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Although the general architectural design of this room is very similar to the Blue Parlor, the inventory indicates that it served very different functions. The total value of the contents of this room in the inventory was less than one-fourth the value of the furnishings of the Blue Parlor. Therefore, this room was the everyday or family parlor. This area of the mansion could have been used by the children for play and also for school work. This room is now set up to depict daily activities from over two centuries ago, including sewing, embroidery and tea drinking. The green painted Windsor chairs represent a common type of seating of the late 1700’s.
The ingrain carpet, a reproduction also made by Family Heirloom Weavers, is in the “Townend” pattern, a documented pattern modeled after an ingrain carpet remnant in the textile collection of the Victoria and Albert Museum in London. The pattern dates from 1768. Although this date is a bit early for Rock Ford, our research indicates that ingrain carpet patterns were often in production for many years after their introduction making this carpet period appropriate.
The walnut candle stand with dish top is reputed to be a Hand family heirloom, and it may be the “small stand” listed in the inventory for this room. Lighting was a constant challenge in the 18th century. The wrought iron reflecting candle stand with its adjustable arm was an inventive lighting device.
The circa 1790 silver-plated coffee pot, most likely imported from England, descended in the Slaymaker family of Lancaster County.
Above the fireplace hangs a portrait of Hand’s middle daughter, Dorothy (1777-1862). It was painted in 1819 by Jacob Eichholtz (1776-1842) of Lancaster and, therefore, was never displayed at Rock Ford during the Hand’s residency. Dorothy married Edward Brien, who co-owned Martic Forge Iron Foundry with his uncle, Robert Coleman. Dorothy and Edward Brien had five children, three of whom survived to adulthood.
Other items of interest in the Gold Parlor include the silhouettes of Hand relatives, Samuel Bethel III and three of his six sisters. Samuel married Sarah, the oldest Hand daughter after her father’s death. Samuel was a wealthy landowner and lawyer. The couple had no children of their own, but they did adopt a son of one of Samuel’s married sisters.
A most fashionable blue and white tea service circa 1800 in the style of Chinese export porcelain by Miles Mason of England is displayed in this room.
General Hand’s field desk, a folding lap top or portable desk used by him during the Revolution, is displayed in this room. This field desk holds quill feathers, ink and other items necessary for writing correspondence and provides a writing surface when unfolded. A brass plate inscribed with Hand’s name is attached to the lid of the desk.
The iron fireplace insert is marked “Hopewell Furnace.” In the 18th century, there was more than one “Hopewell Furnace.” The most familiar furnace was in Elverson, Pennsylvania, outside of Philadelphia.
An interesting architectural feature of this room is the lack of a second cupboard on the fireplace wall. Instead, the paneling conceals a small passageway that leads to the dining room. In cold weather, this passageway allowed the Hands to move between the warm family parlor and dining room without venturing into the cold and drafty hall. With no central heating, no storm doors and large keyholes in the locks, cold drafts passed through these halls in the winter.
The Zograscope on the drop-leaf table is a curiosity or parlor amusement. It employs a mirror and magnifying glass to enhance the perspective and three dimensional quality of pictures called Vue d’Optiques. The pictures were usually hand-colored engravings depicting famous European cities or places in the Holy Land. Located behind the Zograscope is an 18th century Vue d’Optique which depicts a view of the Baroque Church of San Carlo at the Place of the Four Fountains in Rome. It was engraved and hand-colored in Paris in the mid to late 18th century.
In Early America, spice boxes were generally not kept in the kitchen but placed in the parlor, often on top of larger pieces of furniture. Their drawers were used for the storage of valuables such as jewelry, silver shoe buckles and spoons, spectacles, ivory combs and the occasional valuable spices such as nutmeg or cloves. A luxury item made of high quality woods, they were generally found only in affluent households. The Pennsylvania figured maple spice box with interior drawers is circa 1750-1770.
During the Federal Era, there was a considerable demand for English ceramics including both table services and decorative items such as these Pearlware figurines rendered in a neo-classical style. Popular subjects were Greek Gods, “The Seasons” and “Faith Hope and Charity” which invoke Christian values while also being derivative of the “Three Graces” from Greek Mythology. Because of their age and fragility, complete matched sets of Pearlware figurines such as this are rare.
Gold ParlorAlso known as the Family Parlor
Although the general architectural design of this room is very similar to the Blue Parlor, the inventory indicates that it served very different functions. The total value of the contents of this room in the inventory was less than one-fourth the value of the furnishings of the Blue Parlor. Therefore, this room was the everyday or family parlor. This area of the mansion could have been used by the children for play and also for school work. This room is now set up to depict daily activities from over two centuries ago, including sewing, embroidery and tea drinking. The green painted Windsor chairs represent a common type of seating of the late 1700’s.
The ingrain carpet, a reproduction also made by Family Heirloom Weavers, is in the “Townend” pattern, a documented pattern modeled after an ingrain carpet remnant in the textile collection of the Victoria and Albert Museum in London. The pattern dates from 1768. Although this date is a bit early for Rock Ford, our research indicates that ingrain carpet patterns were often in production for many years after their introduction making this carpet period appropriate.
The walnut candle stand with dish top is reputed to be a Hand family heirloom, and it may be the “small stand” listed in the inventory for this room. Lighting was a constant challenge in the 18th century. The wrought iron reflecting candle stand with its adjustable arm was an inventive lighting device.
The circa 1790 silver-plated coffee pot, most likely imported from England, descended in the Slaymaker family of Lancaster County.
Above the fireplace hangs a portrait of Hand’s middle daughter, Dorothy (1777-1862). It was painted in 1819 by Jacob Eichholtz (1776-1842) of Lancaster and, therefore, was never displayed at Rock Ford during the Hand’s residency. Dorothy married Edward Brien, who co-owned Martic Forge Iron Foundry with his uncle, Robert Coleman. Dorothy and Edward Brien had five children, three of whom survived to adulthood.
Other items of interest in the Gold Parlor include the silhouettes of Hand relatives, Samuel Bethel III and three of his six sisters. Samuel married Sarah, the oldest Hand daughter after her father’s death. Samuel was a wealthy landowner and lawyer. The couple had no children of their own, but they did adopt a son of one of Samuel’s married sisters.
A most fashionable blue and white tea service circa 1800 in the style of Chinese export porcelain by Miles Mason of England is displayed in this room.
General Hand’s field desk, a folding lap top or portable desk used by him during the Revolution, is displayed in this room. This field desk holds quill feathers, ink and other items necessary for writing correspondence and provides a writing surface when unfolded. A brass plate inscribed with Hand’s name is attached to the lid of the desk.
The iron fireplace insert is marked “Hopewell Furnace.” In the 18th century, there was more than one “Hopewell Furnace.” The most familiar furnace was in Elverson, Pennsylvania, outside of Philadelphia.
An interesting architectural feature of this room is the lack of a second cupboard on the fireplace wall. Instead, the paneling conceals a small passageway that leads to the dining room. In cold weather, this passageway allowed the Hands to move between the warm family parlor and dining room without venturing into the cold and drafty hall. With no central heating, no storm doors and large keyholes in the locks, cold drafts passed through these halls in the winter.
The Zograscope on the drop-leaf table is a curiosity or parlor amusement. It employs a mirror and magnifying glass to enhance the perspective and three dimensional quality of pictures called Vue d’Optiques. The pictures were usually hand-colored engravings depicting famous European cities or places in the Holy Land. Located behind the Zograscope is an 18th century Vue d’Optique which depicts a view of the Baroque Church of San Carlo at the Place of the Four Fountains in Rome. It was engraved and hand-colored in Paris in the mid to late 18th century.
In Early America, spice boxes were generally not kept in the kitchen but placed in the parlor, often on top of larger pieces of furniture. Their drawers were used for the storage of valuables such as jewelry, silver shoe buckles and spoons, spectacles, ivory combs and the occasional valuable spices such as nutmeg or cloves. A luxury item made of high quality woods, they were generally found only in affluent households. The Pennsylvania figured maple spice box with interior drawers is circa 1750-1770.
During the Federal Era, there was a considerable demand for English ceramics including both table services and decorative items such as these Pearlware figurines rendered in a neo-classical style. Popular subjects were Greek Gods, “The Seasons” and “Faith Hope and Charity” which invoke Christian values while also being derivative of the “Three Graces” from Greek Mythology. Because of their age and fragility, complete matched sets of Pearlware figurines such as this are rare.
Gold Parlor
