Recommendations for Departmental Collections Policies

An aged and heavily corroded horizontal iron rim lock for the left side of a door was examined at the request of Anson (“Tuck”) Hines, Director of the Smithsonian Environmental Research Center (SERC). The lock was reportedly found by a contractor on SERC’s property during renovation, and the iron corrosion is typical of exposure to the elements. It was anticipated that the lock would date from the time of the oldest part of the Sellman/Kirkpatrick-Howat house constructed in 1735 or its Greek Revival enlargement in 1841. Examination of the lock included x-radiography. A recommendation was made to not conduct further conservation treatment, such as removal of iron corrosion, because it would threaten the structural integrity of the object. Instead it was advised that the lock be exhibited in a case with conditioned silica gel and regularly monitored, which should keep it in stable condition.

Examination and Treatment Report for a Carpenter & Co. Lock Found at SERC: Museum Conservation Institute #6955

An aged and heavily corroded horizontal iron rim lock for the left side of a door was examined at the request of the director of the Smithsonian Environmental Research Center (SERC). The lock was reportedly found by a contractor on SERC’s property during renovation, and the iron corrosion is typical of exposure to the elements. It was anticipated that the lock would date from the time of the oldest part of the Sellman/Kirkpatrick-Howat house constructed in 1735 or its Greek Revival enlargement in 1841. Examination of the lock included x-radiography. A recommendation was made to not conduct further conservation treatment, such as removal of iron corrosion, because it would threaten the structural integrity of the object. Instead it was advised that the lock be exhibited in a case with conditioned silica gel and regularly monitored, which should keep it in stable condition.

Race, Architecture, and Belonging: Divergent Perceptions of Antebellum Architecture

Preserving historic buildings can have many purposes, including honoring proud moments in our history as well as acknowledging and redressing shameful ones. The preservation of Antebellum buildings, buildings with an architectural style from the pre-Civil War era that often features symmetrical brick or white-washed façades and columns in a Greek revival style, has been as especially fraught issue. In the present work, we contribute to this conversation by examining the psychological costs of preserving Antebellum buildings such as restored or preserved Plantations. In two studies (Ns=166 and 165, respectively), Black participants rated Antebellum but not New American architecture more negatively than White participants. They reported liking Antebellum architecture less and feeling less welcome in it. Further, Black (but not White) participants spontaneously mentioned racism/slavery when viewing Antebellum architecture. Interestingly, this pattern was also found for modern-built Antebellum architecture. This suggests it is not Antebellum buildings per se but Antebellum architecture and the ideologies it evokes that may be problematic. Next, we examined potential moderators of this effect. In Study 3, Black participants (N=81) read about an Antebellum museum with one of two missions, one devoted to reconstructing the museum for historical accuracy, common to historical museums, and the other to addressing and informing visitors about the era’s slavery. Participants also saw pictures of either a predominantly White or Black Board of Visitors. We found that only in the addressing slavery condition with a predominantly Black board did these Black participants report liking and feeling welcome in the museum. Importantly, they felt that museum would have more influence from and be more empowering for the Black community. The present findings have implications for interventions aimed at increasing Black Americans’ engagement with and sense of ownership in public spaces associated with Antebellum architecture. They suggest that reclaiming—and not only redeeming—spaces with such histories is important.

A House Divided

On the eve of war, Dr. John D. Bellamy of Wilmington-one of the wealthiest slave owners in the South-throws a torchlight parade to celebrate secession. He builds a Greek Revival mansion, the grandest in the city, symbol of both the wealth generated by slave labor and the impending cataclysm. Almost at once, as yellow fever-carried ashore by a blockade-running sailor-strikes the city, Bellamy and his family flee the mansion.

Two Houses Windows on the Identity of Chief Richardville

This chapter examines the life of Jean Baptiste de Richardville, the last civil chief of the Miami tribe, as he navigated the pluralistic frontier society of the nineteenth-century Great Lakes region. Richardville drew upon elements of his Métis (mixed French-Miami) ancestry as well as his class to produce and enact various identities. His skilled negotiation of the divergent worlds he inhabited served to secure his role within the Miami tribe, as well as within the dominant white culture. In particular, this chapter looks at identity formation through Richardville’s two houses, an ornate Greek revival building (the Chief Richardville House) that served as his residence and a place for lavish entertainment, and the more modest Richardville/Lafontaine House that he used for the fur trade and treaty negotiations. These buildings, and archival evidence of Richardville’s life, shed light on how he constructed and maintained a fluid social identity to thrive in a potentially contentious and continually evolving setting.

Roche and Dinkeloo's Center for the Arts at Wesleyan University

From 1965 to 1973, Kevin Roche and John Dinkeloo created the Center for the Arts at Wesleyan University in Middletown, Connecticut. The center appears to be an essay in mid-twentieth-century modernism, directly expressing its varied interior programs in cubic volumes of limestone walls and reinforced concrete spans for floors and roofs. As Joseph M. Siry demonstrates in Roche and Dinkeloo's Center for the Arts at Wesleyan University: Classical, Vernacular, and Modernist Architecture in the 1960s, the Wesleyan Center for the Arts is a condensation of ideas from its context, including the seventeenth-century regional vernacular and the local Greek revival and contemporaneous modern architecture, including works of Le Corbusier, Ludwig Mies van der Rohe, and Louis Kahn. This article broadens both our understanding of the creative process as an integration of multiple sources and our view of modernism's potential to innovate while fittingly engaging with earlier periods without duplicating their historical vocabularies.