The Central Parlor

The Woodwork and Wallpaper

To restore the woodwork Ron Ames reproduced the faux rosewood graining on the baseboards for the room. Wallpaper was trickier, only a single square inch of the original wallpaper survived. Not enough to determine a pattern. So we looked to a home just 26 miles from the Acklen’s Louisiana residence that had an 1850s French wallpaper still on the walls. Since Adelicia would have known the home, the room and favored imported decoration, we reproduced the paper for the Central Parlor.

 

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The Window Treatment

Victorians had elaborate multi-layered window treatments that began with a gilded cornice in the “best rooms.” Due to a cornice overhanging a door adjacent to the window this was not possible. Again, research was needed and prevailed. An 1864 French publication revealed a solution and Belmont Mansion Association member Harriette McHenry stepped forward to design it. The result is stunning. 

 

This same source showed a very distinctive design for the lace sheers, or glass curtains as they were known in the 19th century. In another amazing stroke of luck we learned of Christine and Trent Buhr. This couple in Chattanooga not only have the ability to sew but the design skills to interpret the engraving, the knowledge as to where to find the materials needed and a nineteenth century corning machine for making lace curtains. Tremendous.

     

 

The Carpet

Grosvenor Wilton Company Ltd. of Kidderminster, England is the oldest carpet maker in England with a wealth of historic patterns and one of the few businesses still producing Brussels carpet in a style Adelicia preferred for her parlor. A solution was found. After manufacturing, the carpet made its way to Cincinnati, Ohio, where it was in the capable hands of Gfroerer Company, a five generation family business, for final preparation and installation. 

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The Furnishings

Fortunately, the original mirror had remained in the room as had the original Cornelius and Company gas chandelier. Eight of the twelve pieces of the Acklen’s best parlor suit made by John Henry Belter of New York had returned to the mansion and are now in the two parlors. Gloria Graves, a generous Belmont supporter, provided the additional needed furniture. A suit made by Belter’s number one competitor Alexander Roux, also of New York. 

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The Artwork

A May 18, 1881, article in the Louisville Courier Journal listed three paintings and one statue in the room. The statue of Sans Souci by C. B. Ives returned to Belmont years ago, but the paintings had to be replaced. A copy of a painting of the Franklin children and a copy of The Napoleon Fisherman Family by Riedel were hung. A floor to ceiling Acklen family portrait by Robert Gschwndt of New Orleans had been accidentally lost years ago. Since the survived it was decided fit it with a gauze fabric and rehang the frame in its original location to represent the family portrait.     

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