Read Ebook: Colonial Homes and Their Furnishings by Northend Mary Harrod

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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.

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.

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.

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.

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!

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.

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.

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.

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