"May these headstones bear witness to their lives, of Salley and London, and the hundreds of others buried here who like them were born in slavery and knew no freedom on this earth, for they only knew freedom after crossing the River Jordan." - Mark Brown, Executive Director, Belmont Mansion On Tuesday. May 2nd, together with the Nashville City Cemetery Association, Belmont Mansion Association dedicated headstones for two formerly enslaved residents of Nashville: London & Salley. London & Salley were enslaved people working on the Acklen estates: London at the city home in downtown Nashville, and Salley at the country estate Belmont Mansion. While records of enslaved people at Belmont Mansion are sparse, we were able to discover London and Salley through the records of the Nashville City Cemetery, were they were buried upon their deaths in 1850 and 1862, respectively. Their modest headstones had been ruined by years of the elements and Belmont Mansion Association was honored to memorialize their lives through the dedication of new headstones.

This beautiful, unseasonably warm weather has us dreaming about the warm days of summer. Belmont Mansion's grounds are best enjoyed in the summer months when the flowers are in full bloom. Did you know that Adelicia's original estate included 177 acres, and roughly 20-30 of those acres were lavishly manicured gardens? Here's a sneak peak of our summer gardens to get you through the last of winter. Photos by Ed Houk - 2017

A generous gift, recently received, will allow Belmont Mansion to begin a phase of restoration many people truly believed they would not see in their lifetime. Over the last two years much thought and effort have gone into bringing the upper gallery to a more acceptable historic appearance. First the floor was marbleized in an attempt to replicate Adelicia’s historic pattern, next the columns and pilasters were painted white. Lastly reproductions portraits were hung in the space as indicated by a contemporary account. One remaining unrestored element suddenly became an elephant in the room, the cupola stair. Though structurally stabilized in the 1990’s, this amazing free flying staircase retained all of its college era finishes, dark varnish, multiple paint drips and all. As the upper gallery began to divulge secrets long hidden from view, the cupola stairs remained stagnant and unrestored. With the completion of the floor in 2014 sample areas of the stairs were investigated in an attempt to recover original finishes. A unique combination came to light. It appears the newel posts, balusters, and handrails were all treated alike. A reddish mahogany stain had been applied to these elements in 1860, before being coated with a natural varnish. All treads and risers were originally grained to simulate oak, similar to other elements in the house. Immediately, two of the four newel posts were stripped, removing over a century of blackened varnish revealing a finely grained mahogany. This result convinced us that at some point, the restoration of historic finishes on the stairs would become a priority. Our concern, as always was funding the project. Being as unique a structure as it is, Belmont Mansion attracts people worldwide. In April of this year we were contacted by a Kansas couple who had visited Belmont last year in the midst of our Central Parlor restoration. They were interested in contributing to the restoration of Belmont and inquired about what opportunities might be available to them. A discussion ensued regarding restoration of historic finishes on both staircases, not just the cupola stairs. Once bids were secured, our new “Restoration Angels” agreed to fund the application of Acklen period finishes on both staircases. Without them the cupola stairs would have languished as it was for another generation. We are thankful, appreciative, grateful, indebted, beholden, and obliged to our donors for making this seemingly impossible project, possible. To date over sixty of Adelicia’s walnut balusters have been stripped and stained. All four newel posts have now received the same treatment, as has the cherry handrail. The 1860’s appearance of Belmont’s cupola stairs is slowly re-merging to the delight of our visitors, who now spend much longer in the upper gallery examining the staircase than listening to their tour.

Long an object of curiosity Belmont Mansion was first captured by a photographer after Nashville fell to the Union army in 1862. That image, offered on a CDV, was sold to soldiers as a souvenir in the newly occupied city. War was hardly the time to haul a cameraman’s equipment into the house, setting up for a series of interior views. Exterior stereo card of the mansion. By the 1870’s such restrictions were no longer in place. C. C. Giers a well-known Nashville photographer was either invited into the mansion by Adelicia, or talked his way inside. Views such as Giers Belmont interiors were often, printed and sold on stereo cards, quickly becoming the equivalent of a multi-page spread published by Architectural Digest in modern times. Two stereo cards of the entry hallway We have no accurate account of the number of photos shot by Giers within the walls of Belmont. For a number of years it was believed that only four were published, until one unknown view surfaced a few weeks ago. That image has now found its way into our permanent collection. Two stereo cards of the entry hallway already in our collection When photographing Belmont’s interior shots featuring the Grand Salon, Giers turned his camera just a bit to the left capturing details unknown before now. Someone on that day subtlety moved chairs as documented by differing views. The recently discovered view reveals a significant Renaissance Revival chair with an open splat back of which we had no prior knowledge. Such chairs were usually sold in pairs. Could the mate be on the other side of the room out of view? Our newest stereo card. The exposure of this newly acquired shot captures an architectural detail only hinted at in previous views. Adolphus Heiman’s multi-faceted classical cornice appears to have been accented by different colors. A darker background highlights applied plaster motifs. Paint analysis will reveal these colors for full restoration at some point in the future. We are thankful to both Mr. Giers and the Nashville family who had the foresight to store this treasure away for almost 150 years. It now rests permanently in the archives of Belmont Mansion.

It is amazing what you can find online these days. While surfing the web a few months ago, one of our former employees stumbled across some images of the Acklen family in a family tree record that no one at the Mansion had ever seen before. We contacted the tree’s maker, hoping they would send us copies of the images, but were pleasantly surprised when she decided to donate the original images to us. The first two are both daguerreotypes. Daguerreotypes were the first type of photographic image sold commercially and consisted of an image on a silvered metal plate. Because of the materials, the image is highly reflective (like a mirror) so they can be hard to photograph. These two images we received are of Oliver Bliss Hayes (Adelicia’s father) sitting beside either Joseph Hayes Acklen or Lysander McGavock Hayes, as well as an unidentified older women. Three more of the images are carte-de-visites, which are also commonly known as CDVs. CDVs consist of an albumen print (the first commercial printed paper image) attached to a heavier card. They were generally small (2.5” x 4” when attached to their card), making them something easy to collect, trade, and share with friends. These CDVs include a full length image of Adelicia taken in a Nashville studio, as well as two images of the children taken while the family was on their Grand Tour in 1866-1867. William Acklen appears in one wearing a faded blue bow and in the second he appears again with all of his siblings, Joseph, Claude, and Pauline. The final donated image is a Cabinet Card, which is produced similar to the CDV only it was a bit larger, and it is of Adelicia.

A piece with significance not only to Belmont, but also to Nashville, the state of Tennessee, and the nation as a whole has recently been returned to Belmont Mansion; the dresser of James K. Polk, eleventh President of the United States. Adelicia shared a long friendship with Mrs. Polk. In fact, Adelicia's 1849 wedding to Joseph Acklen was the last public event President Polk attended before he died of cholera a few weeks leter. Mrs. Lattie Brown, a direct descendant of Adelicia, donated the piece to Belmont in 2015. Her family always refered to the dresser as James K. Polk's. The staff of Polk's ancestral Home in Columbia, TN believe Mrs. Polk closed certain rooms of her Nashville home in later years, then proceeded to empty these spaces of furniture. It is safe to assume Adelicia aquired the dresser at this time. Joseph Hayes Acklen inherited the piece after Adelicia's death. From Joseph it came down through the 20th century to Mrs. Brown, then back to Belmont Mansion. Polk’s dresser is primarily of cherry with poplar as a secondary wood. Four graduated drawers make up the body of the chest. Mahogany crotch grain veneers cover all drawer fronts. Set into the top are two columnar mirror supports holding a rectangular mirror frame also decorated with crotch grain Mahogany. The mirror retains its original glass. The chest rests upon ring and ball turned feet. In the early 20th century, the dresser was stripped of its original Mahogany stain. So Belmont has had the original color and French polish finished restored. The piece now sits in the large bedroom.

Nashville Union and American, Feb. 14, 1872 The most romantic day of the year is just around the corner. I hope you have purchased your cards and candy already. Valentine’s Day probably originated as a pagan Roman holiday that remained popular after the rise of Christianity. Rather than forbid converts from participating in the celebrations, early Christian leaders appropriated the holiday, assigning a saint to the day in an attempt to stamp out the Roman influences. But despite their efforts, the holiday remained about romantic love. Even in the 19th century, people celebrated Valentine’s day by sending cards, sometimes ordering them months in advance (of course they didn’t have same day shipping like we do). An advertisement for Valentine’s published in the Nashville Daily Patriot December 17, 1855 explained that the seller “imported from Europe a great variety of gold, silver, and illuminated lace and embroidery papers, expressly for Valentines.” To get a better idea of what this sort of Valentine might look like, check out the two late 19th century Valentine in the Met Museum’s online collection below. According to an article in The Manhattan and de la Salle Monthly, published in 1875, demand for Valentines was growing in the 1870s, including comic poems, expensive paper, and gifts. These cards could range in price from five cents to five dollars, though the price could be even higher. One Valentine manufacturer in Philadelphia “sold over $25,000 worth of valentines [in 1873], one of which was made to order at a cost of $500. The centre piece was an elegant miniature watch and chain, and the outside decorations were principally clusters of jewelry.” We have no record of Adelicia sending Valentine’s, although it is hard to image that she (or her children) never received any. Still even in the 19th Century not everyone was thrilled about Valentine’s Day. A woman who sent a poem to the Nashville Union and American in May of 1869 seemed disappointed that she had not received something better than a piece of paper: Have a Happy Valentine’s Day from all of us at Belmont Mansion!

As temperatures dip below freezing, the cold has got me thinking about the movie Frozen, which I recently saw for the first time (I know, I am a little behind). You might wonder how Disney’s Frozen can relate to Belmont Mansion. Well, in the opening scene of the movie one of the main characters is harvesting ice. (Image from the Smithsonian American Art Museum's Photograph Archives Online Catalogue). In a world where our freezer dispenses ice as needed, it is hard to imagine how involved this process was so that Adelicia could get ice in her icebox or fill her ice water pitcher with ice water to offer to visitors who came during the summer (see images of collections items below). Adelicia had ponds on the property which ice could be harvested from. The ice would then be stored in an icehouse (a building which was mostly underground) and packed in sawdust until it was needed during the summer. Air circulation in an ice house was extremely important to ensure that the ice did not melt, so the ice had to be monitored regularly. Besides harvesting from personal ponds, cities could also get ice off rivers or lakes. According to the Knoxville Daily Chronicle in December 1878, “The ice harvest continues, and interrupts the skaters. All the wagons not employed hauling coal are still gathering in the frozen diamonds.” If temperatures did not get could enough during the winter for Belmont Mansion to produce its own ice, Adelicia also had another option. She could purchase it from companies who harvested the ice and shipped it south, as the article below, published in the Nashville Union and American April 16, 1854 explains: For more information about harvesting ice, including some interesting recipes (which were made using a power ice crusher like the one in the image below), check out Theron L. Hiles “The Ice Crop,” published by O. Judd Company in 1892.

Answer: they are both new editions to Belmont Mansion’s collection! Splash Cloth Most of us probably use many types of cloth every day. From towels and washcloths to the shirt on our back. However, I doubt most have ever used (or even heard of) a splash cloth. Sometimes called a splash or splasher, according to an 1899 dictionary this cloth was “a screen hung behind a washstand to protect the walls from water.” In “Woman’s Handiwork in Modern Homes” published in 1881, Constance Cary Harrison wrote that “a linen splash curtain for the wash-stand should be made of yard-wide linen, to suit the wash-stand length.” Belmont Mansion’s splash cloth is an example of finely woven linen dating to the 1860-1870s. Considering the expensive French wallpaper Adelicia had in the house, these cloths would be a necessity to protect such wallpaper from soapy and dirty water. The red embroidery you see on the cloth was probably added in the 1890s. This cloth is hanging behind the washstand in the large bedroom. China Doll Children have been playing with dolls since ancient times. According to The Strong National Museum of Play , dolls in the 19th century were important not only for play, but also so that girls could learn important skills like sewing by making doll clothes. While writing to her mother, Adelicia mentioned that "Pauline has no less than five dolls on her bed" so we have collected some period dolls for Pauline’s bed. This new china doll dates from 1850-1870 and may even be wearing her original red dress and petticoat (perhaps made by her original owner).

Many of you are probably preparing for New Year’s celebrations. Maybe you’re hosting a party or going downtown for the Bash on Broadway. Maybe like me you’ll go to bed early because you can’t stay up until midnight, but won’t fall asleep until 2AM because everyone else is shooting off fireworks. But thinking about this New Year’s got me wondering, how did Adelicia celebrate the New Year? Unlike today, it appears many New Year’s celebrations in the 19th century happened on New Year’s Day and involved making calls at friends’ houses and being served wine and cake. According to an article published in Memphis Daily Appeal on Jan. 2, 1876 “New Year’s day in this city was uncommonly dull, as respects business…. In a social respect, however, the citizens had no cause of complaint, as New Year’s calls were very generally indulged in… callers were very much elated by the fair afternoon and moonlight night.” From what we know of Adelicia, she often participated in such festivities. In 1868, Adelicia sent handsome bouquets to the home of Rev. R. F. Buntin for his New Year’s Day party. (Rev. Buntin was the pastor at First Presbyterian Church which Adelicia attended and the flowers probably came out of her greenhouse, see images above). Adelicia hosts her own open house in 1876, but in later years (1882 and 1884) she assists friends with their parties instead. Such open houses could last anywhere from 2 PM to Midnight. (Interestingly, the paper reported that in 1882, New Year’s Day celebrations happened on January 2nd because the New Year’s Day fell on a Sunday). According to The Home Journal in Winchester Tennessee, building relationships was an important part of New Year’s celebrations. The paper wrote that in 1876, “Old friendships were made stronger, recent acquaintance deepened into genuine regard, and in more than one instance, we have reason to know, those whom circumstances had estranged became reconciled to one another.” We wish you and yours a happy New Year. And as the Memphis Daily Appeal observed “May the morn, noon and evening of” 2016 “be both fair and bright.”

"Are you decorated for Christmas?” It is a common question most house museums get this time of year. But it creates a conundrum for historians. We want to be authentic to the period the house represents, but what is authentic? Christmas was not made a federal holiday until 1870. So that means that while Adelicia did celebrate Christmas, the way she would have decorated for the holiday in the 19th century was very different from the way we decorate today. According to Floral Decorations for the Dwelling House, published in 1876 “One could hardly believe it was Christmas in the absence of Holly, Ivy, and Mistletoe, which have so long at the season occupied prominent places in our household…. Formerly, the decorations of rooms consisted of a few branches of evergreens stuck here and there as might be convenient; but now they are of a much more complicated character.” The book goes on to explain how in the week before Christmas the lady of the house put up tasteful decorations using many different types of flowers and ornamental shrubs. For example, the foundation for a garland was typically a hemp rope with bows of evergreen tied to it along with berry branches like holly. Wreaths had an iron foundation ring, to which branches were tied using wire. (See image below for sample designs). Unfortunately, we do not have any references to Christmas decorations at Belmont, probably because the family was not here for the holiday. In 1855 and 1860, Adelicia was at Belmont for Christmas, but Joseph was in Louisiana. It was only from the Civil War on that Adelicia remained here for Christmas (before moving to Washington D. C. in 1884). And so to answer the question, yes we have decorated for Christmas, but in keeping with the 19th century version of the season. (Unless you count the Christmas trees in the gift shop.)

A couple weeks ago Phil Carroll, from the company Flying Colors, put his final touch on the atmospheric ceiling, his signature. Although the flowers and vines are finished, there is still more to be done. See the plain pink area between the plaster crown molding (ornamental molding along the edge of the ceiling) and the vines? This area is going to be filled in with faux moldings, which we can see hints of in a historic photograph. You may recall that the formal dining room also has faux molding on the ceiling, but it is not as ornate. In the Central Parlor, we are going to copy some of the original cornices from the Grand Salon and use it as our model for the faux molding. After printing out pictures of the Grand Salon molding, Phil is using a light box to trace the image and create a stencil. One tool he is using to help with the consistency of his shapes is a French curve, which is like a ruler only it has different curves that you can trace instead of just a straight line. Once he has traced out his pattern, he will cut the pattern out of plastic which can then be placed on the ceiling and painted over, rather than doing each individual shape by hand. Can you see from the picture why it is called egg and dart molding? This is a photo of color samples Phil as created for our Director and Curator to choose from. We can’t wait to see this go up in the Central Parlor. Keep on rolling, Phil!