While I wasn’t willing to disobey the photography rules of the Aiken-Rhett house in Charleston, S.C., other photographers have – or were granted permission by the Historic Charleston Foundation.
If you want to see the pieces of furniture for the slave quarters that I referenced in my blog entry, you can check out these sites:
This Flickr.com set has 80 photos of the house, including pictures of the slave quarters and their furnishings.
Photographer Julia Cart has this photo from the slave quarters.
This blogger has photos of the slave kitchen and his young girlfriend/wife.
The photo at the top of the entry is by me and is of the gate to the slaves’ work yard.
The view of the back of the house from the slave’s work yard. The main house (yellow) is flanked by the slave quarters (left) and the carriage house (right).
Our Sunday-afternoon tour of the Aiken-Rhett house in Charleston, S.C., began in the basement of the historic structure. And as far as I was concerned, it could have ended there.
The first room on the tour is the so-called “warming room,” where slaves would hold the food that was about to be served to the masters upstairs – up the back stairwell of course.
This room contained a stretcher table that looked just like many of the stretcher tables I’ve been investigating at the Museum of Early Southern Decorative Arts. A ladderback chair in front of the hearth looks like the chairs in my files. The built-in cupboards were detailed with simple beads for the most part – plus some other straightforward profiles.
The reason this room was so intoxicating is the Aiken-Rhett house is my favorite kind of house museum. Instead of trying to restore the structure to some certain point in its history, the Historic Charleston Foundation committed itself to preserving the house in its current state. Not adding. Not taking away. Not changing. Just suspending the house in time after an amazing 192-year run in a city at the epicenter of our country’s volatile history.
So the furniture is the real stuff. Not reimagined or restored or rebuilt to some modern plan. The walls throughout the house are in various stages of decay, with the shadow of every layer of wallpaper and built-in still evident.
The warming room, slave quarters and work yard are interesting and striking to me because they have aged far better than the rooms reserved for the masters. The slave quarters feature simple plaster walls. The moulding at the floor is simple yellow pine with a bead at the top. The original furniture is nothing special, and yet it wears its scars from age better than the high-style stuff in the main house.
In the fancy part of the house the elaborate mouldings, plaster work, wallpaper and paint haven’t survived as well – no surprise considering the fragility of the materials. The original furniture was fairly well cared for, though the post-1830 stuff is awkward, heavily veneered and infused with classicism (to my eye). Interestingly, the slave’s work yard was built with Gothic details.
So what the heck does all this mean? Glad you asked. The Aiken-Rhett house is definitely a four-story touchstone for my next book, “The Furniture of Necessity.” Until I walked into the cool, dark confines of the house’s warming room, I was wondering if my ideas for the book were nuts. After 10 minutes poking around the warming room, I became certain my ideas for the book were nuts – and dead-nuts correct.
— Christopher Schwarz
P.S. My apologies for the photos. The museum’s policy is to allow photos only from exterior vantage points. If you are ever in Charleston, I highly recommend a visit to this home.
The view of the back of the house from the slave’s work yard. The main house (yellow) is flanked by the slave quarters (left) and the carriage house (right).
“It is worth noting on the Platte one may sometimes see the shattered wrecks of ancient claw-footed tables, well waxed and rubbed, or massive bureaus of carved oak. These, some of them no doubt the relics of ancestral prosperity in the colonial time, must have encountered strange vicissitudes. Brought, perhaps from England; then, with the declining fortunes of their owners, borne across the Alleghanies to the wilderness of Ohio or Kentucky; then to Illinois or Missouri; and now at last fondly stowed away in the family wagon for the interminable journey to Oregon. But the stern privations of the way are little anticipated. The cherished relic is soon flung out to scorch and crack upon the hot prairie.”
— Francis Parkman, “The Oregon Trail, Works, Vol. 12,” (Little, Brown, 1910) page 103
I spent today at the research center of the Museum of Early Southern Decorative Arts (MESDA) on a scouting trip for my upcoming book “The Furniture of Necessity.” MESDA’s research center in Winston Salem, N.C., is an irresistible magnet for this book because of the museum’s “object database.”
This database has 20,000 objects of furniture, metalwork, textiles etc. in it. And you can browse through it to your heart’s content – the research center is free and open to the public (true Southern hospitality).
I pored over the furniture archives today until the research center closed, and I scanned more than 150 photos and datasheets about pieces of furniture that were produced for the middle-class (whatever that is) – or people with austere tastes.
I got some amazing stuff, including some Moravian chairs that are shockingly contemporary. Plus some great stretcher tables, six-board chests, drop-leaf tables and chests of drawers. I’m afraid I can’t show you my scans because they are protected by copyright, but I will attempt to divert your scorn by writing about something else – Jerome Bias!
I got to have lunch with Jerome, a furniture maker and interpreter at Old Salem. Jerome wrote the great story in Popular Woodworking Magazine about Thomas Day and was the guy who introduced me to the research center at MESDA.
When I visited Jerome’s shop at Old Salem he was cleaning out the bottom of an oilstone box he was building using an old woman’s tooth router plane. We had lunch at the local shop of Martin O’Brien, a cabinetmaker, finisher and stone carver.
The barbeque was terrific, of course, but the conversation was even better. Martin does a lot of work on MESDA pieces and had some great insights into traditional finishing that made me stop chewing my food.
So that’s what I did on my summer vacation. And now I have earned a can of Fat Tire.
— Christopher Schwarz
P.S. I did change the title of this blog. Some readers pointed out that using “chicken” in the headline could be misconstrued. Not my intent. Ever. So I just changed it. This is not worth of comment please.
If I were a smart man, I wouldn’t discuss my failings as an editor, writer and publisher. But I do like to keep people informed on how our upcoming books are going. So here goes:
“Mouldings in Practice” by Matt Bickford. This book is almost completely designed and ready for the printer. What has slowed me down is the number of illustrations. There are hundreds and hundreds. And each one had to be converted from SketchUp to Illustrator, and that is a very manual process. The book will be released this summer. The people who have read this book have had their minds blown. It’s good.
“To Make as Perfectly as Possible” by Andre Roubo with a translation and essays by Don Williams and Michele Pagan. Work is going full-bore on the first volume of this book. The book designer, Wesley Tanner, is building the templates. The translation is complete and the supporting essays are being polished. We are going to publish this volume in two editions: a fancy 11” x 17” deluxe edition (only 500 copies) and a trade edition that will be more like a typical Lost Art Press book. More news to come. The first volume should be out by the end of the year — or early 2013 at the latest. Expect great things.
“By Hand and Eye” by George Walker and Jim Tolpin. I’m reading the first draft of the book now — the final draft will be in my hands in three weeks. It is fantastic. It will be out by the end of 2012 as well.
“The Joiner & Cabinet Maker” audio book, ePub and Kindle editions. I’ll be recording the audio book this week with our voice talent (news to come on that) — the electronic editions of the book will be in the store in a couple weeks. And the second printing of the book is now in stock.
Oh, and my books. I’m working actively on my own books on “The Furniture of Necessity” and “Campaign Furniture” on this Southern tour. I’ve got a few research stops planned for these books. However, don’t expect anything from me this year — I’m trying to get these other projects to press first.
There are a lot more things in the works: Peter Follansbee is working on a book on chests, we have a book on chairmaking in the works and (perhaps) our first deck of playing cards. Finally, there’s our super-secret project I cannot talk about (aw, crap, I just did). It has been in the works for two years now and will be huge. Literally.
