If you come to Montpelier today and take a house tour, you might be surprised when you enter the Dining Room. Strips of reproduction woodblock wallpaper hang on the Dining Room walls. Each has a very busy pattern. Some of the patterns are accompanied by the border papers frequently seen in early-19th-century wallpapers. So what’s going on?
We couldn’t find any evidence of paint or white wash on the walls. This means the Dining Room, like the Drawing Room, was probably papered. Visitor accounts tell us Dolley Madison served a variety of sumptuous meals there. They also say the Dining and Drawing Room walls boasted a variety of art. Incredibly, none of these accounts tells us anything about the walls under the art! Continue Reading…
The Presidential Detective Story is well underway and we have already had some great finds. One of these is the painting Pan – Youths & Nymphs.1 The painting recently returned to Montpelier. Here is the back story on its journey home:
Gerrit Van Honthorst, Pan, Youths & Nymphs, ca. 1630
Our curatorial team first saw Pan – Youths & Nymphs listed in the anonymous document “Oil Paintings at Montpellier” (circa 1836-44). Next, the team found an 1846 newspaper article that describes the work hanging over a mantel in Dolley Madison’s Lafayette Square house in Washington, D.C. The article called it “a very old painting representing a group of maidens surprised by Pan while playing in a grove.”2
Then the trail went cold. We knew John Payne Todd (Dolley’s son) held a sale of her property nearly two years after her 1849 death. A newspaper account following the sale noted at least one of the “large works” remained unsold. Could Pan – Youths & Nymphs be one of these paintings? If so, where did it go?
Last week, Susan Buck, Architectural Finishes Conservator, visited Montpelier to continue work on two ongoing projects in the drawing room (M108): the search for curtain hanging evidence and the hunt for clues about the original wallpaper.
Small wooden markers show the depth and angle of nail holes, which might have been used to secure drapery hardware.
The search for evidence of how curtains were displayed:
One Madison era visitor mentioned the windows in the drawing room were “hung with light silken drapery.”[1] But, how were the curtains suspended and what design did the Madisons choose?
To learn as much as possible about the drawing room curtains, we are searching for physical clues for drapery hardware. Having already eliminated the premise that the Madisons had cornices above the windows because no physical evidence survives, Dr. Buck performed additional forensic work to see whether wooden laths were nailed directly to the top of the window frame to hold the window treatments. Continue Reading…
Last week we installed a pair of card tables in the Drawing Room (M108) that have excellent Montpelier provenance. Card playing, backgammon, and other games were popular pastimes during the late 18th and early 19th century. Several visitors recalled seeing games being played during their visit with the Madisons. During his 1816 visit, Baron de Montelzun mentioned games of chess being played at Montpelier.1 In an exchange of letters between Dolley Madison and her sister Anna Payne Cutts in the spring of 1804, they mention playing Loo, a card game similar to the modern game of Hearts.
The tables were purchased at an undated Montpelier sale by a local family who lived at a neighboring plantation. In the mid 20th century, the tables were separated when one was sold. Both tables maintained their Madison provenance and were brought together for display here at Montpelier after it was confirmed that they were a matching pair. As part of our research, wood sampling was conducted on the tables, indicating they were made in New England based on the types of wood used. It is possible that these tables were shipped to Virginia or were acquired by the Madisons in Philadelphia, a port city with a thriving furniture trade. One of the tables was graciously donated to Montpelier by Mr. and Mrs. Randolph Thompson, and the other is currently on loan to us. We are thrilled to be able to display them together in situ.
New Document in the Grills Gallery
There is a new document now on display in the Grills Gallery in the Visitors Center here at Montpelier. It is an undated memorandum from Dolley Madison to a Mr. Zantzinger; a shopping list of household and personal items for him to purchase on her behalf. The many interesting items include “two [large] Looking-Glasses”, “100 yds best carpeting,” various types of clothing, and “one dozen fanciful but cheap snuff boxes.”
This is not the only time the Madisons made purchases through an agent or friend. In the 1780s, James Madison sent requests for books to his friend Thomas Jefferson, who was in Paris. Shortly after his 1794 marriage, Madison asked his friend James Monroe, then Minister to France, to acquire household goods for him, among which were French carpets and yards of red and green silk intended for curtains for two rooms. Later in their married lives Dolley begins to order goods on her own, not just through her husband. The Zantzinger order is an example of this as is a quite similar order Dolley commissioned in 1810 from merchant and US Commercial Agent in Bordeaux William Lee.2
The Zantzinger memorandum gives us an idea of Dolley’s tastes, and her budget. She wants nice looking glasses and good carpet, but only as fine as can be purchased for $100 each. This was not a spending spree; Dolley was instead a savvy shopper who set a limit on the lengths to which she, or her agent, should go to acquire fashionable decorations for the house. Although she does not set an upper limit for the “print of the bust of N. Bonaparte” listed, she does quote Zantzinger the price that the print was selling for “some months since;” she did at least have an estimate for how much it should cost.
Who was Mr. Zantzinger? His identity is far from apparent in the memorandum, and he was not a regular correspondent with Dolley. There are a few possibilities, two of which seem most promising:
The first is the Philadelphia merchant firm of Kepple and Zantzinger. Although the memorandum does not appear to date from the period when the Madisons were living in Philadelphia, they may have kept in touch with useful connections in that city. The firm of Kepple and Zantzinger would have had at least one Mr. Zantzinger in it.
The second possibility is one William P. Zantzinger, supercargo, mentioned in a 1819 Supreme Court case. A supercargo is “An officer on a merchant ship who has charge of the cargo and its sale and purchase” ([italic]American Heritage Dictionary), so this Zantzinger would have been in a position to make purchases for the Madisons.
Of course, it is possible that William P. Zantzinger was somehow related to the Zantzingers of the merchant firm in Philadelphia; in a letter to a friend written in Tripoli, Dolley Madison’s brother mentions having met “Mr. Zantzinger Supercargo of a vessel from Philadelphia” while in Italy.[note: John Coles Payne to Boyd, May 25, 1807, Private Collection] Merchant firms in the late 18th and early 19th centuries sometimes included extended families – fathers, sons, cousins, nephews – so a supercargo from Philadelphia could be related to a Philadelphia firm.
The memorandum helps us to better understand Dolley Madison’s taste, the limits of her pocketbook and her desire to acquire certain goods in France. But, it also raises further questions about the Madisons’ patterns of consumption, who they used as agents for long-distance shopping and how they made those connections.
We hope that you can come and see this document and other Madison items in our Grills Gallery.
1 Moffatt, L. G. and J. M. Carriere “A Frenchman Visits Norfolk, Fredericksburg and Orange County, 1816.” Virginia Historical Magazine, July 1945 2 Mary Lee Mann, A Yankee Jeffersonian: Selections from the Diary and Letters of William Lee of Massachusetts Written from 1796 to 1840, Cambridge, MA, 1958, p. 133.
In 1833 New York publisher George P. Morris embarked upon the publication of another print depicting the presidential succession. Writing to James Madison on April 13,[1] Morris informed him that he was producing a “Splendid National Engraving.” He hoped the former President would allow him to borrow one of his portraits in order that it might be engraved by Asher B. Durand for inclusion in the image. Madison, however, informed Morris that his wife Dolley, “to whom the portrait belongs,” had some aversion to the loan of his portrait by Gilbert Stuart on account of previous problems with the shipping of the work.[2] Intent on having Madison’s portrait, Morris sent Durand to Montpelier that fall, where he painted a new portrait of Madison.[3]
Since Gimbrede’s print was created in 1812, there had been three additional presidents peacefully sworn into office–James Monroe, John Quincy Adams, and Andrew Jackson. Morris’s presidential group was more emblematic than Gimbrede’s earlier effort. In his depiction the portraits were grouped around a mirror displayed over a pier table, with Washington’s portrait once again given pride of place at the top of the grouping.
Although not immediately obvious, the engraving shows the portraits as hung on the wall of a room or hall, the other three walls being evident in the reflection in the mirror. Also reflected in the mirror is a statue of a woman, holding a pole topped by a Phyrgian cap. Since Roman antiquity this cap had served as a symbol of liberty, and therefore the statue is meant to personify Liberty. Thus, the depiction suggests that the portraits of the presidents are displayed in the “hall of liberty.”
Other symbols in the engraving demonstrate the nature of American liberty. On the skirt of the table is found an unusual symbol.
Depicting a spiral club with lightning bolts and wings, this ancient symbol has long been understood to represent the thunder and lightning of Zeus (or Jupiter to the Romans), the king of the Gods in classical mythology.
Therefore the symbol represents supreme power as well as military might. Often used during the French Revolution, the symbol was appropriated by Napoleon to demonstrate his ultimate authority over the French people.
However, here in the hall of American worthies, it is the power of words which has secured authority, and therefore continued liberty, as demonstrated by the quill pen which rests on the top of the table. The rose which accompanies it is perhaps meant to suggest that, unlike previous governments which had relied on military might to secure and hold power, this American liberty is gentle.
Morris promised Madison that he would send him a early proof impression of the engraving, which was intended for his publication, the New-York Mirror. Whether this print ever arrived at Montpelier, or hung on its walls, is not currently known. However, Madison’s own display of the presidents in the Drawing Room was a constant visual demonstration of the power of liberty secured through the pen.[4]
During the recent inaugural ceremonies for America’s 44th president, Barack Obama, there was much discussion in the media regarding the peaceful succession of power evident in this and every American inauguration. It may be difficult for those of us living in the twenty-first century to understand, but in the eighteenth century the idea that one leader (let alone an elected leader) would peacefully turn over the leadership of a nation to another leader was a radically new idea.
The generation of Americans who founded the United States was unsure that their “experiment” would work. However, the first transitions went well, and by James Madison’s inauguration in 1809 this peaceful succession became something to commemorate. Artists like Thomas Gimbrede began to produce prints depicting these players on this new World stage. In 1812 Gimbrede sent Madison a version of his new print.
Madison and his wife Dolley were well aware of their place in this newly formed government. In 1804, the Madisons began collecting portraits of the presidents, beginning with one of then-president Thomas Jefferson, under whom James was serving as Secretary of State, as well as one of George Washington. By the early 1820s they had also acquired portraits of John Adams, our second president, and James Monroe, our fifth. Many visitors to Montpelier noted these portraits were displayed in the Drawing Room of the house, including one who observed that they were all “hanging together in a corner of the room” (”Mr. Madison. (Extract of a Letter),” Salem Gazette (Salem, MA), 11/20/1835).
As part of the restoration of Montpelier, the architectural research team mapped all of the nail holes that survived in the plaster of the Drawing Room–the only room in the mansion to retain its original plaster. Using this physical evidence in conjunction with visitor descriptions, the curatorial department determined that the presidential portraits were displayed on the wall to the right as one enters the room.
The size of the known portraits and the length of the wall indicated that no more than three portraits could have been hung in a row. The physical evidence supported this possibility, as there were nail holes evident that could have been used for the nails to hang three portraits. In addition evidence of a nail hole right below the cornice suggested another location from which an additional portrait could have been hung. Given that Gimbrede sent Madison a version of his print several years before the Madisons retired to Montpelier, the combined evidence suggested that in a portrait group of presidential portraits the one of George Washington would be raised higher than the others to give it prominence and to suggest his elevated station as the first president.
Notably, the Madisons chose not to hang James’ portrait in the middle of this presidential grouping. They instead hung it along side of his wife Dolley on the opposite wall. Perhaps suggesting a certain sense of humility, this choice most certainly indicates the Madisons’ wish to be presented alongside of one another to the many visitors they entertained.
to be continued…
Image credits: Thomas Gimbrede print “American Star,” Library of Congress. The paintings illustrated are copies of those believed to have originally been owned by the Madisons including: Portrait of George Washington by Gilbert Stuart, Clarkson University; Portrait of John Adams by John Trumbull, National Portrait Gallery; Portrait of James Monroe by John Vanderlyn, The Colonial Williamsburg Foundation; Portrait of Thomas Jefferson by Gilbert Stuart, The Colonial Williamsburg Foundation. The original portraits of James and Dolley Madison by Gilbert Stuart are owned respectively by the Colonial Williamsburg Foundation and The White House. Montpelier Drawing Room photographs copyright Montpelier Foundation.
The evidence on the floor of Nellie’s Chamber is being uncovered by the carpenters (it was trapped under linoleum). So far the evidence reflects what was proposed on the initial plansAll of the physical evidence for the partitions is being double checked by Chad K. and he is currently digitizing the information
Cellar
New Passage (M-002): Several sheathing boards from the cellar stair enclosure were uncovered in the c. 1901 attic space of the bowling alley. The boards (which range from 12-1/2″ to 13-1/8″ thick) show evidence of two generations of stairs (c. 1809 and c. 1880) as well evidence for plaster on the undercarriage of the c. 1809 stair. Both points had already been observed on the north wall of the room, but the evidence was a bit ephemeral and its exciting to have solid proof. In addition, the ghosts for the c. 1809 stair has evidence for the size of the stair’s raisers, treads, nosing and its finishes.
Drawing Room (M-108)
Ray C. has removed the stone mantle and will start to repair/restore it next week. The lintel and one of the legs can be repaired, but one leg and the plinth blocks were beyond salvaging (they will be retired to the architectural artifact collection were they can be used later for exhibits).
Roof
Shingling progresses and they are about to start the first cricket.
- All of the cribbing has been removed.The only brace that remains is found in the Drawing room and is used to support one end of the second floor truss.
- Exciting evidence of additional c. 1760 wall painting was found attached to one of the bricks removed from the re-used bricks in the infilled New Dining Room window (which is currently assumed to have been bricked up c. 1850).The design of the new sample exhibits a slightly different pattern and background color then the samples found in the Dining Room Chamber (M-206).The original location of the new sample, and what that means for the evolution of the house, is still being pondered.
- An intern from Mary Washington has worked with Mark W. to determine which elements, both in situ and in the sample collection, Susan B. will sample.
Colonnade
- Non-Madison Joists and trim have been removed from the second floor framing and the deteriorated ends of the Madison era joists are being consolidated and repaired
- A new plate and replacement joists have been fabricated from heart pine and put into place
Interior Partitions and Framing
- The partition between rooms M-111 (Chamber) and M-112 (Dining Room) has been partially reconstructed
- The Library Closet (M-210) has been partially reconstructed
- The Garret Stair Closet has been partially reconstructed (re-using several original studs).
- After further investigation (plumbing stud locations, re-examining nail evidence on the floor and the ceiling framing), the design for the Garret Closet was altered from what was proposed in the initial investigation’s second floor plan.Instead of three separate spaces (two small closets off of the large bedroom and a long, narrow garret stair closet), it now appears the space was undivided (no evidence was found to carry the closet’s longitudinal partition all the way to the exterior wall.Instead the wall appears to have terminated at the foot of the Garret stair).Additionally, no evidence for doorways leading to the Large Bedroom was found, suggesting the closet only had one entrance (from the passage).Finally, the studs that had been reused in the non-Madison partition were re-examined.The shelving evidence was found to line up with the shelving scars on the closet’s portion of the exterior wall, relating that shelves ran across the closet’s south wall.
- Framing and several studs for the partition walls for the 1760 stair have been replaced.
Basement
- Additional posts have been set
- New Kitchen (M-001), East Wall – A series of nailers and a shelf scar have been uncovered on the east wall, providing strong evidence for a cabinet
- New Kitchen (M-001), North Wall – Ray C. has rebuilt the opening for the doorway and the reconstructed doorframe has been installed.
- New Kitchen (M-001), floor – After comparing the level of the threshold between the new kitchen and the North Cellar Passage to the interior walls of the New Kitchen, it appears that the surviving herringbone paving found next to the exterior doorway on the North Wall is indeed the finished floor level from the Madison occupation.
- New Passage (M-002) – Three additional masonry pockets and two new nailers have been uncovered that are associated with the north cellar stair framing.Additionally, ghosts for the staircase have been uncovered, giving the angles for the primary flight and the winder.
Roof
- Sheathing and shingling have started on the south end
Windows
- Kevin has opened up the window in the New Dining room and the window frames in the Dining Room Closet and M-200 (Room over Mr. Madison’s Room) have been replaced.
Drawing Room (M-108) Fireplace
Several exciting discoveries have been made as Ray C. deconstructed the c. 1870 infill to reveal the mantle.
- First, an approximately six inch piece of the 1760 stone mantle was recovered from the 1870 fill.The piece has clear evidence of an egg and dart pattern (similar to the undamaged 1760 mantle in the Dining Room (M-112)), providing solid proof for reconstructing the stone portion of the Drawing Room mantle.
- Second, Ray discovered that the Madison Period III hearth setting bed was almost completely intact, including tool mark impressions from the back of the period III hearth stone.When the tool marks from the back of the St. Bea’s hearth stone that was uncovered by the archaeologists in a cellar pit were compared to the marks in the setting bed, it became very clear that the stone was once found in the Drawing Room.Ray C. feels confident he can repair the hearth stone and, using a 1/16” setting material, place it back exactly where it was found in Madison’s time.
- The rear of the Madison fire back also appears to have been plastered and was covered with multiple generations of whitewash.
- The uncovered Madison era mantle has been measured and photograph in preparation for removal by Ray C.After removal, Ray will assess its condition and develop treatment options.
- Ray C. has also found slight black graining in the mantle stone, confirming that the stone original came from the St. Bee’s quarry.
