Those of us in the fields of architectural history and historic preservation are constantly reading and exploring new information. Recently I have had the pleasure of reading an excellent book, The Philadelphia Country House: Architecture and Landscape in Colonial America by Mark Reinberger. In his development of Philadelphia country houses, Reinberger discusses English antecedents influencing the development of American architecture. Hidden within the text is a short discussion of specialized rooms and their use in the 16th and 17th centuries. While reading this section I was pleased to find reference to a classical English term making its way intact to ante-bellum America, then into the plan of Belmont. Returning to live year round at Belmont after her Grand Tour, Adelicia for the first time confronted winter in what for her had always been a summer house. In an almost futile search for warmth, Mrs. Acklen choose a space facing southwest where rays of the warming sun poured into the room. She is known to have commented that when the doors of the room were closed and a coal fire was lit, the room was in fact quite comfortable. In fact, Adelicia deemed this warm space, her “Winter Parlor”, which is exactly how we refer to the space today. Mark Reinberger educates us on the origin of this term in his book. Those of us at Belmont assumed Adelicia casually assigned this name to her comfortable, well heated room. In fact, the term was in use in England long before the execution of Charles I in 1649. Winter Parlors were rooms usually located directly over the kitchens in English country houses and naturally served as a center for warmth. Though Belmont’s Winter Parlor is not located over the kitchen, Adelicia was familiar with this old English term and utilized it for her own purposes. Though this English renaissance term has long since fallen out of use and common knowledge, Adelica’s Winter Parlor survives for everyone to enjoy today.

Belmont Mansion Association enjoys a working relationship with Belmont University that is unparalleled. The majority of American house museums must struggle through daily operations without the assistance of the partnership we enjoy. When we began to formulate plans for restoration of the principle staircase and surrounding areas in 2016 it became apparent the stairs were pulling away from the wall in numerous places. Not only was the structure pulling away from the wall there was a decided downward tilt to each step. After much investigation of the structure it was indeed determined the structure of the stairs were failing. Selected sections of plaster were removed to explore the area and determine a solution. This staircase, completed in 1860, and retrofitted into an existing space was simply nailed into the existing masonry with little additional support added within the walls. A structural engineer designed a system of steel supports that would be keyed into the masonry at various point so that it might stand for at least another 150 years. Small organizations are rarely prepared to undertake such extensive repairs. To their credit Belmont University stepped in with the funds to pay for these all too necessary repairs, setting the stage for Belmont Mansion to proceed with the current restoration of the staircase finishes and adjoining spaces.

The next phase of a long awaited restoration project began this month. Staff ceremoniously removed the red carpet from the principle stair at Belmont Mansion. This is but the first step in a large scale restoration project which will involve multiple disciplines and will return the central staircase and upper stair hall to their 19th century appearance. Plaster walls in the stair hall will be restored to the Acklen period reflecting courses of masonry which simulate large blocks of marble. Original score lines delineating each block of stone will be restored, and then outlined with a lead pencil line as they were when new in 1859. Different base colors will again be applied to a series of the faux blocks before marbleizing is applied. Once the surface is completed, artwork representing paintings owned by the Acklens will be hung in the restored space replicating the gallery appearance of the space as hung by Adelicia. In conjunction with the stair hall, a full restoration of the principal staircase will be ongoing. This work, like the restoration of the cupola stair last year, will bring back all the original finishes to this space. Oak grained treads, risers and stringers will be highlighted by the return of the mahogany stained handrail and balusters. As planned, all work is projected to be complete by April, just as the spring tourist season takes hold once again.

Adelicia Acklen’s Belmont estate was known for its grounds and gardens. In addition to the stunning landscaping, guests were amazed at the two-hundred-foot long greenhouse and conservatory. Adelicia’s third husband, Dr. William Archer Cheatham, was very interested in horticulture and took great interest in the Belmont gardens. The 1860s and 1870s saw great interest in horticulture, which included elaborate public exhibitions and detailed reports of arrangements featured in local newspapers. As a result, gardeners were held to the status of modern day rock stars during this period of plant mania. Below is a list of plants that were exhibited from Belmont. While the Latin names may not be the ones used today, they are copied from period newspapers. Some spellings have been changed to conform to 21st century usage. When the same plant was exhibited the second time it is not included in this list. Comments featured in parentheses feature possible names for each plant. Plants Exhibited at Horticultural Fairs and other Expositions (From primary sources) May 11, 1867 Nashville Union and Dispatch - Gardener, Henry Gray In one of the hot beds: Variegated corn, green leaves striped with white April 5, 1868 Republican Banner - Gardener, Henry Gray Cineraria, twenty varieties Nematanthus grandiflora (‘Goldfish’ plant a trailing or climbing sub-shrub, succulent) Begonia Prestoniensis Azalias [sic] Azalia, double Calla Aetheopica (white Calla Lily) Pelargoncums, varieties (Geranium) Deutzia gracilis (A shrub native of Japan and China. Related to the Philadelphus or mock orange) Pethosporums, variegated (Pittosporum, ‘Mock orange’) Verbenas, varieties Saxifrage, varieties newest (Saxifragaceae, saxifrage) Geranium, new Gonzale Geranium, double scarlet Ardisia Cunulata (Possibly Ardisia paniculata) Magnum Bonum Lettuce Paris Cos. (possibly Pieris) May 21, 1868 Republican Banner - Gardener, Henry Gray Petunias, 12 varieties June 17, 1868 - Gardener, Henry Gray Palm Tree Carnation pinks, 24 varieties Pelergoniums Banana Tree fourteen or fifteen feet high Caladiums, one having a broad green leaf, spotted with red and white Fuscias, 18 embracing nearly all varieties farrugium ligulatum Begonia maculate Geraniums apple scented Heliotrope, four varieties on wire Queen begonia with leaves like silver brocade Adamia, flowering Rhyncosparnum Jesminoides Asogudestra, variegaia Maranta Zebrina Ferns, several varieties Mosses September 23, 1868 Republican Banner - Gardener Henry Gray Coryhia Umbraculifera Coesianarborium Barmeria argentes Maranta (a genus of houseplants) Gesmeria Zebriana (most likely Tradescantia zebrine) Alocasia Melaltica (possibility Begonia metallica) Coleus revini humalis (flowering polk weed family, common name Pigeonberry) Rhamnus (this is a genus of about 150 species of shrubs or small trees commonly known as buckthorns) Alaternus, variegate Centravina rosea Farfugium (Current genus that includes the plant commonly called leopard plant.) Plumbago (could be leadwort) May 20, 1869 Nashville Union and American - Gardener Owen Sharkey Fuschias fifty varieties Pallargonierus eighteen varieties Hoya Variega’s Begonias twelve varieties Ferns golden and silver Osmanthus Aquifolius Variegatus Lycopodeum Arborea Pittosporum Tobira variegate Nematanthus Genuensis Aspidiatria lurida variegate October 19, 1869 Republican Banner Banana Tree Hibiscus India Rubber Tree October 7, 1871 Nashville Union and American - Gardener, Owen Sharkey Lantanas Geraniums Colcus or Colaus May 3, 1872 Republican Banner Oriental palms Orange trees October 15, 1872 Nashville Union and American - Gardener, Owen Sharkey Petumas Colens Rupillia Ironcia October 10, 1873 Nashville Union and American - Gardener, Leon Geny Cycas Revoluta Ticas Elastica Musa Cavendishil Alamand Neifolla Philodendron Pertuasum Clerodendron Baiflourii Foliage plants: Cissus Discolor Cladimus Lantanas 12 varieties Other Plants listed in Period Publications: The Tennessee Flora; with Special Reference to the Flora of Nashville Phograms and Vascular Cryptogams By Dr. August Gattinger Member of the American Association for Advancement of Science Published by the Author Nashville, Tennessee 1887 Allium sativnm Lilaiavceve. Introduced in the grounds of Mrs. Cheatham, (Belmont) and at an old cemetery in Nashville. June. (Allium is in the onion family) The Gardener’s Monthly January 1868 Vol. X “Horticulture in Tennessee” By Fred J. French, Esq. Read before the Penn. Hort. Society, March, 3 1868 “Few places in the South can boast of more attractions in this way than Bellemont, the elegant residence of Dr. and Mrs. Cheatham, formerly Mrs. Acklin. The conservatory, built of iron, is truly a Crystal Palace, with its high dome and spacious wings. Each department is filled with costly exotics, rare and beautiful. One Norfolk Island Pine, standing over thirty feet high. The collection of Camellias is very fine. Many of them are large plants, more than fifteen years old, and are covered with flowers. Near this is the stove, where some of the largest palms in the State are shown. The variety of tropical plants displayed in this house is large, and reflect great credit upon the skillful gardener, Mr. Gray. A house for forcing grapes adjoins this. The beautiful lawn is studded with arbors, elegantly designed in iron; while statues and ornaments mark the refined taste displayed in every part of the grounds, and give a charm to the place.” Plants Exhibited at Horticultural Fairs and other Expositions (From secondary sources) Various secondary sources reveal descriptions and memories of plants that were located at Belmont and their relative location on the property. Front Entrance of Home: - Along the sides of the flagged stone walk leading to the front steps of the house were rows of candytuft, scarlet and white geraniums, and boxwood. - The urns at the end of the walk contained agave plants - Urns on the front porch contain vines of Russelia Fountain Area: - Four marble statues of the four continents - In the pool of the fountain was Victoria Regia water lily [This would have been impossible since this plant requires a much large body of water.] Greenhouse: - Center house: tropical plants (fruit and Flowers) and a large water lily pool with fountain - West house: Camellia Japonica - East house: jasmine, [white and a Grand Duke] lilies, night blooming - Cereus and a cacti collection - Also, winter grapes were raised in the Greenhouse as well as wax plant that cover many feet of the wall General Grounds: The cast iron gazebos were covered with moss roses, microphella, star jasmine, eglantine (rose) and achacia. There were also beds of lemon trefolio, heliotrope and verbenas along with the rose garden and tulips The Drive from Hillsboro Pike was line with red cedars and magnolias.

Restoration Update! This summer we are busy restoring the free-flying staircase leading to Belmont Mansion's cupola. It is a laborious process and still in progress. All balusters and handrails have been stripped of multiple layers of college era paint. Belmont is restoring Adelicia’s original mahogany stain to her walnut balusters and cherry handrail. Faux wood graining on the treads, risers, and stringers in imitation of American oak, is currently being restored by a local artist. Stay tuned for more updates later this summer!

The 19th century was a time of great change in women's fashion. The century began with high waistlines and straight skirts, and by the 1850s, the style had evolved into a more natural waistline and full skirt. Adelicia Acklen's clothing choices showcase the most fashionable trends from Europe and North America during that time. Follow Belmont Mansion as we embark on a nine part series showcasing the dresses, jewelry, and fashion choices of Adelicia Acklen. During the Victorian era in which Adelicia thrived, women of society would visit friends and acquaintances to maintain social connections. These Cartes de Visite of Adelicia displays her wealth and station with her fine street dress and jewelry. Cartes de Visite were not calling or visiting cards themselves, they were only labeled as visiting cards because they were the same size as visiting cards. These Cartes de Visite do show, however, what Adelicia may have appeared on her visits. Earrings and broaches would have been important element to the everyday Victorian woman regardless of wealth, but Adelicia’s jewelry, particularly featured in these portraits, is quite luxurious. The cameo broach is perhaps one of the most striking pieces, it is a copy of Thorwaldsen’s Relief “Night” which is housed today with its counterpart “Day” in the Thorwaldsens Museum and portrays an angel carrying away two babies to heaven. This may have been a piece of mourning jewelry or a piece made in memorial two of her many children that died in childhood. Adelicia, like most Victorians, prescribed to sentimentalism, particularly regarding motherhood, and memorialized these tragedies and her children in art and dress. This kind of memorialization by Adelicia would not be unprecedented and is reminiscent of other statuary Adeliecia had, most notably Sleeping Children by William Reinhardt. The Lion broach is also a significant piece in these portraits. Though it is hard to tell the material it is made of and is left uncertain, the pose and shape of the lion looks remarkably like that of the lion from St. Mark’s Square in Venice, Italy. By the time of her portraits with the lion broach, she would have gone and seen St. Marks Square in person on her Grand Tour of Europe and bought many souvenirs in the course of this trip. This may or may not be an imitation of the Lion, however, it is possible that she could have purchased this broach in Venice while abroad if it is a miniature of the lion.

The 19th century was a time of great change in women's fashion. The century began with high waistlines and straight skirts, and by the 1850s, the style had evolved into a more natural waistline and full skirt. Adelicia Acklen's clothing choices showcase the most fashionable trends from Europe and North America during that time. Follow Belmont Mansion as we embark on a nine part series showcasing the dresses, jewelry, and fashion choices of Adelicia Acklen. Here Adelicia is wearing a Walking or Visiting dress around 1866. This is a dress she would have worn while out and about during the day, whether visiting a friend or shopping. This photograph displays one of the best examples of Adelicia’s adhesion to the latest trends. During the mid 1860’s, emphasis on the skirt began shift to the back of the dress using more fabric, embellishments, bustling, and trains. This photograph features each of these slight changes in silhouette in the gathering of fabric at the back and the use of embroidered folds of fabric just visible from the angle of the photograph. Adelicia’s wealth can also be perceived from examining both her and her daughters dress. The extensive use of embroidered ribbon and fringe embellishments would be both fashionable and expensive. The more embellishments, the higher the cost of the materials and the labor it took to make the dress. Having a skirt that was trimmed in four layers of embroidered ribbon would have not only been impressionable, but would have also displayed her wealth.

The 19th century was a time of great change in women's fashion. The century began with high waistlines and straight skirts, and by the 1850s, the style had evolved into a more natural waistline and full skirt. Adelicia Acklen's clothing choices showcase the most fashionable trends from Europe and North America during that time. Follow Belmont Mansion as we embark on a nine part series showcasing the dresses, jewelry, and fashion choices of Adelicia Acklen. This image features Adelicia in a dress which could have been used as an evening or dinner dress dating from 1866 or 1867. It is one of the few images in which she is not wearing a walking dress or visiting dress. The dinner, or evening dress, she is wearing would have been worn at a formal dinner party or to an evening event such as a concert or party. Around the middle of the 1860’s the volume of the skirt began to accumulate at the back, and though this photograph does not feature a distinct bustle, there is a lengthening of the back of the skirt creating a very brief train. Trains also became more distinctive during this time. Adelicia’s dress demonstrates the shifting style of the mid 1860’s.

The 19th century was a time of great change in women's fashion. The century began with high waistlines and straight skirts, and by the 1850s, the style had evolved into a more natural waistline and full skirt. Adelicia Acklen's clothing choices showcase the most fashionable trends from Europe and North America during that time. Follow Belmont Mansion as we embark on a nine part series showcasing the dresses, jewelry, and fashion choices of Adelicia Acklen. This brooch is quite unusual with it decorative fan and outstretched hand surrounding a painted portrait of Adelicia. This was most likely a piece worn by Pauline. It is hard to know whether the hand and fan have symbolic meaning or are merely decorative. However, the hand could be interpreted as symbolizing the presence of love, or peace.[1] Since most miniatures were in lockets and therefore protected, the fan may have been a design of function. The opening and closing of the fan is particularly novel and actually serves to shield the watercolor portrait from light and other elements which might have disturbed the delicate nature of the portrait. --- [1] Deirdre O’Day, Victorian Jewellery rev. ed. (London: Charles Letts Books Limited, 1982): 25.

The 19th century was a time of great change in women's fashion. The century began with high waistlines and straight skirts, and by the 1850s, the style had evolved into a more natural waistline and full skirt. Adelicia Acklen's clothing choices showcase the most fashionable trends from Europe and North America during that time. Follow Belmont Mansion as we embark on a nine part series showcasing the dresses, jewelry, and fashion choices of Adelicia Acklen. --- This walking, or visiting dress, is an excellent example of the general hourglass silhouette which was popular from the 1830’s through the 1860’s. Its shape is marked by sloping shoulders, a fitted bodice emphasizing the smallest part of the waist, and an A-line outward through the skirt which create a distinctive hourglass figure. Though there were certainly variances between the decades, one of which being the gradual expansion of the skirt's berth from the 1840’s through 1860’s, this stock hourglass silhouette dominated the first two thirds of Adelicia’s life. One aspect that helps date this particular garment is the slight accent in volume at the back of the skirt. Another aspect is her hairstyle which seems to be plaited, rather than smooth and sweeping, which would date this photograph to the mid-eighteen sixties. One aspect that is also typical of the period is the militaristic sash. Feminized militaristic embellishments were extremely popular in street dress in the 1850’s and 1860’s

The 19th century was a time of great change in women's fashion. The century began with high waistlines and straight skirts, and by the 1850s, the style had evolved into a more natural waistline and full skirt. Adelicia Acklen's clothing choices showcase the most fashionable trends from Europe and North America during that time. Follow Belmont Mansion as we embark on a nine part series showcasing the dresses, jewelry, and fashion choices of Adelicia Acklen. --- This Venetian-made Shell demi-parure was purchased by Adelicia in Naples, Italy, when she went on her Grand Tour of Europe in 1866. This set would have been considered costume jewelry and therefore not worth much monetary value, however, it would have evoked the allure of a far off place. To people in the land-locked upper South, these delicate seashells would have boasted of travel to exotic, foreign beaches. The ability to travel, even with in the United States, was an uncommon luxury in 1866, and Adelicia’s exceptional trip to Europe was quite ostentatious, making the presence and meaning of this souvenir significant.

Bonne Crigger, Board President; Dr. Albert Wardin; and Mark Brown, Executive Director with The Commissioner's Award, May 10, 2017, Nashville, Tennessee On Wednesday, May 10, 2017, the Metro Nashville Historical Commission honored Founding Member Dr. Albert Wardin and Belmont Mansion Executive Director Mark Brown with Lifetime Achievement Awards for their work with Belmont Mansion. Belmont Mansion's journey towards a historic home and museum began in 1971 when then history professor, Dr. Albert Wardin, worked to have the site placed on the National Register of Historical Places. Dr. Wardin's passion for the beautiful antebellum home situated in the middle of Belmont College's campus was the catalyst needed to begin restoration efforts. The following year Dr. Wardin, together with several Belmont College students and professors , created the Belmont Mansion Association. This committee began investigative work to explore the home's architectural features and find original furnishings. In those early years, Mark Brown was involved with Belmont Mansion as a member of the student auxiliary group. Belmont Mansion opened for tours on July 3, 1976, with Mark Brown as the first docent. In 1986, Mr. Brown was hired as Executive Director and he has gracefully led the museum since then. The past 46 years have been years of dynamic growth for Belmont Mansion. What started as a neglected building on a college campus has been transformed into the largest house museum in Tennessee. For nearly five decades, Dr. Wardin and Mr. Brown have tirelessly worked to research, restore and curate the home's colorful history. Their lifetime dedication to Belmont Mansion has made the museum what it is today. All of us at Belmont Mansion are grateful for their passion and dedication.