, 21, 84, 85.
+  "Angel Gabriel" (ship), 102.
+  Appleton, John, 163.
+  Architects, English, 8.
+  Architecture, Dutch, 2.
+    Gothic, 4.
+  Architrave, decoration of, 18.
+  Argand, Mons., 168.
+  Assembly house, 18, 24.
+  Atkinson collection, 200.
+  Ausberg, Germany, 212.
+  Austria, 197.
+
+  Bagnall, Benjamin, 147.
+    Samuel, 148.
+  Barcelona, Spain, 213.
+  Barnard, Dr. Thomas, 81.
+  Bartol, Dr. Cyrus, 81.
+  Bavaria, 196.
+  Bay of Biscay, 135.
+  Bedrooms, 122, 125.
+  Beds, accessories of, 124.
+    Adam, 128.
+    antique, 120.
+    bunk, 126, 127.
+    carved, 27.
+    Chippendale, 127, 128.
+    cupboard, 122, 126.
+    Egyptian, 121.
+    Field, 131.
+    Flemish, 121.
+    folding, 127.
+    four-poster, 123-131.
+    "Great Bed of Ware," 122, 123.
+    Greek, 121.
+    hangings, 124.
+    Hepplewhite, 128, 130.
+    inlaid, 128.
+    mahogany, 127.
+    oak, 122.
+    paneled, 127.
+    "Presse," 126, 127.
+    primeval, 121.
+    Queen Anne, 126.
+    Roman, 121.
+    Sheraton, 128.
+    "slaw-back," 127.
+    "Wild Bill" or one-poster, 126.
+  Benson house, 109.
+  Bigelow collection, 219.
+  Billingsley, William, 187.
+    roses, 187.
+  Bishop, Bridget, 26.
+  Black Point, Maine, 43.
+  Blankets, home-made, 124.
+  Bloor, Robert, 188.
+  Bohemia, 196, 197.
+  Boston, Mass., 5, 43, 71, 74, 147, 148, 149, 217, 219.
+  Bottles, 203, 205-209.
+    arched, 206.
+    bases of, 205.
+    calabash, 206.
+    canteen, 207.
+    circular, 206.
+    curio, 209.
+    decorated, 207-209.
+    designs on, 206.
+    flask, 207.
+    Jackson, 208.
+    Jenny Lind, 207.
+    Kossuth, 207.
+    liquor, 208.
+    Moses, 209.
+    oldest American, 207.
+    oval, 206.
+    rim of, 206.
+    Santa Claus, 209.
+    signs of age in, 205.
+    spherical, 206.
+    Taylor and Bragg, 207.
+    Venetian, 209.
+  Bow, England, 183, 186.
+  Bradford, Governor, quoted, 42.
+  Bricks, Dutch, 9.
+    gray-faced, 13, 14.
+  Briot, Francis, 212.
+  Bristol, R. I., 12, 60, 101, 131.
+  Brown Inn, 173.
+  Bumstead, 6, 80.
+  Byfield, Mass., 95, 126, 138, 173.
+
+  Cabins, log, 2.
+  Cabot, Mr., 141.
+    house, 7, 22, 53.
+    Joseph, 7, 22.
+  Caliga collection, 220.
+  Cambridge, Mass., 37.
+  Candelabra, 167, 169, 170.
+  Candle, 231.
+    bowl, 232.
+    cup, 232.
+    spoon, 231.
+  Candles, 159, 160-165.
+    bayberry, 164.
+    dip, 165.
+    makers, 166.
+    making, 163, 164, 165.
+    molds, 165.
+    sperm, 163.
+    suet, 161.
+    tallow, 161, 165.
+    wickless, 161.
+  Candlesticks, 159, 167.
+    brass, 167.
+    iron, 167.
+    pewter, 167.
+    silver, 167.
+    tin, 167.
+  Cape Cod, 42.
+  Capen house, 55.
+  Carving, art of, 18.
+  Ceilings, low, 3.
+    raftered, 66.
+  Cellar, large, 10.
+  Chairs, arm, 94, 98.
+    banister-back, 94.
+    brass mounted, 101.
+    carved, 95, 98, 99, 100.
+    Chinese type, 98, 99.
+    Chippendale, 97, 98.
+    comb back, 97.
+    Dutch, 95, 98.
+    early colonial, 93.
+    Empire type, 101, 102.
+    fan back, 97.
+    forms, 93.
+    French types, 98, 100.
+    heart-back, 100.
+    Hepplewhite, 97, 99, 100.
+    inlaid, 100.
+    japanned, 100.
+    Louis the Fifteenth type, 98.
+    Martha Washington, 101
+    painted, 95, 97, 102.
+    ribbon-back, 98.
+    rocking, 94.
+    rush seated, 95.
+    settles, 93.
+    Sheraton, 97, 100, 101.
+    shield-back, 100.
+    slat-back, 94.
+    stuffed easy, 96.
+    turned, 93.
+    Windsor, 96, 97.
+  Chandeliers, 169.
+  Chelsea, England, 183, 186.
+  Chests, 105-110.
+    drop handle, 109.
+    hand-carved, 107.
+    highboys, 109, 110.
+    imported, 106, 107.
+    legs of, 108.
+    linen, 108.
+    lowboys, 109, 110.
+    "magic," 107.
+    mahogany, 106.
+    on frames, 108.
+    "owld pine," 106, 107.
+    size of, 106.
+    use of, 106.
+    with drawers, 107.
+  Chimney pots, 19.
+  Chimneys, catted, 2.
+    central, 7.
+  China, Empire of, 80, 181, 184, 185, 211, 229.
+  China, 172, 216.
+    caddies, 229.
+    cream ware, 191.
+    Crown Derby, 182, 186-188.
+    Delft, 177-180, 185.
+    jasper, 191.
+    Lowestoft, 175, 181-185.
+    luster, 191.
+    salt glaze, 173, 174.
+    Staffordshire, 173-176.
+    toby jugs, 175-177.
+    Wedgwood, 189-191.
+  Chippendale (designer), 92, 97, 98, 99, 112, 114, 127, 128, 136, 140,
+      146, 236.
+  Choate, Joseph, 22.
+  "Christmas Carol," 22.
+  Claudius, Emperor, 145.
+  Clocks, American, 146, 148, 150, 151, 153-157.
+    Bagnall, 147.
+    banjo, 149.
+    "birdcage," 153.
+    cases, 151.
+    Chippendale, 146.
+    construction of, 149, 150, 152, 154, 155, 156.
+    Doolittle, 148.
+    first, 145.
+    grandfather's, 151, 153.
+    hangings, 150.
+    "lantern," 153.
+    Makers' union, 146.
+    making in Salem, 150.
+    musical, 148.
+    of Europe, 146.
+    one-day, 157.
+    patent shelf, 153, 154.
+    pillar scroll top case, 155.
+    Sheraton, 146.
+    striking, 148.
+    table, 151.
+    Terry, 150, 153.
+    "wag-at-the-wall," 153.
+    wall and bracket, 151, 153.
+    water, 145.
+    weaver's, 152.
+    wick, 145.
+    Willard, 148, 149.
+  Coal, discovery of, 75.
+    first use of, 74.
+  Cogswell house, 125.
+  Collections, Atkinson, 200.
+    Bigelow, 219.
+    Caliga, 220.
+    Hosmer, 147.
+    Mansfield, Nathaniel B., 109.
+    Metropolitan Museum, 209.
+    Middleton, 11, 131.
+    Mitchell, 199-200.
+    Page, 175, 180.
+    Rogers, 191.
+    Waters, 93, 102, 108, 202.
+    West, 189, 202.
+  Colonial products, superiority of, 236, 237.
+  Columns, Corinthian, 12.
+    Grecian, 17.
+    plain, 21, 122.
+  Common, Salem, 21, 25.
+  Cook, Captain Samuel, 77.
+    Dr. Elisha, 15.
+  Cony, John, 225.
+  Counterpane, homespun, 125.
+  Craigie house, 37.
+  Crowell, Rev. Robert, 125.
+  Crown Derby, 182.
+    "Bloor-Derby," 188.
+    decline of, 188.
+    early output of, 186.
+    epoch par excellence, 187.
+    factory, 186, 187, 188.
+  Crowninshield house, 38, 71.
+  Cupboards, colonial, 1, 72.
+    shell-top, 173.
+  Cupola, 9.
+
+  Danvers, Mass., 5, 10, 19, 44, 46, 49, 60.
+  Delft, Holland, 178, 179.
+  Delft ware, best examples of, 179.
+    decline of Dutch, 179, 180.
+    Dutch, 177, 178, 179, 180.
+    English, 178, 180.
+    first potteries, 179.
+    old, 177.
+    origin of, 178.
+    plates, 180.
+    tiles, 180.
+  Derby, Elias Hasket, farm, 47, 49, 50.
+    Elias Hersey, 50.
+    house, 77, 78.
+  Desks, bookcase, 112.
+    bureau, 111.
+    Chippendale secretary, 112.
+    French Empire, 113.
+    Hepplewhite secretary, 112.
+    "scrutoir," 110, 111.
+    Sheraton secretary, 112.
+  Devereux, Humphrey, house, 52.
+  Dexter, "Lord" Timothy, house, 99.
+  Dickens, Charles, quoted, 39.
+  Doolittle, Enos, 148.
+  Doorways, narrow, 22, 25.
+    pineapple, 27.
+  Downing, Emanuel, 4.
+    George, 4.
+  "Dr. Grimshawe's Secret," 24.
+  Dressing tables, 109.
+  Duesbury, William and son, 186, 187, 188.
+  Duke of Baden, 220.
+  Duke of Devonshire's house, 39.
+  Dummer, Governor William, 225.
+    house, 173.
+    Jeremiah, 225.
+  Dunbarton, N. H., 8, 130, 151.
+  Dunn, Cary, 226, 233.
+  Dutch architecture, 2.
+    East India Company, 185.
+    ware, 177, 178, 179, 180.
+
+  East Windsor, Conn., 150.
+  Edinburgh, Scotland, 212, 216.
+  Elector of Brandenburg, 200.
+  Elizabethan period, 4.
+  Embargo, the, 11.
+  Enderlein, Gasper, 212.
+  Endicott, Governor John, 2, 4, 44, 105.
+    farm, 44.
+    house, 10.
+  England, 2, 3, 8, 9, 35, 39, 41, 43, 64, 80, 82, 86, 128, 134, 135,
+      136, 139, 142, 147, 152, 157, 161, 167, 174, 183, 185, 201, 202,
+      203, 211, 214, 215, 217, 221, 223, 226, 230.
+  Etruria factory, 190.
+  Exeter, England, 146.
+
+  Fabens, Mr., 71.
+  Faulkner, Dr. G., 149.
+  "Feast of Roses," 205.
+  Fell, Judge Jesse, 75.
+  Felt, Captain Jonathan P., 49.
+  Felt's Annals, quoted, 150.
+  Fenders, 75, 76, 77.
+  Fireback, 71-72.
+  Firedogs, 66.
+  Fire frames, 73-74.
+  Fireplace, accessories, 65, 66, 67.
+    brass, 77.
+    colonial, 64, 65.
+    construction of, 65.
+    Elizabethan, 64.
+    Gove, 70.
+    inglenook, 64.
+    Louis Sixteenth, 64.
+    modern, 63, 64.
+    of Middle Ages, 63.
+    of Renaissance, 63, 64.
+    Queen Anne, 64.
+    Robinson, 71.
+    soapstone, 78.
+    tiled, 76.
+  Fire sets, 66, 67.
+  Flint and steel, 170.
+  Floor, sanded, 66.
+  Forrester house, 21.
+  France, 80, 86, 135, 167, 212.
+  Franklin, Benjamin, 94.
+    stores, 73, 74, 75, 76.
+
+  Gardens, 11, 13, 41.
+    Allen, 51, 52.
+    at Indian Hill, 48.
+    at Oak Knoll, 47.
+    Cabot, 53.
+    Captain Peabody's, 46.
+    Derby, 50.
+    features of old-fashioned, 44, 45.
+    Humphrey Devereux, 52.
+    location of, 45, 46, 51.
+    Mrs. Perry's, 48.
+    nucleus of, 43.
+    of George Heussler, 49, 50.
+    Salem, 49.
+  Gardiner house, 21.
+  George house, 141.
+  George II, 96.
+  George III, 69, 100, 230.
+  Georgetown, Mass., 83, 107.
+  Georgian period, 127.
+  Gerard, quoted, 44.
+  Germantown, Mass., 163.
+  Germany, 197, 212.
+  Gibbon (designer), 143.
+  Glasgow, Scotland, 212.
+  Glass, baluster stem, 202.
+    beads, 203.
+    blown, 205.
+    Bohemian, 195, 197-199, 204.
+    bonbon dishes, 200.
+    bottles, 203, 205-209.
+    bowls, 203, 204.
+    cameo incrusted, 199.
+    choiceness determined, 103.
+    colored, 197, 201.
+    cutting of, 198.
+    decanters, 200, 201, 202.
+    drinking, 201.
+    English, 201.
+    engraved, 196, 197, 198, 202.
+    etched, 199.
+    factories, 197, 198, 204.
+    first made, 194.
+    French, 199.
+    gilded, 196, 197.
+    goblets, 204.
+    green German, 196.
+    historic flasks, 206.
+    legend of, 196.
+    making in Rome, 195.
+    origin of, 195.
+    painted, 196, 197.
+    Portland Vase, 192, 195.
+    ruby colored, 199-200.
+    Russian, 203.
+    salt cellar, 199, 200.
+    toddy, 201, 202.
+    tumblers, 201-202.
+    vases, 198, 199.
+    Venetian, 195, 198.
+    white twist stem, 202.
+    wine, 202.
+  Glastonbury Abbey, 146.
+  Gothic architecture, 4.
+  Gove house, 70.
+  Governor's Field, 4.
+    Island, 42.
+  Grafton, Mass., 148.
+  "Guild of St. Luke," 179.
+
+  Hallway, Capen house, 55.
+    colonial, 54.
+    eighteenth and nineteenth century, 56, 57.
+    entry, 61.
+    finish of, 59.
+    "Hey Bonnie Hall," 60, 61.
+    Lee, 58, 60.
+    Old English, 55, 58.
+    paneled, 56, 57, 59.
+    papered, 59.
+    spacious, 57, 58.
+    Stark, 56.
+    Warner, 56, 57, 90-91.
+    Wentworth, 58, 59.
+  Hamilton, Mass., 71.
+  Hamilton Hall, 141, 166.
+  Hangings, bed, chintz, 124.
+    linen, 124.
+    patch, 124, 130.
+  Harland, Thomas, 150.
+  Harris, Mrs. Walter L., 136.
+  Harrod house, 138, 203.
+  Hartford, Conn., 147, 148.
+  Harvard College, 4.
+  Haverhill, Mass., 76, 129.
+  Hawthorne, Nathaniel, 24, 26, 37, 102, 224.
+  Heard house, 93.
+  Hearth accessories, 66, 67.
+  Hepplewhite (designer), 92, 97, 99, 100, 110, 112, 114, 115, 128.
+  "Hermitage," 87.
+  Heussler, George, 49.
+  "Hey Bonnie Hall," 11, 60, 61, 101.
+  Higginson, Governor, 161.
+    Rev. Francis, quoted, 41.
+  "Highfield," 95, 126, 138.
+  High Rock, Mass., 95.
+  Hillsboro, N. H., 89, 90, 115, 151.
+  Hinges, wrought-iron, 9.
+  Hingham, Mass., 93.
+  "History of Essex," 125.
+  Hoadley, Silas, 155.
+  Hoffman, Captain, 52.
+  Holland, 2, 9, 41, 43, 80, 96, 135, 177, 179, 180, 182, 184, 185, 196,
+      212.
+  Holmes, Oliver Wendell, 130.
+  Hosmer collection, 147.
+  "House of Seven Gables," 37.
+  Houses, Abbot, General, 78, 109, 153.
+    Albree, 152.
+    Allen, 52.
+    Andrews, 13, 21, 84, 85.
+    Assembly, 18, 24.
+    Bell or Brick, 190.
+    Benson, 109.
+    brick, 3, 13, 14, 19, 56.
+    Brown Inn, 173.
+    Cabot, 7, 22, 53.
+    Capen, 55.
+    Cogswell, 125.
+    colonial, 7.
+    Craigie, 37.
+    Crowninshield, 38, 71.
+    Derby, 77, 78.
+    Devereux, Humphrey, 52.
+    Devonshire's, Duke of, 39.
+    Dexter, 99.
+    Dummer, 173.
+    Endicott, 10.
+    finest, 8.
+    Forrester, 21.
+    frame, 2, 55.
+    gambrel-roofed, 3, 10, 19, 55.
+    Gardiner, 21.
+    George, 141.
+    Gove, 70.
+    Hamilton Hall, 141, 166.
+    Harrod, 138, 203.
+    Heard, 93.
+    "Hermitage," 87.
+    "Hey Bonnie Hall," 11, 60, 61, 101.
+    "Highfield," 95, 126, 138.
+    historic, 5, 6, 8, 12.
+    Howe, 111, 115, 129.
+    "Indian Hill," 12, 48.
+    Johnson's, Dr., 39.
+    Kimball, 18, 83.
+    Kittredge, 142, 201.
+    Knapp, 87.
+    Lee, 8, 58, 60, 87, 89.
+    Lindall-Andrews, 80, 81.
+    Little, 70.
+    log cabin, 2.
+    Long, 93.
+    Lord, 22, 138, 139, 142.
+    Mansfield, 71.
+    mansion, 3, 8, 10, 19, 56.
+    Maryland Manor, 11.
+    May, 37.
+    Meyer, 71.
+    Middleton, 131.
+    Mount Vernon, 131.
+    Nichols, 200.
+    Noyes, 113.
+    Oak Knoll, 47, 60.
+    of 52 rooms, 10.
+    Oliver, 77.
+    Osgood, 109, 143, 168.
+    Page, 5, 6.
+    Pickering, 4, 5, 72, 76, 109.
+    Pierce, 89, 115, 151.
+    Pierce-Jahonnot, 25.
+    Pierce-Nichols, 139.
+    Robinson, 71.
+    Ropes, 111.
+    Salem Club, 70.
+    Saltonstall-Howe, 76.
+    Sanders, 70.
+    Silsbee, 21.
+    Southern, 12.
+    Sprague, 169.
+    Stark, 8, 56, 115, 130, 151.
+    Stearns, 6.
+    Steigel, 204.
+    Warner, 9, 56, 90, 109, 169.
+    Waters, 38, 77, 202.
+    Wentworth, 10, 58.
+    Wheelright, 88.
+    Whipple, 7, 25, 87.
+    White House, 11.
+    Whittier, 37, 47, 60.
+  Howe, Mrs. Guerdon, 111.
+    house, 111, 115, 129.
+  Hull, Betsey, 224.
+    John, 224.
+
+  Ince (designer), 98.
+  "Indian Hill," 12, 48.
+  Indians, 203.
+  Ipswich, Mass., 5, 7, 93.
+  Ironworks, American, 204.
+  Italy, 135, 197, 212.
+  Ivy Works, Burslem, 190.
+
+  Jackson, Andrew, 87.
+    of Battersea, 81.
+  Jacobean period, 127.
+  Jamaica Plain, Mass., 169.
+  James VI, 214.
+  Jamestown, Va., 203.
+  Japan, 80, 179, 211.
+  Jarves, James Jackson, 209.
+  Jerome, Chauncey, 157.
+  Jesse, David, 224.
+  Johnson's, Dr., house, 39.
+  Josslyn, John, quoted, 43.
+
+  Kean, Michael, 188.
+  Kensington, Philadelphia, 203.
+  Kimball house, 18, 83.
+  King Philip's War, 116.
+  Kitchen, colonial, 66.
+  Kittredge house, 142, 201.
+  Knapp house, 87.
+  Knockers, antique, 35.
+    brass, 22, 30, 33, 34.
+    disappearance of, 31.
+    eagle, 35, 36, 37.
+    English, 9.
+    fifteenth and sixteenth centuries, 30.
+    garland, 35.
+    Georgian urn, 35, 36.
+    Gothic, 33.
+    historic, 37.
+    horseshoe, 36.
+    invention of, 29.
+    iron, 7, 30, 33, 36.
+    lion and ring, 35.
+    London, 38-39.
+    May house, 37, 38.
+    medieval, 33.
+    Mexican, 36.
+    plate or escutcheon, 33, 34.
+    price of, 34.
+    Renaissance, 33, 37.
+    reproductions of, 34.
+    thumb latch, 8, 22, 35, 38.
+    types of, 29.
+  Knox, General, 25.
+    Henry, 138.
+  Kunckel (artist), 200.
+
+  Lafayette, General, 24.
+  Lamps, Betty, 162.
+    glass, 168.
+    unique specimen, 162.
+    whale-oil, 166.
+    wick, 162.
+    with glass prisms, 169, 170.
+  Lanterns, 162.
+    gilded, 168.
+    painted, 168.
+  Larcom, Lucy, 6.
+  Latches, thumb, 8, 22, 35, 38.
+  Lean-to, 3, 7.
+  Lee, Colonel Jeremiah, house, 8, 58, 60, 87, 89.
+  Leghorn, Italy, 131.
+  Lehmann, Gasper, 198.
+  Leslie's Retreat, 7, 81.
+  Leverett, Governor John, 115.
+    Thomas, 15.
+  Lightfoot, Peter, 146.
+  Lights, candelabra, 167, 169.
+    candle, 159, 160, 161, 163-166.
+    candlewood, 159, 160, 161.
+    chandeliers, 169.
+    electric, 159.
+    fire, 159, 160.
+    from flint and steel, 170.
+    gas, 159.
+    lamp, 162, 169.
+    lantern, 162, 168.
+    pine torch, 159, 160.
+    rush, 162.
+  Lindall, Judge, 80.
+  Lindall-Andrews house, 80, 81.
+  Little, Hon. David M., house, 70.
+  Little Harbor, N. H., 10, 58.
+  London, 167, 214, 215, 225.
+  London Guild or Worshipful Company of Pewterers, 215.
+  Long, Hon. John D., 93.
+    house, 93.
+  Longfellow, Anne Sewall, 95.
+  Lord, Nathaniel, 23.
+    house, 22, 138, 139, 142.
+  Lowestoft, 181, 186.
+    coat-of-arms, 183.
+    controversy, 185.
+    decoration of, 183, 184.
+    factory, 182, 184, 185.
+    first ware, 182.
+    Holland, 182.
+    Oriental, 181.
+    red, 183.
+  Luster ware, 191.
+    copper, 192, 193.
+    gold, 192, 193.
+    jugs, 192.
+    silver-tinted, 192.
+    Sunderland, 192.
+  Lynn, Mass., 72, 95, 175, 193.
+
+  Macpheadris, Captain, 9.
+    Mary, 9.
+  McIntyre, Samuel, 18, 47, 69, 70, 71, 77, 140.
+  Manchester, Mass., 56, 199, 200.
+  Mannheim, Germany, 204.
+    Pa., 204.
+  Mansfield, Mrs. Nathaniel B., 71.
+    collection, 109.
+  Mantlepieces, 63, 64, 70.
+    in Little house, 70.
+    marble, 70.
+    narrow, 64.
+    Oliver house, 77.
+    Renaissance, 64.
+    Salem Club, 70.
+    Sanders house, 70.
+  Manwaring (designer), 98.
+  Marblehead, Mass., 8, 60, 81, 87, 135.
+    Historical Society, 89.
+  Marseilles, France, 146.
+  Maryland Manor, 11.
+  "Mayflower," the, 111.
+  Mayhew (designer), 98.
+  May house, 37.
+  Merchant princes, 19.
+  Metropolitan Museum, 209.
+  Mexican War, 207.
+  Meyer, Hon. George von L., 71.
+  Middleton, Moses, 11.
+    collection, 11, 131.
+    house, 131.
+  Militia, first company of, 7.
+  Mills, Henry, 153.
+  Mirrors, Adam, 140.
+    Bilboa, 135.
+    bull's-eye, 140.
+    Chippendale, 136, 140.
+    Constitution, 137.
+    "Courtney," 143.
+    frames, 134.
+    girandole, 140, 141.
+    glass, 134.
+    knobs, 137.
+    Lafayette, 143.
+    late colonial, 141, 142.
+    mantel, 139-140.
+    metal, 133, 134.
+    origin of, 133.
+    paneled, 141, 142, 143.
+    Queen Anne, 136.
+    Venetian, 134, 142.
+    with cornice overhanging, 138, 141.
+  Mitchell collection, 199-200.
+  Money, first paper, 225.
+  Mount Vernon, 131.
+  Mullikin, Samuel, 150.
+  Museum of Fine Arts, Boston, 211.
+  Myers, Myer, 225.
+
+  Nashville, Tenn., 87.
+  Newburyport, Mass., 48, 49, 73, 87, 88, 99, 113, 138, 180, 203.
+  New England Historical Genealogical Society of Boston, 147.
+  Newton, Mass., 37, 138, 139, 142.
+  Nichols house, 200.
+  North Andover, Mass., 142.
+  Noyes house, 113.
+  Nuremberg, Germany, 212.
+
+  Oak Knoll, 47, 60.
+  "Old Christmas," 65.
+  Old Tom, Indian chieftain, 12.
+  Oliver, Henry K., house, 77.
+  Osgood house, 109, 143, 168.
+
+  Page, Colonel Jeremiah, 6.
+    collection, 175, 180.
+    house, 5, 6.
+    Mistress, 6.
+  Panels, hand-made, 9.
+  Parties at Salem, 167.
+  Peabody, Captain Joseph, 11, 46, 70.
+    Elizabeth, 24.
+    Joseph Augustus, 46.
+    Sophia, 24.
+  Peacock Inn, 4.
+  Pearson, Ebenezer, 73.
+  Perkins, Dr. George, 74.
+  Perry, Mrs. Charles, 48.
+  Pewter, 71, 162, 167, 168, 194, 210.
+    American, 217.
+    chargers, 210, 219.
+    collections of, 219, 220.
+    composition of, 210.
+    development in France, 212.
+    Dutch, 212.
+    ecclesiastical, 213, 218.
+    English, 213, 215, 217.
+    flagon, 212.
+    French, 216.
+    German, 212.
+    guilds, 215, 216.
+    historic teapot, 220.
+    household, 213, 214, 219.
+    imitation, 218-219.
+    in Rome, 211.
+    in sixteenth century, 214.
+    Japanese, 211, 221.
+    lamps, 219, 220.
+    marks on, 214-221.
+    old, 211.
+    origin of, 211, 213.
+    plates, 210, 219, 221.
+    rarest in existence, 221.
+    salver, 212.
+    Scotch, 212, 216.
+    seals, 211.
+    Spanish, 213.
+    tankards, 210, 219.
+    use discontinued, 216.
+    value of, 217.
+    where used, 213-214.
+  Pewterer's Hall, London, 215.
+  Philadelphia, Pa., 28, 51, 75, 208.
+  Phipps, Governor, 90.
+  Pickering, Alice, 72.
+    house, 4, 5, 72, 76, 109.
+    John, 4, 5, 72.
+    Rev. Theophilus, 76.
+    Timothy, 5, 109.
+  Pierce, Franklin, 89.
+    Governor, 89.
+    house, 89, 115, 151.
+    Mr., 25.
+  Pierce-Jahonnot house, 25.
+  Pierce-Nichols house, 139.
+  Pilasters, fluted, 22.
+  Pilgrim Hall, 93.
+  Pillars, carved, 8.
+    packed with salt, 14.
+  Pitcher, Moll, 95.
+  Planche, Mons., 186, 188.
+  Plants and flowers, 41, 42.
+    azaleas, 52.
+    camellias, 52.
+    night-blooming cereus, 50.
+    oxeye daisy, 44.
+    peonies, 53.
+    pitcher plant, 43.
+    tulips, 53.
+    _Victoria Regia_, 51.
+    whiteweed, 44.
+    wild, 42.
+    woadwaxen, 44.
+  Plymouth, Conn., 155.
+    County, 217.
+    Mass., 93.
+  Poore, Major Benjamin Perky, 48.
+  Porcelain, Chinese, 179, 185.
+    Japanese, 179.
+    Lowestoft, 184.
+  Porch, Andrews, 21.
+    Assembly House, 24.
+    circular, 13, 17, 21.
+    construction of, 17.
+    contour, 17.
+    Dutch, 25.
+    Gardiner, 21.
+    hand-carved, 17, 18, 24.
+    historic, 20, 24.
+    inclosed, 23, 54.
+    Lord, 22.
+    Middle States, 9.
+    New England, 17, 19, 28.
+    oblong, 17.
+    Philadelphia, 28.
+    Pickman, 27.
+    Pierce-Jahonnot, 25-26.
+    Robinson, 14.
+    side, 14, 22, 23.
+    Southern, 17, 19.
+    square, 17.
+    three-cornered, 17.
+    types of, 19, 20.
+  Portland Vase, 195.
+    replica of, 192.
+  Portsmouth, N. H., 9, 10, 90, 109, 169.
+  Poynton, Captain Thomas, 27.
+  Putnam, General Israel, 111.
+
+  Quincy, Mass., 163.
+
+  Redmond, John, 166.
+  Reformation, the, 214.
+  Revere, Paul, 225.
+  Revolution, the, 3, 4, 7, 9, 10, 19, 35, 69, 89, 94, 97, 113, 135,
+      143, 226, 229, 233.
+  Rhode Island, 11.
+  Ridout, George, 225.
+  Robinson, Nathan, 14.
+    house, 71.
+  Rogers collection, 191.
+  Rome, Italy, 211.
+  Roof, flat, 20.
+    gambrel, 8, 9.
+    pitched, 7.
+    thatched, 2.
+  Ropes, Caleb, 51.
+    house, 111.
+  Rose (potter), 183.
+    mark, 183.
+  Rotterdam, china warehouse at, 184.
+  Rouseley, England, 4.
+  Rowley, Mass., 141.
+  Roxbury, Mass., 148.
+
+  Salem, Mass., 4, 6, 7, 11, 13, 18, 20, 23, 24, 25, 28, 36, 38, 46, 49,
+      60, 69, 70, 71, 72, 74, 77, 80, 84, 93, 95, 101, 102, 108, 109,
+      130, 132, 138, 139, 141, 143, 150, 153, 162, 164, 166, 168, 169,
+      189, 200, 202, 203, 217, 220, 223, 232.
+  Salem Club, 70.
+  Saltonstall, Dr. Nathaniel, 76, 130.
+    family, 141.
+    Sir Richard, 130.
+  Saltonstall-Howe house, 76.
+  Sanders, Thomas, house, 70.
+  Saugus, Mass., 72, 153.
+  Saxony, 186, 196.
+  Schwanhard, George, 198.
+  Sconces, in Osgood house, 168.
+    wall, 167.
+  Scotland, 9, 212, 214.
+  Sharp, William, 52.
+  Shearer (designer), 114.
+  Sheraton (designer), 92, 97, 100-102, 112, 128, 146, 236.
+  Shoemaker, Colonel George, 75.
+  Sideboards, 113, 114.
+    Chippendale, 114.
+    Empire, 116.
+    Hepplewhite, 114.
+    inlaid, 115.
+    Shearer, 114.
+    Sheraton, 115.
+  Silesia, 196.
+  Silsbee house, 21.
+  Silver, American, 223, 224.
+    baronial, 223.
+    beaker, 224.
+    bowls, 225, 226, 232, 233, 234, 235.
+    caddy, 229, 232.
+    cake basket, 234.
+    candle bowl, 232.
+    candlesticks, 225.
+    cans, 226.
+    chased, 232, 233.
+    communion service, 223.
+    creamer, 234.
+    cruet stand, 234.
+    English, 224.
+    engraved, 226, 232.
+    hallmarks on, 224, 226, 230, 231.
+    "hog" bowl, 235.
+    of Paul Revere, 225.
+    pitcher, 233.
+    plates, 225.
+    snuffbox, 232, 236.
+    spice box, 236.
+    spoons, 226-232.
+    table utensils, 236.
+    tankards, 232, 233.
+    teapots, 226, 233, 234.
+    tongs, 235.
+  Simpson, Dr. James E., 52.
+  Snuffer boats, 168.
+  Snuffers, 168.
+  Sofas, 97, 102.
+    Adam, 103.
+    Chippendale, 103.
+    Cornucopia, 103.
+    Darby and Joan, 103.
+    Empire, 104.
+    haircloth, 103.
+    Louis XV, 103.
+    Sheraton, 103.
+  Spain, 135, 212, 213.
+  Spofford, Harriet Prescott, 73.
+  Spoons, "Apostle," 227, 228.
+    "caddy," 228, 229, 231, 232.
+    candle, 231.
+    imitations, 230, 231.
+    "rat-tail," 226.
+    snuff, 231.
+    teaspoons, 226.
+  Sprague, Joseph, 6
+    house, 169.
+  Staffordshire factories, 173, 175, 184.
+  Staircase, 55, 59.
+    balusters, 59.
+    "Hey Bonnie Hall," 61.
+    "Oak Knoll," 60.
+    spiral, 60.
+    winder, 60.
+  Stark, Charles Morris, 9.
+    Major Caleb, 8.
+    house, 8, 56, 115, 130, 151.
+  State House, Boston, 15.
+  Stearns house, 6.
+  Steigel Baron, 204.
+    house, 204.
+  Stogumber Church, Somerset, 39.
+  Stoves, "Cat Stone," 75.
+    Franklin, 73, 74, 75, 76.
+    hub grate, 75, 76, 77.
+  Summer house, 44.
+    on Peabody estate, 46-47.
+  Susquehanna Valley, 75.
+  Sutton Mills, Andover, 47.
+  Swampscott, Mass., 152.
+  Switzerland, 212.
+
+  Tables, butterfly, 116.
+    card, 118.
+    chair, 117.
+    dining, 117, 118.
+    dish-top, 117.
+    Dutch, 117, 118.
+    Empire, 118.
+    hundred-legged, 117.
+    Kidney, 117.
+    Pembroke, 118.
+    pie-crust, 118.
+    Pied, 118.
+    pouch, 117.
+    Sheraton, 117.
+    table-top, 117.
+    tea, 117.
+    telescopic, 118.
+    writing, 117.
+  Terry, Eli, 150, 153, 154, 155.
+    family, 150.
+  Thomas, Seth, 155, 156.
+  Tiles, 76, 180, 181.
+  Tobies, Bennington, 177.
+    Dutch, 175.
+    French, 175.
+    German, 175.
+    Napoleon, 175, 176.
+    old, 176.
+    Staffordshire, 175.
+    teapot, 177.
+    young, 176.
+  Topsfield, Mass., 55.
+  Tracy, John, 49.
+  Tragees (silversmith), 226.
+  Trees, on Derby farm, 50.
+    on Indian Hill, 48.
+    on Peabody estate, 46.
+  Turgot, Mons., 216.
+
+  Van Dyck, Richard, 225.
+  Vineyard and orchard, 42.
+
+  Wall papers, "Adventures of Telemachus," 87.
+    "Bay of Naples," 88.
+    block printing of, 80, 81.
+    chariot race, 88.
+    "Cupid and Psyche," 85.
+    "Don Quixote," 84.
+    English, 86, 87.
+    English hunt, 84.
+    foreign scenes, 86, 88.
+    French, 86, 87.
+    importation of, 82.
+    landscape, 88, 89.
+    made to order, 83, 89.
+    origin of, 80.
+    panels of, 81.
+    Parisian views, 88.
+    picture, 79, 81.
+    roll, 81.
+    Roman ruins, 89.
+    squares of, 81.
+    Venetian scenes, 88.
+  Walls, painted, 81-83, 90, 91.
+    thick, 9.
+    unplastered, 66.
+  Ware, Isaac, quoted, 72.
+  Ware, wooden, 213.
+  Warner, Hon. Jonathan, 10, 169.
+    house, 9, 56, 90, 109, 169.
+  War of 1812, 143, 234.
+  Warren, Russell, 11.
+  Washington, George, 10, 25, 88, 130, 138.
+    quoted, 25.
+  Washingtonian period, 19.
+  Waterbury, Conn., 155.
+  Waters, Fitz, 202.
+    collection, 93, 102, 108, 202.
+    house, 38, 77, 202.
+  Wayland, Mass., 35.
+  Webster, Daniel, 23, 111.
+    Fletcher, 23.
+  Wedgwood ware, 189.
+    cream, 191.
+    jasper, 191.
+    Portland Vase, 192, 195.
+    Queen's ware, 190.
+  Wedgwood, Josiah, 189, 190, 191, 192.
+  Well room, the, 12.
+  Wentworth, Governor Benning, 10, 115.
+    house, 10, 58.
+    Sir John, 12.
+  West, Mrs. William C., 189.
+    collection, 189, 202.
+  Westminster Abbey, 146.
+  Westmoreland County, England, 211.
+  West Newbury, Mass., 12, 48.
+  Wheelwright, William, 88.
+    house, 88.
+  Whieldon, Thomas, 189.
+  Whipple, Major George, 87.
+    house, 7, 23, 87.
+  White, Captain Joseph, 22.
+    Stephen, 23.
+  White House, Washington, 11.
+  Whittier, John Greenleaf, 47, 73.
+    garden, 47.
+    house, 37, 47, 160.
+  Wilkes-barre, Pa., 75.
+  William and Mary, 127.
+  Willard, Aaron, 148.
+    Benjamin, 148.
+    Simon, 149.
+  Windows, bull's-eye, 57.
+    diamond paned, 13.
+    dormer, 9.
+    fanlight, 61.
+    leaded, 5.
+    Lutheran, 9.
+  Windsor, England, 96.
+  Winthrop, Governor, 42, 161.
+  Wise, Rev. John, 76.
+  Witchcraft days, 26.
+  Woods used, apple, 101, 112.
+    cherry, 108, 111, 112, 148.
+    forest trees, 106.
+    hard, 59, 95.
+    harewood, 129.
+    holly, 114.
+    mahogany, 59, 61, 99, 100, 101, 102, 106, 108, 112, 114, 115, 127.
+    maple, 109, 114.
+    oak, 108, 147.
+    pine, 147.
+    rosewood, 101, 102.
+    satinwood, 100, 101, 114, 129.
+    soft, 59, 95.
+    sycamore, 129.
+    tulip, 101, 114.
+    walnut, 60, 108, 111, 112, 129, 147.
+    white, 2, 129.
+
+  Yule log, 64.
+
+
+
+
+
+End of the Project Gutenberg EBook of Colonial Homes and Their Furnishings, by
+Mary H. Northend
+
+*** END OF THIS PROJECT GUTENBERG EBOOK COLONIAL HOMES ***
+
+***** This file should be named 34897.txt or 34897.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/4/8/9/34897/
+
+Produced by Annie McGuire. This book was produced from
+scanned images of public domain material from the Internet
+Archive.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH 1.F.3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/34897.zip b/34897.zip
new file mode 100644
index 0000000..e710d07
--- /dev/null
+++ b/34897.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..498c31d
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #34897 (https://www.gutenberg.org/ebooks/34897)