Every Day Life in the Massachusetts Bay Colony. George Francis Dow
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in adjacent locations. One of these paint mines was located near what is now Augusta, Maine, and in that part of New England formerly existed, long before the coming of the European, an Indian race that used this red earth so freely that by ethnologists it has been termed the "red paint culture."
So runs the present-day tradition of Indian red in New England. In point of fact, however, red earth was brought from the East Indies long before the settlement of the American Colonies, hence the name "India red," by which it was advertised in the Boston newspapers in the mid-eighteenth century. In 1766, John Gore, "at his Shop at the Sign of the Painter's Arms in Queen Street," Boston, advertised a stock of oils, paints, brushes, etc., just imported from London. He had linseed oil by the barrel or smaller quantity, boiled oil, nut oil, turpentine oil and turpentine varnish. Among his white colors, were Spanish white and French halk—whatever that may be. Red was a color that was in demand for he carried red head, Spanish brown, India red, purple red, Venetian red, Vermillian, drop hake, carmine, umber and rose pink. Under yellows, he listed King's yellow, Princess yellow, Naples yellow, spruce yellow, stone yellow, English ochre, Orpiment-pale and deep, Dutch pink and brown pink. The blues were ultramarine, ultramarine ashes, Prussian blue of various sorts, calcined smalt, strowing ditto, verditer blue and powder blue.
Gore also sold crayons in sets and canvas for portrait painting in half-length cloths, kit-kat and three-quarters length. He carried "Colours prepared for House and Ship Painting," best London crown glass for pictures and "Water Colours ready prepared in Shells."[18]
Two years later he advertised chariot glasses, genteel looking-glasses and Wilton carpets and also announced that he did coach and carpet painting in the best and cheapest manner.
At how early a date was paint used on the exterior of a New England house? Who can solve the problem? Undoubtedly it was on a house owned by some merchant having a direct contact with England. It is an established fact that the Andrews house, built in 1707–1710, in the country town of Topsfield, Mass., was painted Indian red at the time it was built, or soon after, but only on the trim—the window frames, corner boards, etc. The clapboards and weather-boarding at the easterly end, remained unpainted until long years after.
The inside finish of town houses owned by well-to-do people, probably was painted at a comparatively early date, at least, one or two rooms in a house. "A large Fashionable Dwelling-House" in Boston, "about 1¼ miles from Charlestown ferry" was advertised to be sold in 1734. It had eight "fire rooms"—that is, rooms with fireplaces. The entries and two of the rooms were "beautifully Wainscotted and laid in oil" and four were "handsomely Painted."
In 1753, George Tilley, a Boston shop keeper, advertised his house for sale. It contained "eight rooms, seven of them fire-rooms, with a Number of convenient Closets and a good Cellar, four of the said Rooms is cornish'd, and the House is handsomely painted throughout; one of the Rooms is painted Green, another Blue, one Cedar and one Marble; the other four a Lead colour, the Garrets are handsomely plaistered; the House has twenty Sash-Windows to it and is pleasantly situated on Pleasant Street, near the Hay-Market."[19]
But such glory did not exist in other parts of the same town and certainly not in the country. Rufus Choate, the lawyer, was born in a house in Essex, Mass., built in 1725 by an ancestor who was popularly called "Governor Choate." He was a man in comfortable circumstances and built for himself a house of ten rooms having good panelling in four of them. None of the finish on this house was painted until well after 1825 or a century after it was built. This paint has now been removed and the old white pine finish is revealed in all its natural beauty of varying shades of reddish brown, effectively contrasting with the whitewashed walls. Natural wood finish, laid in oil, was quite the common thing in the ordinary New England dwelling, until after the people had recovered from the financial exhaustion of the Revolution.
The plastered walls were usually whitewashed which was quite in keeping with the Puritan character that covered with limewash the beautiful mural decorations of the English churches at the time of the Commonwealth. Families of wealth covered their walls with hangings brought from England. Peter Sergeant died in 1714, possessed of a "suit of Imagery Tapestry hangings" in his cedar room. This house was one of the finest in the town of Boston and afterwards became the Province House—the residence of the Governors of the Province. Another room in this house was also furnished with hangings. Arras hangings were advertised from time to time in the Boston newspapers and in 1736, Boydell, the printer of the Boston Gazette, advertised a house in which one chamber in the first story was "hung with Scotch Tapestry, the other with Green cheny." The large brick house of the late Isaac Gridley, situated near Fort Hill, in Boston, was sold in 1771. It contained thirteen rooms and three of the lower rooms were "genteelly furnished with Tapestry Hangings."
A three-story house was built in Boston about 1715 by William Clark, a wealthy merchant and member of the governor's council. His death in 1742, was attributed by some, to the loss of forty sail of vessels in the French War. In this house afterwards lived Sir Henry Frankland, Collector of the Port, who fell in love with Agnes Surriage, the beautiful sixteen-year-old maid-of-all-work at the Fountain Inn in Marblehead. Her romantic story is well-known. This house differed but little from the dozen or so of its type to be found in Boston at the time, save in its rich and elaborate decoration of the north parlor, at the right of the entrance hall. Here, the walls were divided into panels by fluted pilasters supporting an elaborate cornice, the whole heavily gilded, and each of the panels was embellished with a landscape or other decoration painted in oils. Painted arabesques and heraldic devices covered all other flat surfaces and the floor was laid in a mosaic of various colored woods. Every inch of the surface of this parlor was the product of the imagination and skill of the painter, gilder or carver. But while this magnificence actually existed in New England, by no means was it typically representative of its culture or artistic development. It merely exhibited the pride of wealth and was largely the product of European craftsmen.
The heavy strap hinges on the doors of the earlier houses and buildings were probably wrought by hand at the forge of the nearest blacksmith, but most of the hardware and iron work was imported from England. Before 1650 there was a slitting mill at the Saugus Iron Works, but the principal product of this forge was cast iron manufactures, such as pots and kettles. At a later date, Parliament, at the instigation of the English manufacturers, prohibited by law the setting up of slitting mills and trip hammers, and it naturally followed that the manufactured iron and brass required by the Colonies was brought overseas from Birmingham and Sheffield.
A word or two as to the varying types of house hardware may not be amiss at this time. At the outset wooden hinges and heavy strap hinges of wrought iron were in common use. These hinges were hung on gudgeons and their points varied in design but the spear-shaped point was most common. In the best houses, at an early date and continuing until the beginning of the eighteenth century, might be found the so-called "cock's head" hinge, an ornamental survival from Roman times. The butterfly hinge was also in use at that time—usually on cupboards and furniture doors. The H and HL hinges came into use in New England in the early 1700's and lasted until after the Revolution. These hinges were cut out of heavy sheet iron and were made in factories in England. This type of hinge was superseded by the cast-iron butt, still in use, which was invented in England in 1775, and adopted very generally in the United States at the close of the Revolution.
In some old houses that have been restored and in many modern constructions done in the manner of the seventeenth and eighteenth centuries, the door hinges in painted rooms have been picked out in black making them most conspicuous. This is a modern conceit—an invention of the modern architect. It was not done in the old days, a fact easily established by carefully scraping through the various coats of paint on an old house. Our great-great-grandmothers had no itching desire for contrasts of that sort. They knew nothing of highboys, grandfather's clocks, low daddys, Lady Washington chairs, courting mirrors, fiddle back chairs or donkey-eared spindle backs. These names are inventions of collectors or antique dealers striving for the picturesque. The highboy, it is true, antedates the others, but in the early days this piece of furniture was called a high chest of drawers and the lowboy was called a low chest. Recently the common HL hinge has been described as the "Holy Land" hinge; certainly not referring to the English colonies where there were fully as many sinners as saints.