INTERIORSfriends of drayton hall

vol. 31 no. 2 | spring 2013

a national trust historic site

W h at ’s Old is NeW ag aiN

By Carter C. Hudgins, Ph.D., DIRECTOR OF PRESERVATION AND EDUCATION

Here’s an odd question to ask of an old place: What’s new? We frequently hear such an inquiry from visitors and support-ers, and the answers illustrate how preserving a historic site is a dynamic process ripe with the potential for new discoveries and opportunities. This spring, we are happy to announce that a remarkable series of multidisciplinary initiatives guided by Drayton Hall’s preservation philosophy have not only helped to stabilize the main house, but also enhanced landscape features and improved access to our collections and associated research. Because such work is ongoing and public, we welcome you to come visit and bring friends to witness the stabilizing of the iconic portico, experience breathtaking new views of the grounds, and interact with artifacts and exhibits placed within the main house and across the landscape.

Stabilizing an American Treasure

A major focus in 2012 was a structural assessment of Drayton Hall’s double portico. This structure, which projects from and recedes into the main house, is the first of its kind in North America, yet has been compromised in the recent past due to soil compression, water intrusion, and early 20th-cen-tury preservation efforts, which inserted modern concrete and rebar elements into the historic fabric of the house.

With recommendations from Bennett Preservation Engineering in hand, work began by removing the ceiling located above the first floor of the portico. This modern system, complete with generations of paint and caulk, had been trapping rainwater and contributing to the deteriora-tion of the portico’s second floor. The portico is now drying

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educatiON fOr life

Although I’ve been at the helm of Drayton Hall for over 20 years as the Executive Director, I’ve always been an educator at heart. What’s the point of preserving a place like Drayton Hall if it isn’t to impart to each new generation a fresh perspective on our past? Even as a young man, I felt compelled to pass on a pas-sion for history to a younger generation. During my tenure at my alma mater in Atlanta, The Lovett School, I taught teenagers to use art to unlock the past. Fresh out of college, I hadn’t taken an education course, but drawing upon my junior year as a student in Paris, I knew that the study of art could enrich the students’ un-derstanding of history in ways that the then-standard approaches did not. I tried to pair students with masterpieces that suited their personalities and asked them to write an essay. To the athlete, I gave Michelangelo. To the aspiring model, Botticelli. To the introspec-tive and quiet student, Vermeer. These students connected with these artists and history spoke in new ways to them. In fact, while in Atlanta recently, I saw some of my students, and they still remember the artists I assigned them, more than 40 years ago!

More recently, I was discussing my concern with the decline in history education with Johanna McBrien, editor of the magazine Antiques and Fine Art, and she asked me to write a piece for their 13th anniversary issue, published this winter. Entitled America’s Historical Illiteracy and the Future of Arts and Antiques, it marks the

DrAyToN HALL SITE CouNCILAnthony Wood, chairmanrichard Almeida, Mary ravenel Black, Catherine Brown Braxton, Lonnie Bunch, Mimi Cathcart, Matthew Cochrane-Logan, Edward Crawford, Jane deButts (emeritus), Chad Drayton, Charles Drayton (emeritus), Frank B. Drayton, Eric Emerson, Carl I. Gable, Phil Gaines (designee for Duane Parrish), Stephen F. Gates, Marilynn Hill, Kristopher B. King, Douglas Lee, Benjamin Lenhardt, Fulton Lewis, Peter McGee (emeritus), Joseph McGill (honorary), Hampton Morris, Monty osteen, Jr., Duane Parrish, Suzanne Pollak, Michael Prevost, Connie Wyrick (emeritus)

ExECuTIVE DIrECTorGeorge W. McDaniel

INTErIorS STAFFKristine Morris, editorNatalie Baker, graphic designerEmily C. Pack, associate editorrobert A. Johnson, volunteer proofreader

The mission of Drayton Hall, a historic site of the National Trust for Historic Preservation, is to preserve and interpret Drayton Hall and its environs, in order to educate and inspire people to embrace historic preservation.

Director’s Notes–George W. McDaniel, Ph.D.

Friends! We want to hear from you, so please send your comments to development assistant leslie_newman@draytonhall.org and you could be quoted in the next issue of Interiors. Thank you!

Here’s what our visitors and fans have to say:

ADulT GrouP TourS

“I’m not a history buff—thanks for making [it] enjoyable. I would promote Drayton Hall to anyone.”

— Heather P., Christian Tours

EDucATioN

“Visiting Drayton Hall has become a much-anticipated stop on our trip to Charleston and you never fail to live up to expectations!” — Megan B., 6th-grade teacher,

Geneva Classical Academy, FL

FroM

“One of my favorite places on Earth.” — Sis M.

TriP ADviSor

“History as it should be: the preservation of Drayton Hall is a minor miracle, and in this commercialized, over-developed world, heading to this historic house and hearing its story is fascinating.”

— Janet, NJ

TWiTTEr

“This week’s pick for holiday fun via @DraytonHall”— Charming Inns of Charleston

cover image: Possible design for Drayton Hall’s western elevation. Unknown date, unknown artist. Recently acquired from Historic Charleston Foundation, this work may have served as inspiration for Drayton Hall’s initial construction, and will be featured in a pair of exhibits this spring. See page 3 for more information.

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13th Anniversary154 www.antiquesandfineart.com

bybybyby GGGeoeoeoeorgrgrgee e e W.WWW. MMMMcDcDccDananannieieieielll

IIDDEEAASS FFRROOOMM TTHHEE FFIIEELLLDDD Drayton Hall, Charleston, South Carolina.

2013 Antiques & Fine Art 155

At Drayton Hall, a historic site of the National Trust for Historic Preservation in Charleston, South

Carolina, a museum interpreter, about sixty-five years old, welcomed a group of elementary school

students to the site. She summarized the history of the plantation and explained that construction

of its main house had begun in 1738. When she paused for questions, a student politely raised her

hand and asked, “Were you living here when the house was built?” Another story comes from the

manager of the museum’s shop where Civil War caps from both armies are sold. About twice a month, adults ask the

manager, “What’s the difference between the blue cap and the gray?” Such stories are told across the nation, but are

not relegated to historic sites. Pulitzer Prize-winning historian David McCullough tells of giving a lecture at a well-

respected college in the Midwest. Afterwards, a bright student told him, “Until I heard your talk, I’d never realized

the original thirteen colonies were all along the East Coast.” 1

“History is typically taught through the written or spoken word, but objects offer the opportunity to engage minds in a different way.”

While we may chuckle or shake our heads, these stories illustrate what McCullough and others have characterized as “America’s historical illiteracy.” It is hard to imagine what time frames and maps many people carry in their heads. When they hear “Federal style” or “Greek Revival,” what must come to mind? What about “Hudson River School of painting,” especially if there is no river? Should we in the world of antiques and fine arts care? Let’s consider what’s at stake: Can a dealer hope to sell objects when customers have little understanding of different periods of time or appreciation of history? Lovers of decorative arts know that people can simply have an appreciation for beautiful objects (Fig. 1). One need not know what Georgian means in order to appreciate the beauty of the design and artistry of carved mantles or decorative ceilings in Drayton Hall (Fig. 2). There are certainly young people acquiring material, but much of this is in the form of accent pieces or contemporary art and objects. While any

manner of collecting should be encouraged, what will augment interest in collecting historic works ? The answer is an understanding of history, which puts antiques and fine art in context and deepens and enriches the way they are appreciated.

According to noted antiques dealer and cultural historian Sumpter Priddy of Alexandria, Virginia, “Objects are irrelevant unless we have the capacity to understand them. We need to know how they fit into our history and illuminate who we are—and also how to categorize them so we can retrieve their gifts when needed.” Priddy comments, “Ideally, I aspire to find and interpret old things that teach us something we haven’t previously understood about our culture.” 2

In a recent article in the News & Observer, William H. Pruden III, head of the Upper School at Ravenscroft School in Raleigh, North Carolina, noted: “Today, in a country seeking to regain its economic and political footing, educators, business leaders,

Fig. 1: Carved stair bracket.

above: A spread from George McDaniel’s article on the subject of history education featured in the 13th anniversary issue of Antiques and Fine Art magazine.

3380 Ashley River Road, Charleston SC 29414Phone: 843-769-2600 Fax: 843-766-0878www.draytonhall.org dhmail@draytonhall.org

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dr ay tON cOllec tiONs gO Public!

Treasures from our Collection at Colonial Williamsburg

Drayton Hall is pleased to announce that 26 objects from our collections have been placed on loan with the Colonial Williamsburg Foundation for inclusion in a new exhibit entitled: A Rich and Varied Culture: The Material World of the Early South. This dynamic new exhibition, focusing on the remark-able objects that were created in, or imported to the Chesapeake, the Carolina Lowcountry (opening in July 2013), and the backcountry, is scheduled to fully open in January/February of 2014. Future issues of Interiors will profile Drayton Hall col-lections items and discuss the conservation initiatives carried out to prepare the objects for exhibition. In the meantime, here are a few objects that will be displayed in months to come.

first time that the magazine has published an article on the subject. Inspired in large part by historian David McCullough, whose lectures and writings have chronicled these problems extensively, I sought both to document the problem with strong evidence and to suggest useful and ef-fective ways to solve it. I hoped to con-nect our imperative to teach history with the future of the antiques and fine arts world. As I explain in the article, why should one care about a design in the Greek revival style if one doesn’t have the foggiest notion of what “Greek revival” is? The good news is that Johanna reports that the article has been well received, as il-lustrated by a well-respected museum professional in New England, who ordered two boxes to distribute to board members.

As a Friend, you should have received an email with the article as an attach-ment. or, you may visit our Drayton Hall blog, The Drayton Hall Diaries, to see it and share it with friends or colleagues. Please let me know what you think or respond to the blog or on our Facebook page. I hope we can continue the dialogue on this pressing problem and that you will join Drayton Hall and others in sup-

porting history education in our schools, homes, and his-

toric sites. As retired surgeon Norman

Walsh of Summerville, SC, recently declared: “They talk about educating for jobs, and

that’s fine. But what about

teaching history to educate for life?”

di r ec tor’s not e sc o n t i n u e d f r o m pa g e 2

a: Mahogany side chair from Drayton Hall. Documentary research indicates that this is one of 24 chairs utilized in the great hall. Such chairs may have been ordered for the main house, and are complemented by a matching settee that sur-vives in Drayton Hall’s museum collection. Gift of Charles H. Drayton.

b: Mahogany stair bracket from Drayton Hall’s stair hall. This delicately carved architectural feature, original to Drayton Hall’s 1740s construction, was originally treated with translucent vermillion paint to give the stair hall

a vibrant appearance.

c: Porcelain Garniture Set. Utilized to ornament the interior of Drayton Hall, this three-piece set was manufactured in Jingdezhen, China, in the 18th century and consists of polychrome decora-tion depicting chinoiserie figures in a garden with gilt foliate decoration on the outside panels. Gift of Charles H. Drayton.

d: Porcelain chocolate cups. Created in Jingdezhen, China, around 1720, these small cups were recovered through ar-

chaeological excavations close to the main house and were used to drink beverages made with imported chocolate.

e: Bureau Bookcase. This elaborate example of mid 18th-century British case furniture may have been located within Drayton Hall’s withdrawing room. Completed with 13 secret compartments, gilt rococo,

brasses, and delicate wood and tortoise shell inlays, this object is one of the finest examples of furniture to survive from colonial America. Gift of Charles H. Drayton and Martha Mood.

f: Porcelain Plate. Also created in Jingdezhen, China, around 1750, this example is decorated with overglaze flowers and gilding. This example is part of a 12-piece set that descended within the Drayton family from the

18th century. Gift of Anne Drayton Nelson.

b

d

e

a

c

f

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out, and work is underway to further stabilize it by installing temporary supports below the structure. This process began with the removal of existing paving material located below the portico in the raised English basement and the subse-quent archaeological excavation of an older disarticulated floor surface and associated construction deposits.

A second step will concern the erection of wooden supports and jacks in the basement to support vulnerable sections of the portico. A final component of this project will involve strategically removing sections of the modern concrete and iron rebar beams that were installed below the portico in the early 20th century to replace original wooden joists. The rebar has deteriorated over the years as rainwater has caused it to rust, expand, and crack the surrounding concrete. This solution is a temporary remedy ahead of a more substantial campaign that will likely concern the removal of all modern materials (concrete and rebar). Throughout this process, physical access to the portico has been reduced, yet site visitors will be able to witness preservation in action and the aspects of archaeology, building pathology, engineering, and architectural conservation that are required to stabilize one of Drayton Hall’s most iconic features.

Preserving Drayton Hall’s landscape

Concurrent with the structural work centered on the portico, initiatives on the landscape continued to implement the 2003 Historic Landscape Master Plan. Generously funded by friends of Drayton Hall with a leadership gift from Parker and Gail Gilbert, the Landscape Master Plan calls for pre-serving the historical integrity of the site, defining historic landscape features, and improving the interpretation of the landscape with the goal of enhancing the visitor experience.

Prior to 2012, most of the efforts to implement the Landscape Master Plan focused on the 16 acres surround-ing the main house. Throughout the recent calendar year, however, work has progressed to address the historic trees, earthen banks, ponds, and ditches that line Drayton Hall’s entrance road. This involved the removal of harmful invasive plants and damaging vegetation that is both chok-ing historic live oaks and undermining the earthen banks

w h at ’s ol d is n e w ag a i nc o n t i n u e d f r o m c o v e r

left, l–r: Drayton Hall Curator of Collections/Archaeologist Sarah Stroud working with volunteer Stan Younce and interpreter Eric Snyder below the portico of the main house to remove paving materials and archaeo-logical deposits ahead of installing supporting timbers and jacks. These efforts have produced a remarkable series of finds including probable evidence of Drayton Hall’s original basement floor, 18th-century horti-cultural equipment, and domestic artifacts such as glass bottles and ceramics that may have been used to prepare meals.

above: Preservation Technician and House Manager Trish Smith working alongside Project Assistant Joseph Mester to remove the late 19th-century drop ceiling installed beneath the second floor of Drayton Hall’s portico.

above: Before (top) and after (bottom) views of Drayton Hall’s entrance road illustrating the work to remove damaging and invasive vegetation. One can now recognize how historic features, including trees, ornamental terraces, and even the ponds, were conceived as part of a unified plan to create one of North America’s greatest 18th-century estates.

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that serve as essential features to divert water across the site and contain water within the ponds. As a result, the health of Drayton Hall’s historic trees has been improved through reduced competition, the hydrologic function of landscape features has been reestab-lished, and significant views across the site have been reclaimed.

connecting to collections

Visitors are often surprised to learn that Drayton Hall curates a remarkable collection of decorative arts objects, manuscripts, and archaeological arti-facts associated with the Drayton family and the enslaved people that lived and worked here. Such a reaction became all the more apparent in 2012 as a series of visitor surveys identified our guests’ interests to see our collections and view pictorial evidence of the site’s history and residents. The absence of environmental controls in the main house prohibits the exhibition of sensi-tive historical objects, yet Preservation and Education Department members are responding to the recent surveys by experimenting with methods to con-nect visitors to our collections through the use of interactive materials.

An exciting example of this initiative is a new model of Drayton Hall displayed in the main house beside a facsimile copy of the watercolor of Drayton Hall painted by Pierre Eugene du Simitiere in 1765. Produced by Timothy richards of Bath, England, through the support of Parker and Gail Gilbert, the development of the new model relied on information gathered from archaeological excava-tions, extant architectural features, and the privately-owned 1765 watercolor.

Complementing the model of the main house is a second exhibit con-taining a model of John Drayton’s circa 1747 Garden House and a facsimile image of this structure as documented by Lewis reeves Gibbes in 1845. Additional exhibits will combine Drayton Hall’s archival holdings with furnish-ings, ceramics, table-ware, and the paint-ings of Drayton family members to depict the personalities and events that once popu-lated the historic site.

As more work con-tinues to incorporate Drayton Hall’s signifi-cant collections into public interpre-tation, exhibits will routinely rotate through the house and landscape to connect visitors to objects and related

research. one example, planned for the spring and summer, will focus on the construction, design, and materials of Drayton Hall. Complementing arti-facts from our architectural fragment collection, a central object will be an undated elevation drawing that likely served as inspiration for Drayton Hall’s original configuration (shown on the front cover of this issue). Donated by

Frank Drayton to Historic Charleston Foundation in 1971 before the establish-ment of Drayton Hall as a historic site, this drawing has recently been transferred to Drayton Hall’s collections and is

currently being conserved by the Colonial Williamsburg Foundation in preparation for an upcoming exhibit at Williamsburg. Please see page three for more information on this and other objects from Drayton Hall’s Collection that will be part of the exhibit.

Detail from historic map of Drayton Hall show-ing landscape features. While undated, this work depicts the property as it appeared in the late 18th century. Landscape features have been digitally shaded by the author to illustrate the locations of original ponds, streams and ditches.

Plaster model depicting Drayton Hall in 1765 shown alongside water-color produced by Pierre Eugene du Simitiere in 1765. When viewed together, the model and watercolor allow visitors to realize how Drayton Hall was envisioned by John Drayton in the mid eighteenth century.

Plaster model of the Drayton Garden House based on archaeological research and a sketch produced by Lewis Reeves Gibbes in 1845. These items demon-strate how the garden house appeared prior to its disuse and demolition in the late nineteenth century.

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The Carolinian FlorisT: A handsome, bound facsimile of the 1798 manuscript of “The Carolinian Florist” by John Dray-ton (1766-1822) was acquired from the Charleston Library Society and generously donated to Drayton Hall’s Collections by Stephen Gates, a member of our site council.

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above: As part of our growing network of partnerships with local and national organizations, our staff recently met with the staff of the Smithsonian’s National Museum of African American History and Culture to discuss the loan of artifacts from our collections for the museum’s exhibits when it opens in 2015. l-r: Toni Carrier, Drayton Hall’s Wood Family Fellow; Carter Hudgins, Director of Preserva-tion and Education, Drayton Hall; Dr. Deborah L. Mack, Associate Director for Constituent and Com-munity Services, NMAAHC; Mary N. Elliott, Project Historian, NMAAHC; George McDaniel, Execu-tive Director, Drayton Hall; Nancy Bercaw, Associate Curator, Division of Political History, NMAAHC; and Dr. Rex M. Ellis, Associate Director for Curatorial Affairs, NMAAHC.

below: Rikki Davenport (right), curator of education at Drayton Hall, attended the recent Telling the History of Slavery: Scholarship, Museum Interpretation and the Public sponsored by the Thomas Jefferson Foundation at Monticello with the participation of Morven, University of Virginia. Rikki’s participation was made possible through the support of the Keepers Preservation Education Fund at the Maine Community Foundation.

above l-r: Annette Gordon-Reed, Charles Warren professor of American legal history, Harvard University, and author of “Thomas Jefferson and Sally Hemings: An American Controversy,” and Rikki Davenport, cura-tor of education at Drayton Hall.left: Maggie was one of a

kind. She loved to visit Drayton Hall and, with the help of her parents, Debbi and Jerry Zimmerman, was a wonderful ambassador for the site wher-ever she went. Debbi and Jerry honored Maggie, who visited Drayton Hall last August for the final time, through the gift of a tribute bench in her name.

What’s “Owl” is New Again! For centuries, great-horned owls have been making their homes in the live oaks. Here, the latest inhabitant: a mother guarding her nest.

left: Drayton Hall Council Chair Anthony C. Wood dedicated the first memorial bench in honor of his brother, Stephen Wood (pictured left), who was killed in a tragic accident while completing preservation work at Drayton Hall in 1980.

Tribute benches. Create an enduring tribute either in memory or honor of a loved one through a purchase of a Charleston Battery Bench©; a plaque will be installed with your honoree’s name and date of installation.

Located in special places throughout the landscape, these tribute benches will provide a comfortable spot to sit and learn and also offer a contemplative respite.

For more information, contact Leslie Newman, development coordinator at 843.769.2612 or leslie_newman@draytonhall.org.

New Tribute Benches

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Appointed in 2013

Kristopher B. King

Kristopher B. King is the managing princi-pal of King Preservation Management. He consults on a variety of historic preservation and real estate fronts, focusing on invest-ment and restoration of historic properties. He began his career in Charleston with His-toric Charleston Foundation (HCF), where he managed every aspect of stewardship on over 350 historic properties through the preservation easement program. He also directed HCF’s technical outreach program by consulting with property owners on appropriate conservation methods and has contributed to the Board of Architectural Review advocacy program. Mr. King’s interests in development, sustain-ability, and contemporary design led him to the private sector. While working with WECCO of Charleston, LLC, he oversaw the design and development of LEED-certified infill projects in Savan-nah, GA, and Charleston, SC. He currently serves as a board mem-ber for the Preservation Society of Charleston and the Charleston Civic Design Center. He is an Adjunct Professor in Historic Preser-vation at Clemson University and the College of Charleston.

Matthew Cochrane-Logan

Mattew Cochrane-Logan is the Assistant Vice President of Wells Fargo Insur-ance Services USA, Inc. Previously, Mr. Cochrane-Logan served in managerial positions with Virginia Inn Management, Inc., Moore & Van Allen, PLLC, and the Medical University of South Carolina. Mr. Cochrane-Logan attended St. Anne’s Col-

lege, University of Oxford, Oxford, England (Summer 2000), and graduated in 2001 from Hampden-Sydney College (BA, History

Richard J. Almeida

Richard Almeida is former Chairman and CEO of Heller Financial, Inc., a Chicago-based commercial finance company acquired by General Electric Credit Corpo-ration in 2001. Prior to that, Mr. Almeida was with Citicorp/Citibank in a variety of investment, corporate, international and commercial banking and strategic planning

positions. Mr. Almeida received his B.A. degree in International Affairs from George Washington University and a Masters in Inter-national Public Administration from The Maxwell School of Syra-cuse University. He is Lead Director of Ingredion and a director of CARE USA, Spoleto Festival USA, and Save Venice. He is a mem-ber of the Investment Advisory Committee of Historic Charleston Foundation and President of The Casino (Chicago). He and his wife and daughter reside in Chicago and Charleston, SC.

Catherine Brown Braxton

Catherine Brown Braxton was born on Concord Street in the Ansonborough neighborhood of historic Charleston. Her parents were Charleston natives, and her maternal grandfather, Willis Johnson, Sr., was born at Drayton Hall. She earned a BS degree from SC State University in Orange-burg, SC, followed by post-graduate courses at Columbia University in New York City. Ms. Braxton was with the New York City Human Resources Administration providing protective services to children and adults for more than 30 years. After retiring in 1992, she returned to SC and became involved in the Guardian ad Litem Program in Colleton County, SC, work-ing with neglected and abused children. Together with her sister, cousin, and other family members, she began an initiative to pro-mote and preserve the history and culture of the “Borough” and to restore their 161-year-old family home. An active participant in the National Trust for Historic Preservation conferences, initially as a diversity scholarship recipient, Ms. Braxton is also a member of several community and civic organizations.

Fulton D. Lewis Jr. (Tony)

Tony Lewis is president, owner, and operator of The Fulton Lewis Company of Charleston, SC. Formerly associated with Harmon Associates in Jericho, NY, Fort James Paper, Fort Howard Paper, and Sonoco Products, he is a veteran of all phases of the paper recycling business. Mr. Lewis began his career as a recycled paper

buyer for a major integrated paper company based in South Carolina with mills located across North America, including Mexico and Canada. Over 30+ years he owned and operated a full-scale paper, plastic, and glass recycling company and subsequently became an officer of a major international paper recycling brokerage company. After a brief retirement in 2006, he refocused his efforts within the industry and formed The Fulton Lewis Company. Mr. Lewis was educated at Duke University and the University of South Carolina where he received a BA in English. He formerly served on the Board of The South Carolina Governor’s School for Science & Mathematics, as well as various local service clubs, and is a member of Grace Episcopal Church in Charleston, SC. He and his wife, Amey Averill Parsons, have five children and seven grandchildren.

& Honors in Religion, cum laude). He presently serves as Vice President of the Independent Insurance Agents & Brokers of Greater Charleston, as Head of Hampden-Sydney College Alumni Club of Charleston, SC, and serves on the Executive Committee of the Porter-Gaud School Alumni Association Board. He is Co- Founder & Co-Chairman of Drayton Hall’s Palladian Circle. For-merly Mr. Cochrane-Logan served as a Trustee of the Dr. Carolyn E. Cochrane Memorial Scholarship at Charleston Day School, as Trustee of the William Jackson Adams, IV, Memorial Scholarship and was a Member of the National Young Alumni Taskforce Com-mittee at Hampden-Sydney College.

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Total Recovered Fiber All Post-Consumer Fiber

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