Ribbons, Roses and Wine in the Garden: Box Knot Rededicated

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Tudor Place Trustee Bruce Whelihan, here flanked by
wife Alice (RIGHT) and Executive Director Leslie Buhler,
was celebrated for helping to secure funding for the
project from The Ruth S. Willoughby Foundation.
Celebration came to these historic gardens this month when Tudor Place Trustees and staff gathered with neighbors and other supporters to “cut the ribbon” on the newly restored Box Knot Garden. This formal layout of heirloom roses in geometric beds defined by boxwood hedges dates to the home’s earliest days. Its renewal and restoration for centuries to come, completed in November 2011, signals the commitment to the preservation of the entirety of historic assets stewarded by Tudor Place Foundation for the public good.
The North Garden donned its best spring colors for the evening reception, which featured wine, canapes, and heartfelt remarks on the historic estate’s past, present, and bright future. Once the ribbon was released, guests trod lightly among the flower beds where Tudor Place founder Martha Custis Peter herself once tended beloved roses. During the Civil War, the garden fell into disrepair and its original layout was lost. It was recovered in the 1926 from a garden design book showing Avenel, in Virginia, where the Knot had been copied, and a restoration was completed in 1933 based on the Avenel drawing.

The sundial that centers the geometric layout came from CrossBasket Castle in Lanarkshire, Scotland, the childhood home of Robert Peter, tobacco merchant and first mayor of Georgetown. His son Thomas bought the land on which Tudor Place sits with his wife, the former Martha Custis, in 1805. They funded the eight-acre purchase with a legacy from George Washington of $8,000 (some $11 million in today’s dollars).
Trustee Dan Dowd came prepared for rain, but none fell.
Instead, a gray twilight lent its glow to the spring blossoms.

 

Curator of Collections Erin Kuykendall (RIGHT) shared stories with
Collections Committee member Elizabeth Edgeworth.

 

Director of Gardens & Grounds Suzanne Bouchard, who shepherded the project from vision to completion, discusses its contours with Board Vice President Geoffrey Baker and Trustee Margaret Jones Steuart.

 

Guests were invited to take home cuttings from the
estate’s historic boxwood.

 

The Circle Garden, with the aroma of mock
oranges floating in from its perimeter, made a
perfect setting for cocktails.

 

As a token of appreciation, Mr. Baker presented Mr.
Whelihan a painting of the restored garden, commissioned
for the occasion from Tudor Place Artist-in-Residence Peter Waddell.

 

Director Leslie Buhler exchanges a word with Trustee
C. Jackson Ritchie, cradling his boxwood seedling.

 

A new leaf, literal and figurative, for a landscape nearly spanning our country’s history — truly something to celebrate!

 

What Lies Beneath, Part II: Secrets of the Temple Portico Roof

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The Temple Portico is sporting a new roof, its first in almost a century and a half. (Keep reading for the details behind that estimate.) Just as important as a repaired roof to keep the house interior dry, conservators and historians are excited by what the preservation process “uncovered” about the roof we replaced (“Phase 2,” from the 1870s) and the original that preceded it, “Phase 1,” 1814-1816. From acorns to rafters to double-struck nails, the dome’s innards revealed a rich  history to anyone patient enough to read the clues. Among the key revelations, we can now confidently date and type the roof’s previous incarnations.

Following Preservation Protocols
The roof project followed years of planning and weeks of studying its foundations. As posted earlier, conservation began with removal of the existing, Phase 2, metal cladding, followed by documentation and stabilization of the framing — curved wooden rafters — and wood sheathing beneath. When we opened a small section to examine existing conditions back in January.

Architect William Thornton had made the Temple Portico the centerpiece of his drawings for Tudor Place, as seen below, but left construction details to be worked out by the unnamed craftsmen who built it. Because they left no records, this conservation project was our chance to see how, with simple equipment, materials and tools, they made the sketched dome a physical reality.

Any project that removes historic fabric requires scrupulous notes on all that came before — materials, design and construction — for future reference and interpretation. That’s why, as soon as the scaffolding was complete, Curator Erin Kuykendall and I mounted its top level on the first of what would be many ascents.

We made measured drawings and took photographs of the old tin roof’s seams and other construction particulars. As the project progressed, we gathered material samples for our architectural fragment collection.

Clues “Written” with Wood and Nails
From the prising up of the first metal scrap, we could see that this was going to be an exciting reveal: The wood below appeared relatively intact and displayed clear evidence of nail patterns from a still earlier roof. (We also found two acorns sitting on the rafters, which Director of Gardens and Grounds Suzanne Bouchard identified as white oak.)

Through the patterns of nail holes, the roof’s story began to emerge. In the photo above, the pulled-back metal reveals nails spaced at three-to-five-inch intervals. Looking right, though, other lines of nail holes — black ones — appear, spaced about every inch. Their pattern creates eight-inch-high rectangles of widths between six and 12 inches. This is roughly half the size of the metal pans being removed in 2012; that accorded with what we already suspected about the Phase 1 roof. But now we were getting closer to answers about how long it was there and of what it was made.

Digging down further yielded clues. Once the entire upper portion of the Phase 2 metal was gone, we found wood sheathing in varying condition. Some crumbled at the touch, but other sections were sound. Most exciting from a historical standpoint, almost all of it appeared to date to 1814-1816, the construction period of the house’s center block. From an architectural standpoint, the roofers and I marveled over the high level of craftsmanship employed in the dome’s construction, including hand-cut, curved wood sheathing and massive rafters that taper in depth as they near the dome’s top. Most likely, the rafter structure would have been crafted and pieced together at ground level before being installed above.

When it came to further narrowing dates, nails proved the best clues. The light colored wood sheathing you see at the dome’s pinnacle, above, is a different thickness than most of the darker wood below it and was attached with different nails. The wood below is sash-sawn yellow pine, cut by hand on a curve so as to wrap evenly around the spherical shape.

The specimen at far right above is a one-inch machine-cut nail used to secure tin plates. In the center is a machine-cut three-inch nail that attached the lighter-colored wood sheathing beneath the metal near the top of the dome. (These were also lightly scattered through the rest of the wood layer.) At left is the most interesting find of all: A double-struck nail of a style employed for only about three decades starting in the 1790s. This period marks the transition from fully hand-wrought nails made by blacksmiths to the introduction of completely factory-made nails, in the first half 19th century. Double-struck nails combine a machined part — the long, cut “shank” — with a head shaped by a blacksmith with two strikes of the hammer, hence the name. The blacksmith’s blows gave the heads a distinctive rectangular shape showing two depressions from each hammer strike.

The Portico roof findings conformed with date estimates of the main (central block) roof, as that larger portion was also secured with double-struck nails. This match of materials and craftsmanship confirmed our conviction that the Portico was constructed concurrently with the center block of the main house.

The Clues Beneath: Dates and Materials Answer Old Questions
Struck by the richness of this and other new information in the roof’s lower layers, we opted to delay the project for additional investigation and documentation. The postponement enabled us to invite an examination by Orlando Ridout V, renowned architectural historian and co-author of the Tudor Place 2002 draft Historic Structure Report (an architectural analysis commissioned by Tudor Place). Ridout, who heads the Maryland Historical Trust’s Office of Research, Survey & Registration, confirmed that we were indeed looking at the circa 1814 building fabric.

Until this point, Tudor Place staff and researchers had been unable to say for sure what material covered the dome during the earliest (Phase 1) period of 1814 to the 1870s. Based on wood shingles that had been found in a roof over the hyphens (the corridor sections linking the center block to the outer wings), we had surmised it might have been clad in wood. But Ridout’s inspection of the tightly spaced nail pattern (black holes) indicated that metal was the material of choice in 1814.

He also helped us home in on the dates of the later, Period 2, roof. Because its tin pans were attached with machine-cut rather than wire nails — the next step in nail technology — it must have been installed in the mid- to late-19th century. Knowing that, and assuming a life span of at least 50 years for the original 1814 roof, I delved into the Tudor Place Archives to examine early photos of the house’s south elevation.

Eureka. Although difficult to see here on a computer, looking through a magnifying glass at an early print of this circa 1873 photograph showed seams on the Portico’s metal roof that matched the seams of the tin roof we removed this year. The means the tin roof and, most likely, the repaired wood sheathing beneath it date to sometime between the Civil War and 1873. That means most of the tin still there in January 2012 was 140 years old!

The demolition process also unveiled evidence of numerous repairs over the years, especially to the roof’s flashing and water table. It is the flat portion at the bottom of the dome. Just above it, you can see a series of wood shims that were installed all the way around the dome. These were nailed atop earlier flashing that was very rusted and had obviously failed long before. Probably in an effort to skim water from the roof toward the gutter, the shims changed the angle of the bottom of the dome. Because they were attached with wire nails, we recognize them as an early-20th-century alteration.

Clues for Further Research
More clues came from the metal used for the flashing — smaller metal pieces that bridge and seal the junction of roof and wall. We found two manufacturing stamps. The earlier metal was stamped by a company called Blue Ridge, while some of the later flashing (at the water table level) was stamped by a company called Potomac. Both names indicate they were regional manufacturers, which gives us a great starting point for future research about the materials and craftsmen involved in construction and maintenance of Tudor Place.

Because half the dome extends into the mansion’s interior, the roof restoration also proffered an opportunity to look at its hidden, back side. At its top, we found, the wall is wood frame rather than masonry.

The photo above shows how the dome’s rafters were formed before the expert smoothing and shaping of the carpenters’ planes. In the shadows, what looks like scrap lumber is actually nailed joints of rafter boards coming together to make the curved dome. On the exterior, they were smoothed and carved into a semi-spherical surface, before being covered by flat metal tiles or “pans.” (The cuts ran to depths of about six inches near the top of the dome, expanding to about 18 inches near the bottom.) But within the house walls, the rafters required less labor: Their upper edges were left with the awkward-looking right-angle joints seen above.

Unfortunately, no great artifact was hidden there — just construction debris and a great view of the curved rafter design on the one side, and the backside of the dome’s plaster ceiling on the other.

A High-Tech Record of a Low-Tech Roof
Given all the roof revealed, we couldn’t resist capitalizing even further on this once-in-a-century opportunity to see “what lies beneath.” Delaying one day more, we brought out a crew from Direct Dimensions, a laser-scanning firm, to document the roof with state-of-the-art laser cameras. The data they gathered will be used for historic documentation and future research. It will help with identifying and sorting out the nail hole pattern associated with the circa 1814 roof. Most exciting of all, it enables us to create three-dimensional virtual models to use in  future interpretation on the evolution of the house.

These are snapshots from the laser scan draft report:

Below, the larger dots indicate nails securing the wood sheathing to the rafters. The hundreds of lighter dots are nail holes left from the Period 1 (1814-1816) and 2 (1870s) metal roofs. If you look closely, a pattern of the smaller, Period 1 roof pans emerges (follow the gray “lines,” which are actually rows of closely spaced dots).

At Last, Repair and Reconstruction
Once the roof was scanned, repairs to the wood sheathing began. Wagner Roofing applied reclaim heart pine to adjust the water table’s slope and repair short “sister” stretches of the rafters damaged by moisture and dry rot. They used southern yellow pine to fill gaps in the sheathing. Even working with thicknesses of only 5/8 inch, they found it challenging to bend the wood onto the dome, inspiring new respect for the craftsmen two centuries ago who managed the job with only saws, hammer and nails.

Once the gaps were filled, the sheathing was covered with 1/4 inch-thick plywood to provide a solid surface for the new metal roof. Using plywood allowed us to retain most of the original sheathing, even though parts of it were in poor condition. Next, the metal crew arrived to install new lead-coated copper pans and to line the dome and gutter.

The height of each course of metal matches the tin roof just removed. This preserves the Phase 2 roof’s visual character. The metal’s shine will fade, meanwhile, to the weathered gray seen today on the hyphen roofs (to either side of the house’s center block).

The metal installation having been completed, the surrounding stucco was replaced around the roof flashing’s edges.

 

By Elizabeth Peebles, Preservation Manager

A Day to Celebrate Washington and Experience Life Before Electricity

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By Haylee Wilson, Tudor Place Communications Intern

Stepping into George Washington’s shoes, Girl Scouts, Boy Scouts and other young people experienced life without apps, engines and appliances on Presidents’ Day. They joined more than 100 visitors of all ages in “Celebrating George” and his influence at Tudor Place, along with the chance to see Washington items of special significance on view just this one day each year. (The wider “Window on Washington”  featuring displays of many Washington artifacts remains on view through March.)

The event provided a rare occasion to snack on period treats, try one’s hand at early American artwork, and stroll freely through the mansion with expert staff and docents on hand to highlight the Washingtons’ legacy here. During Presidents’ Day only, visitors could examine one of three surviving letters from George Washington to his wife, in which he bade her a fond farewell as he took up his Continental Army commission. Mrs. Washington’s handcrafted needlework was also on display for one day only, as was a famed miniature portrait of the first President, an engagement gift from him to his step-granddaughter, Martha Custis Peter — founding mistress of Tudor Place. — and one of the few portraits for which he personally sat.
Guests were met in the Conservatory with colorful baked goods made from period recipes, including Codling Apple Tarts, Hyson’s Green Tea, and Martha Washington’s own Great Cake (recipe follows this post).

Every child was invited to complete a scavenger hunt through the grounds, and its completion earned them small prizes. Our camera followed one set of scouts and families who, clipboards in hand, headed off after treats were finished for a little adventure.

 

Natural sunlight beaming through the windows lighted their way throughout the house as they searched for clues. First, they were introduced to appliances that residents used before the conveniences of electricity.  They considered the absence of microwaves and freezers in the Peter family’s 1914 kitchen.

Scavenger hunters learned how, even in the absence of motorized tools, domestic workers pulled off elaborate dinners for the estate’s constant stream of guests and residents. In the absence of modern appliances, they recognized pots and pans and stoves, considering the different ways they were used before electricity changed household routines.
Moving into other areas of the house, boys and girls alike were fascinated with the network of bells and wires throughout the house that used to summon servants.  As they explored the house, they searched for the cords in each room.

Traversing a gravel path through the North Garden, they next visited the Dower Townhouse, our administration building, for hands-on learning about the art of silhouette-making, a popular medium for early American portraits. Inspired by the images of America and Columbia Peter that flank the main house Drawing Room, and using a three-dimensional bust of our first President, Artist-in-Residence Peter Waddell demonstrated how to first sketch a profile.
Students drew and discussed the visual angles in various works of art before drawing profiles of George Washington, which they then cut out and placed on elegant white backgrounds. To further adorn their images, Peter taught them about differences in fonts, uses of capital letters, and the origin of serif lettering.

 

Crossing back through the garden, the Pierce-Arrow Garage came next, where guests learned from “Martha Washington” herself how to have still more fun without electricity.  She began with a lesson in dancing, explaining that Georgian-era style valued balance and symmetry. 

       Mrs. Washington also introduced period games requiring no fancy boards, batteries, or sound effects.  Building houses of cards, playing card games, and dominoes were among entertainments our guests had heard of.

 

    Much of what children and families learned on Presidents’ Day encourages a commitment to sustainability. The Girl Scouts will use their new understanding on March 31, when they participate in Earth Hour, a World Wildlife Fund initiative that creates awareness about climate change by asking participants to turn off the lights an hour. Families can also connect with nature and sustainability, in one of the city’s greenest spots during the popular annual Earth Day at Tudor Place, Sunday, April 22. From 1 to 3 p.m., enjoy games, a themed scavenger hunt, and planting seeds from the historic garden in pots you decorate yourself.
Tudor Place offers additional  events for visitors of all ages throughout the year, including educational programs for scouts, school groups, and homeschoolers. Visit us soon!
For still more photos from Presidents’ Day, and to add your comments on the day, see the Facebook album. Good luck with the recipe below, and let us know how it turns out!

Martha Washington’s Great Cake
tweaked for the modern kitchen by curators at Mount Vernon

original
Take 40 eggs and divide the whites from the yolks and beat them to a froth. Then work 4 pounds of butter to a cream and put the whites of eggs to it a Spoon full at a time till it is well work’d. Then put 4 pounds of sugar finely powdered to it in the same manner then put in the Yolks of eggs and 5 pounds of flour and 5 pounds of fruit. 2 hours will bake it. Add to it half an ounce of mace and nutmeg half a pint of wine and some fresh brandy.

modern adaptationsIn making Martha Washington’s famed cake, Mount Vernon’s curatorial staff followed Mrs. Washington’s recipe almost exactly. Where the recipe called for 5 pounds of fruit, without specifying which ones, 2 pounds of raisins, 1 pound of currants, and 2 pounds of apples were used. The wine used was cream sherry. Since no one pan would hold so much batter, it was divided into two 14-inch layers, which were then stacked. (The cake in its original form would have been a single tall layer). These layers were baked in a 350-degree oven for 1.5 hours and iced with a very stiff egg-white-based icing flavored with rosewater or orange-flower water.

We’re in the Comics! An Animated History of D.C.’s Start

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Note: Post updated, February 23, 2012, with addition of an older comic — sort of a ‘flashback Flashback,’ regarding another real estate transaction involving Tudor Place forebear Robert Peter. (Click on comics to see enlarged.) 

Close those history books. It’s time to learn a little D.C. history from the “funnies” page!

First, some background: Many people know that Robert Peter

(1726-1806)

, first mayor of Georgetown, tied his family to that of George Washington in 1795, when his son, Thomas

(1769-1834), married Martha Washington’s granddaughter, Martha Parke Custis (1777-1854). Martha and Thomas Peter went on to buy, build and reside at Tudor Place. But what is less well know is that, four years before the wedding, Robert Peter and the President engaged in a different sort of transaction, one that helped to bring about the new District of Columbia.

Georgetown was a wealthy colonial port and the nearby capital city no more than a promise and a sea of mud when the President authorized his agents to secure land for a new city. It’s brought to life in this February 5 “Flashbacks” by Patrick M. Reynolds:

 

CLICK TO VIEW ENLARGED

A successful tobacco merchant, Peter was born in Scotland with little prospect (as a later-born son) of inheriting the family estate of Crossbasket. He is thought to have arrived in the American colonies in 1745. He and his wife, Elizabeth Scott (1744-1812), had 10 children, of whom seven survived to adulthood.

Thomas and Martha Peter also had 10 children, of whom five reached maturity. Britannia (1815-1911), the youngest of these, inherited Tudor Place.

 

 

It would be more than a half century after the Meridien Hill sale before the rustic, under-populated District overtook (and, in 1851, incorporated) its more prosperous neighbor, Georgetown. The property Mayor Peter sold to Washington’s agents later was the site of a 19th-century society “castle” and is now a renowned park.

And here’s another ‘Flashback’ to a later land deal by Robert Peter:

What Lies Beneath: A Peek Behind the Physical Fabric of Tudor Place

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By Elizabeth Peebles, Preservation Manager

While Tudor Place is closed to the public in January, the entire property buzzes with activity to ensure the long-term preservation of collections and buildings. As an added bonus, what’s good for maintenance and preservation is good for scholarship and inquiry.

Tudor Place Foundation exists not just to maintain its historic treasures, but also to learn from and interpret them. Whether we’re replacing a roof, installing new capitals, rebuilding an arbor, restoring an iron gate–most every project we undertake offers insights into the foundations of this noteworthy 1816 estate. Behind every surface, we find clues to how it was built and why it has lasted.

It is humbling to think that only a handful of people (and with this post, you, too!) have ever seen this part of the physical fabric of Tudor Place. Enjoy this peek into three conservation and restoration projects currently underway:

31st Street Entrance
Our iconic entrance gate is showing signs of its age.

Rust is encroaching on the historic iron gates:

So off they went!

Last week, Conservation Solutions hauled the ironwork to their workshop for cleaning and recoating. Conservators will also replicate a few elements, like this missing finial.

The adjacent pedestrian gate will be carted off next for similar treatment and we should be welcoming back the refreshed and renewed gate in four to six weeks. In the meantime, you’ll see this temporary replacement if you visit:

North Entrance Capitals
Tudor Place’s main entrance centers the mansion’s north side and was originally constructed with flanking capitals made from locally quarried Aquia Creek sandstone. During 1914 renovations overseen by Armistead Peter, Jr., the capitals were removed and replaced with pilasters of cast concrete.

At least, we thought they had been removed. When the building’s stucco facade was removed in 2007, we found that much of the original sandstone blocks remained embedded in the thick walls behind the concrete replacements. When the stucco was replaced, these remnants remained hidden behind plaster pilasters temporarily inserted to replace the concrete ones (seen above).

But longer term measures were needed. After considering all the options, our Buildings and Grounds Committee decided to restore Aquia Creek sandstone above the door, after an absence of almost 100 years.

The Virginia-sourced stone appears in some of Washington’s most prominent early buildings, including the White House and U.S. Capitol. George Washington’s Mount Vernon estate, too, has Aquia Creek sandstone features, which proved fortunate for us, as Mount Vernon generously donated an unused piece of the material for use in the new capitals.

First, we removed the temporary plaster-pilaster capitals in place since 2007, revealing the remnants of the beautiful original sandstone. The pieces appear to recede through the full depth of the wall, and you can see the outline of the original molding profile:

As a guide in shaping the new sandstone blocks, the stone carver is referring to molding profile drawings from 1914, as well as traces of the original profiles still seen (as above) in the existing wood trim . It will take him a few weeks of carving before we can install the new pieces.

Temple Portico Roof
While the house’s main entrance anchors the north side, the south facade’s Temple Portico is possibly its most memorable feature. This month, for the first time in at least 100 years, its semi-domed roof is being pulled back, and its frame exposed to the open air.

The project addresses a vexing problem of longstanding. Moisture has been seeping for years into the southeast bedroom on the second floor, opposite the spot where the Temple Portico’s molded-steel gutter meets the exterior outside wall.

 

Earlier, less invasive attempts to repair the damage did not work. (The water damage seen below is usually concealed behind a bureau!)

 

The first option considered was simply relining the gutter. But after further examination, Wagner Roofing recommended completely replacing the Portico’s tin roof and metal flashing, and the Buildings & Grounds Committee approved this approach. The tin pans that comprise the roof are rusting and have grown thin from years of exposure to the elements. As far as we know, the replacement of this roof is the first since the 1800s: 20th-century improvements to the Portico dome appear to have been limited to minor repairs and many, many layers of paint.

Last week we opened a small portion of the roof to investigate existing conditions:

In the photo above right, you can see the pine rafters that shape the dome.

In a few weeks we will have installed the complete scaffolding, documented the existing metal roof, removed the metal, documented the visible wood framing below, and installed new flashing, roof, and gutter liner. Once spring weather arrives, Federal Masonry will return to replace the surrounding stucco removed to install the flashing.

Be sure to check back for pictures of the finished projects. Or better still, visit us soon to see for yourself!

Tudor Place Historic House & Garden, in Georgetown, is one of the District of Columbia’s first National Historic Landmarks. Tours are offered hourly Tuesday through Saturday, 10 a.m. to 3 p.m., and Sundays, 12 p.m. to 3 p.m. (Doors close at 4:00.) The house is closed Mondays and throughout the month of January. For those seeking insights beyond the regular docent’s tour, special tours can be scheduled for groups of 10 or more.

Tales of a Tudor Place Intern: The Peppercorn Puzzle

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By Sarah Dickey, 2011 summer Collections Intern

Sealed for 90 years, this packet revealed surprises
when our Collections experts opened it.
Sarah was one of several interns
inventorying collections in 2011.

One day this summer, conducting textile inventory with Collections Assistant Joni Joseph, we came across a box that contained several feather fans. Many were in small boxes that had been wrapped with newspaper and tied with string. One of the boxes was wrapped in sheets of the New York Herald from May 22, 1921, and did not appear to have been opened since that date:

Its wrapping, a Long Island newspaper, dated the object to May 22, 1921.

Carefully removing the string and paper, we found a box containing a bright pink feather fan with a tortoiseshell handle. Although the fan was beautiful and extravagant, what caught our attention first was debris covering both it and the bottom of the box.

Part of Caroline Peter’s luxurious wardrobe (including Hermes, Lanvin and stylish gowns from several eras), this
dramatic feather fan was littered with mysterious black debris. What was it?

Our first thought was pest damage, the worst nightmare of any Collections Manager. Upon closer inspection, though, we realized it was actually some sort of plant material. We turned to conservator Barbara Roberts, who determined it was… peppercorns!

Now, why would a fan be sealed in a box strewn with peppercorns? Our instinct was, it must be a home remedy to repel moths or other bugs. Preliminary internet research produced no evidence to back this up, however. Only after more in-depth studying did Joni confirm our suspicions at last, in a 1919 how-to book, Housewifery: A Manual and Text Book of Practical Housekeeping. Writing shortly before our fan went into storage,in a chapter called “To Put Away Clothing,” author Lydia Ray Balderston instructed:

The thoroughly clean garment should be packed in moth-proof containers, which range all the way from tight newspaper wrappings, and sheets of tar paper, to tar-paper bags and cedar chests. Pepper, tar balls, camphor, cedar chips, or a combination of cedar, camphor, and tar, such as is sold in packages, are usually enclosed with garments as an extra precaution. The object of these materials is to keep out moths and other insects, as they are pungent and irritating to the air passages of the insect.

— Balderston, Lydia Ray.  Housewifery: A Manual and Text Book 
of Practical Housekeeping.Philadelphia: Lippincott, 1919.

 

Sarah Dickey at Tudor Place.

The peppercorns certainly worked, as the fan showed no sign of pests or pest damage. It would be interesting to know whether someone at Tudor Place had read this very same manual, or whether the method was common practice at the time. Whatever the case, it was gratifying to see that whoever wrapped this fan 90 years ago was as concerned about preservation and conservation as we are!

Sarah Dickey recently received her M.A. in Museum Studies from George Washington University, with concentrations in Collections Management and Anthropology.

Getting to Know the Trees at Tudor Place

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By Kelly Whitson, Summer Intern, Garden & Grounds
 
My internship in collections management at Tudor Place this summer introduced me to a type of “artifact” I had never worked with before: trees. Tudor Place is rare among historic house museums in undertaking a complete inventory of its woody plant material – some 400 trees on 5.5 leafy acres – to officially accession them into its collection, the same as it does with interior items like dishes, beds and paintings. As a horticulture collections intern to Director of Gardens and Grounds Suzanne Bouchard, my main task was to help research and document about 100 of these trees and enter them into the collections database Suzanne created in the PastPerfect program, with codes and formatting developed to professional standards.
Histories and mysteries: This towering Scarlet Oak, planted in honor of George Washington,
left a hefty “paper trail.” Stories behind other specimens are harder to trace.

In evaluating my internship experience, I find the most unexpected result was a sense of knowing the trees personally. Some of their histories were easily discovered, like the Scarlet Oak, above, planted in 1932 to commemorate the 200th anniversary of George Washington’s birth. Others are mysterious in origin: historic photos, slides, family records, garden committee notes – nothing reveals their planting date or story.

 

The trees’ solidity is comforting, while their
changes are fascinating, even to a novice.
The trees’ structures and growing habits depend on their locations in the garden and provide interesting visual dynamics. From the towering Border Oak and famous Tulip Poplar (at left), which have reigned over the house and garden since the their inception, to the tiny seedlings just “joining” the collection, they all have personalities. Getting up close and personal with them, measuring them, evaluating their health and discussing their histories creates a feeling of intimacy.
I want to visit in the fall to see their changing leaves and return again in the winter to see their “bones.” I want to visit in the spring to see their flowery offerings and in the summer, to be enveloped by their lush green leaves. I encourage visitors, too, to return repeatedly to get to know the trees at Tudor Place:
Their solidity is comforting, while their slow changes and distinct characteristics are fascinating, even to a horticultural novice.

Kelly is an M.S. Candidate in Museum Studies at The George Washington University.

 

Old Roses

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Old Blush Rose
The Peter family has had a long history of admiring and cultivating a very special type of plant…the rose. In the early years of Tudor Place, roses were found in almost every area of the garden: down near the southern perimeter which borders what is now Q St, along the lower walk, and scattered throughout the north garden. Today, visitors to the Tudor Place gardens can still see some of the descendents of the first roses cultivated on the property.

 

Roses were first mentioned in the family writings referring to Martha Custis Peter, who with her husband Thomas purchased Tudor Place in 1805. Their daughter, who inherited Tudor Place, Britannia Kennon remembered a small double flowering white cluster rose, a damask rose, and the hundred leaf roses were in the garden before she was born in 1815. She later wrote, “Every year mother would have the old hundred leaf roses gathered and sent to Mrs. Arney who owned a sweet store on Bridge Street. Mrs. Arney would distill rosewater from rose leaves. It took one bushel of roses to make a bottle of rose water – about a quart. She would keep one bottle and send mother the other.” At one time hundred leaf roses could be found in a large clump in the area which is now known as the Orchard garden. The roses were divided and replanted along the center axis path by Armistead Peter 3rd and were present well into the 20th century. Rosa × centifolia are highly fragrant and still used in perfume making.

 

Another family favorite was the old monthly rose, pink daily, or “Old Blush” rose. This rose is a hybrid of the first China rose and was brought into cultivation in the 1750’s. The old monthly rose was at Tudor Place from the beginning. Martha Custis Peter had this rose saved and transplanted in the garden while the house was being built. It was returned to its proper place and replanted by the parlor window after the house was complete in 1816. The monthly rose is still grown on the south side of the house by the parlor window. We believe the specimens on the south façade are cuttings from the original rose bush.

 

Tudor Place has many antique varieties and newer cultivars in the garden. Some are in their original locations while others have been moved due to changing growing conditions. The roses have been admired by family and visitors for over a century. In an 1879 article for the Georgetown College Journal, Mrs. Anna W. Dorsey writes ”In summer the grounds, in which Mrs. Peter took great delight and pride, present a scene of unrivalled beauty with their great shade trees, and sloping velvety lawns, flowers of every shape and hue, vines, shrubbery with rare varieties and, above all, thousands of roses as famous for their beauty and fragrance as the ‘thrice blooming rose of Paestrum'”. Tudor Place continues this tradition.

National Public Garden Day

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On May 6th, we will be participating in National Public Garden Day sponsored by the American Public Garden Association and Rain Bird. This event gives us an opportunity to highlight our historic landscape and our ongoing preservation efforts. The Tudor Place gardens have evolved over the past 200 years with each generation of the Peter family leaving their imprint on the garden. Thomas and Martha Custis Peter purchased the property in 1805 using an $8000 legacy left to her by George Washington, Martha’s step grandfather. They set about designing formal garden spaces to improve the landscape of their new suburban villa along with the agricultural areas of the property. Some of those formal features can still be seen today.
The most outstanding feature that still survives is the English boxwood Ellipse on the north side of the house. This hedge was originally kept at twelve inches high and had a large black locust tree (the stump is still there) in the northwest portion where visitors’ horses would be tied. Martha Peter wrote in her journal that the horses would nibble the boxwood hedge while they were waiting. The original formal features in the north garden also included the east garden which was the original home of the knot garden, the west garden square which was more open, and the circle seat overlooking the dell which was enlarged in 1930. The South Lawn’s formal features extended to the east and west islands which were typical design elements of an English inspired landscape. In 1805, the house overlooked the port of Georgetown and the beginnings of Washington, DC.
We will be offering two free guided tours of the garden on May 6th at 11 am and 2 pm, each led by a member of the garden staff. The garden will also be open for our regular self guided tours from 10 am to 4 pm. Admission to the garden will be free for this event and we will have a plant sale on May 6th and 7th to celebrate National Public Garden Day highlighting our plant material including English boxwood cuttings from the Ellipse.
Please join us on May 6th to celebrate National Public Garden Day.

Garden Restoration at Tudor Place

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Over 178 years of Peter family ownership, Tudor Place’s garden has seen many changes and improvements. In 1969, the last Peter owner, Armistead Peter, 3rd, published his book on the history and evolution of Tudor Place. Included at the end of the book was a formal landscape plan that he had commissioned for that purpose. The plan details the garden’s structure as well as the tree and shrub plantings around the property. This map gives us the clearest view of the family’s intentions and leads our preservation efforts.

A garden by nature is not a static entity. With a changing landscape, preservation becomes a challenge. Questions arise concerning the future of plantings and what to do when replacements are necessary. Over the years, as weather patterns change and plants mature, changes become necessary in the garden. This past week we held our second planting event with the help of Casey Trees. With their help we have added 24 new trees to the Tudor Place landscape in less than a year.

 

 

As part of our garden restoration project, each missing tree was looked at to determine the feasibility of replanting the same species. For most trees, the same species is still available and were replanted. There were a few trees which required decisions to be made. Most were easy decisions like the American elm we planted last fall. Originally the south lawn was home to three English elms but with the threat of Dutch elm disease and the reality that a red maple and beech tree had been planted in previous years, only one could be restored. We chose to plant a more disease resistant variety of elm, ‘Valley Forge’. Another example would be the three Malus species needed for screening the tool shed on the western side of the south lawn. Originally a tea crabapple and two carmine crabapples stood there. With the difficulty of acquiring those exact species, two newer species were chosen to provide a similar look to the landscape and overall better disease resistance. The hardest decision involves the copper beech trees on the north façade. According to family lore, these trees were bought by Tudor Place’s second owner, Brittania Peter Kennon, from a travelling peddler. Since there is such a variance in what is considered a true copper beech tree, we are not sure what type of tree she purchased. The true variety, ‘Cuprea’, is very difficult to find today and we have not found documentation that this variety was what the peddler was selling. These trees have not been replanted yet.

 

The ongoing restoration of the garden is an important project which requires research, understanding, and patience. Tudor Place has been fortunate to partner with an organization like Casey Trees to help us move forward toward accomplishing our goals. We would like to thank the staff and volunteers of Casey Trees, the Nussbaum family for sponsoring our spring planting, and the garden staff and volunteers of Tudor Place for being a part of the preservation efforts here at Tudor Place.