Beauty in History: Restoration, Research, Recognition: Work on a Historic Property

Beauty in History Restoration, Research, Recognition: A Renewed Sense of Existence

By Michael Milewski and Vicki Milewski

The triumph of a historic building is not only found in its round windows and hand-hewn stones; the true triumph of a historic building is how it captures time while also freeing it.

—Michael Milewski

A historic property lends its glory to us “in its deep sense of voicefulness. of stern watching, of mysterious sympathy, which we feel in walls that have long been washed by the passing waves of humanity."

—John Ruskin

Beauty in History Restoration, Research, Recognition: A Renewed Sense of Existence

By Michael Milewski And

Vicki Milewski

Galaudet Gallery Publishing

Published by

Galaudet Gallery Publishing http://galaudetgallerypub.wixsite.com/ggpub

2223 West Hubbard Chicago, Illinois 60612 & 618 South Farwell Eau Claire, Wisconsin 54701 715 513 9994 galaudetgallery@gmail.com @ http://galaudetgallery.wix.com/ggllc

Galaudet Gallery 2015, 2020, 2022

All Rights Reserved

Written, Researched and Designed by

Vicki Milewski

Michael Milewski

Cover Photo Front Elevation of 618 S, Farwell Eau Claire, WI

Epigraph Page Photo is of front sandstone foundation of 618 S. Farwell Title Page Photo is a collage of images from the stained glass windows in 618 S. Farwell

Dedications

The authors wish to thank all those who have come before them particularly their family and its history which stretches back to 1711 in New York and 1838 in Wisconsin it is the work of all those who have come before which makes the work these authors present here and do each day possible.

A special thanks to their parents: Lenard Milewski and Elizabeth Galaudet Milewski who taught them how to work and how to dream in equal parts.

Beauty in History Restoration, Research, Recognition: A Renewed Sense of Existence Forward

Beauty in History began as a Historic Designation Research Document and then turned to include Historic Restoration Research before landing as the narrative for the Historic Structure Report for the property of 618 South Farwell Eau Claire, Wisconsin. This Queen Anne mansion was built in 1905 and has specific touches of symbolism and quality that are unique to this property while also upholding the . And so we set forth this book to examine the historical significance of this property while also learning about the craftsmanship it contains since both acts are needed in order to effectively restore this property, to give it a renewed sense of existence for now and the future while retaining a clear sense of the past.

We also are building a theory of Restoration and historical accuracy since every action requires a firm foundation. There is also a sense of continuing the wisdom of the ages in rehabilitating historic properties since if the construction techniques of the past are not energized into acknowledgement providing worthwhile information on how things were done and why then this lost knowledge may be lost forever leading to not only disrepair or worse destructive repair but also leading to poorer quality buildings being constructed now and in the future. Many people lament about poor quality materials as opposed to the past materials and many now are finding that new buildings are equally poorly constructed. Notating and learning from the past means we not only don’t repeat the mistakes from the past but also we may learn how to do something that needs to be done today.

“Architect, restorer, writer, and archaeologist, Eugène Emmanuel Viollet le Duc was the founder of the modern restoration movement: it was a new art and he therefore had to make new rules as he went along, formulating his own interpretation”1 of the architecture he was tasked with restoring in France after the tumultuous revolutions of the 1700’s had demolished much of the historical architectural pieces from which France was and is famous for thanks to Viollet le Duc’s painstaking efforts to understand how past builders and architects worked while also sourcing materials as they had did not mean he did not take advantage of newer techniques and materials thereby bringing the buildings he worked on into the present for a continued existence into the future. However Viollet le Duc would only bring in new materials and techniques after he had a thorough understanding of how the building was originally conceived, built and managed.

Viollet le Duc wrote of the Notre Dame restorations, he directed, "What Paris mobs have spared, however, will now be restored. In restorations there is an essential condition that must always be kept in mind. It is that every portion removed should be replaced with better materials, and in a stronger and more perfect way. As a result of the operation to which it has been subjected, the restored edifice should have a renewed sense of existence, longer than that which has already.”

Any restoration is a suggestion that a monument to history, the past and the future is taking place. “It is a binding of the future just as much as it is a marking of the past: by promising immortality to the dead, it promises that we will teach children yet unborn to teach their own children to remember.”2

Viollet le Duc’s work in France was a new art. Housing our Galaudet Gallery fine art within the walls of this Queen Anne gem was not an accident and as collectors of fine art with understanding of fine art conservation we enter into the task of renovating this property with these things in mind.

Viollet le Duc writes: "The term restoration and the thing itself are both modern. To restore a building is not to preserve it, to repair, or rebuilt it: it is to reinstate it in a condition of completeness that could never have existed at anv given time."

We are following Viollet le Duc’s reasoning concerning the restoration of architecture which has to do mainly with the faculty of reasoning, logic, documentation, and scientific accuracy. These are the pillars on which we are basing our restoration efforts. These ideas also inform the work we are doing researching this property. This book is a chance to bring all these ideas together for history and as a guideline for future restoration efforts.

Michael Milewski, owner of 618 South Farwell, Eau Claire, Wisconsin Vicki Milewski, researcher, artist and assistant to her brother Michael Milewski Eau Claire, Wisconsin 2014

Carved

Fleur de lis Interior 618 S. Farwell

Project Team

This Historic Structure Report was carried out between Mike’s Building & Consulting, National Park Service (NPS), the Memorial Nature Fund (MNF), the White House and the following Project Team through a Joint Ventures Agreement:

Principal Investigator

Michael Milewski

Mike’s Building & Consulting | Historic Properties Mentored Lenard Milewski College of Arts and Sciences

Harper College

Historic/Sustainability Certifications

The Institute for Sustainability, Energy, and Environment

Project Researcher & Scheduler

Vicki Milewski

Entrepreneurial Consultancy| Historic Properties College of Arts and Sciences Roosevelt University

Project Director

Historic Structure Report

Jules Heffe, March, AIA

Heffe & Associates | Heritage Conservation College of Architecture, Planning National School of Architecture of Paris Belleville

Elizabeth Alcyone

Consultant | Heritage Conservation College of Architecture and Landscape Architecture Rice University

Primary Author

Painting Director

Systems Director

Historic Paint & Stain

Vicki Milewski

Entrepreneurial Consultancy | Historic Properties College of Arts and Sciences Roosevelt University

Ramón García, Ph.D.

Historic Project Painters LtD. University of Pennsylvania. Stuart Weitzman School of Design

Dan Holtz

New Era Consultants

Hans Weiss University of Copenhagen Environmental Science

Project Team Continued

Assistance also provided by

Wood Art Consultant Rick Snyderman

Snyderman Works Art Consultants

The Center for Art in Wood

Conservation Disciplines Ralph Senst Conservation Center

Roofing Consultant Jim Hickman Hickman Consulting

Historic Restoration

Atilla Bundai, A & B Historic Restorers

Historic Research Professor John Mann University of Wisconsin Eau Claire History Department

Graphics Consultant Barbara Gryzbowski

IT IT IT IS LLC

Writing Consultant Tom Forsythe Roosevelt University Author

Land Recognition Coach Rudy Congers Starhawk

Pima Tribe

By Michael Milewski and Vicki Milewski Contents

Beauty in History

Restoration, Research, Recognition: A Renewed Sense of Existence

By Michael Milewski and Vicki Milewski Contents Continued

Section Three: The Leader Telegram’s Newspaper Archives

A Selected List of the White’s mentioned in the Eau Claire Leader

A Selected List of Galaudet Gallery’s Exhibits, Events and more (In Progress)

Section Four: Inventors

A.E. White’s Registered Patents

Michael Milewski’s Inventions (In Progress)

Vicki Milewski’s Inventions (In Progress)

Conclusion

Image List

All contents are copyrighted and some trademarked

To the left First Galaudet Gallery sign in front of 618 S. Farwell

S. Farwell

Introduction: The Three Historically Significant Attributes of 618 South Farwell

Both state and federal historic designations rely on three main factors in distinguishing a historical property. The history architecture and substance of 618 South Farwell in Eau Claire, Wisconsin has all three factors, which make it historically significant. First the Language from the Wisconsin Historical Society is then followed by the characteristics attributed to 618 South Farwell:

Embodying a distinctive architectural style.

The architectural distinction of this Victorian Queen Anne is that it embodies elements of the Arts and Crafts Movement, the Symbolists Movement and the majestic hallmarks of the Queen Anne architectural style. While there are other Queen Anne’s in Eau Claire, 618 South Farwell is unique in that its exterior structure and uncompromising interior have been personalized to the point that this building is truly one of a kind.

Association with an important cultural, political or social event.

The original owners, A.E. and Georgiana White are associated with building a business called White Machine Works which employed 1,000 people at its height and lasted over 50 years assisting Eau Claire to transition from a lumber economy to an industrial one. The fourth owner(s) had their law firm within this building for over 30 years. And the current owner has situated a fine art gallery, Galaudet Gallery, within this building, including the building itself as a work of art. Award winning Galaudet Gallery moves art forward through quarterly exhibits, cultural events and exhibit catalogs and art essays which put scholarship, research and historic acuity to the service of bringing to life all genres of art.

Identification with an individual who is important to the history or development of a community, state or the nation.

The current owner, Michael Milewski, is seeking historical designation for this building to be have the historic name of the White House and the common name of the Milewski Mansion since he is the person who is putting the building back into a state of grace for the next 100 years of its existence. Michael Milewski is not only the owner of this building but he will also be the main person renovating it. In addition to his EPA Lead renovator Certification, Michael also has numerous certificates in green and sustainable building techniques. In keeping the wood siding Michael has elected to paint this building instead of encasing it in a vinyl siding which would cause it’s slow and steady demise. The choice to name a historical house is a difficult one but Michael Milewski feels it is best to respect the past while looking toward the future.

Section One: Owners

Albert E. and Georgiana White: Eau Claire’s Industry

Front Elevation of 618 S. Farwell

618 South Farwell in Eau Claire, Wisconsin (Farwell) has had four owners over its over 100 year history. The well kept condition it is in today is a testament to good housekeeping, sound decisions and a respect for the beauty of this place. Although there were several owners, the current owner, Michael Milewski, seeks historical designation with the common name of The Milewski Mansion since he is the one restoring this historic property after many years of simple upkeep that did not keep in mind the historical nature of the property and because of his family’s work in the Chippewa Valley as dairy farmers and carpenters. The historic name will be The White House after the original owners A.E. and Georgiana White who purchased an Octagon House in 1902 and then completed construction of this beautiful Victorian Queen Anne in 1905 living here until 1944. Both A.E. and Georgiana were significant business owners and inventors who helped Eau Claire transition from a 19th Century lumber town to a 20th Century seat of industry. We are in a similar transitional time and as Michael sees the growth in Eau Claire he also recognizes that respect and honor should be paid to the future and the foundation we all are creating today and so it is with this intent that we present these facts and research about this property in hopes that historical designation will be granted.

The Milewski Mansion is actually the second building on this property. This property was first the site of an octagonal shaped building which housed the original site of the first Congregational Church in 1857 constructed by Rev. A. Kidder. By 1858 a Mr. McNair lived there. Joseph Thorp who started the Eau Claire Lumber Co. owned it for a few years before building his own mansion. He sold it for $5,000 in 1867 to Andrew Jackson who owned a jewelry store in Eau Claire. A.E. and Georgiana White bought the octagon house in 1902, tore it down and built the current Queen Anne. 1905 marks the completion of this building and the opening of the White’s business White Machine Works in this building. John Hertz owned the building and had a successful law firm here in the late 20th Century. In 2013 Michael Milewski bought the building and opened a second location for his award winning Galaudet Gallery.

A. E. and Georgiana White were Eau Claire business leaders. Information from the Eau Claire Leader shows a growing business that increasingly employed more people.3 The Whites incorporated White Machine Works

A saw swage invented and machined by

A.E. White Machine Works

Eau Claire

3 See Section Two for more information on Eau Claire Leader writings on the Whites. There is also a file on White Machine Works located in Madison, WI that needs to be researched.

(WMW) in 1913 after founding it several years before first working at home and then in a small shop. WMW expanded twice and the second time the Whites built a new building and a new foundry. 4 The Whites were significant in developing Eau Claire by employing Eau Claire residents and assisting in the city’s transition from a lumber economy to a manufacturing economy, from 19th Century thinking to early 20th Century innovations since WMW began as a manufacturer of saw swages and other devices concerned with cutting wood. Then in 1914 became a manufacturer of things like piston rings and casings for combustible engine run machines 5 and other areas still being researched like enameling. 6 After A.E. White’s untimely death in New York City in 1925 while he was on a business trip, White’s wife Georgiana lived in the residence until her death in 1944 7 and continued her involvement in WMW guiding the company into other areas like a gasoline station and furthering manufacturing concerns. 8

A. E. White was an inventor and has several patents to his name. There is mention in Eau Claire Leader articles and the book The River Flows On 9 that he was working on his inventions in the basement at home. White’s first inventions were before he reached Eau Claire and focused on the construction of buildings. Once White arrived in Eau Claire he created different devices for cutting wood more effectively like the Saw Tooth Indicator which was a device that could be placed over any saw tooth to determine its range and viability in cutting in tune with the other blades. White also invented a hoist for moving heavy equipment from a platform onto a trailer which required a spin mechanism that White may have also invented but for which the patent has yet to be found. He also then moved into inventing parts and then invented parts for machines and automobiles and post humorously was involved in a patent for a new alloy steel. More patents will probably be found if a full patent search is done since other patents are mentioned in the verified patents and there are other products mentioned that White Machine Works created for which patents have yet to be found.

A drawing from a patent application for

A.E. White’s Saw Tooth Centering Indicator

4 Eau Claire Leader article from 5.31.1917

5 White Machine Works Listed as “Superior for auto parts in The Automobile Trade Directory, Volume 18 Chilton Class Journal Company, 1920

6 Eau Claire Leader articles from 4.26.1914 and 9.20.1917

7 Albert E, White (1864 1925) , Georgiana Loraine Morrison White (1870 1944), Both Buried at Forest Hill Cemetery

8 From Title and Abstract Information

9 Eau Claire Leader 5.27.1917 and The Rivers Flow On: A Record of Eau Claire, Wisconsin History by Lois Barland

Published Stevens point, WI Warzalla Publishing Company 8.2.1965 page 305

An Architectural Brace Designed, Created and Installed by Michael Milewski

Section One: Owners

Michael Milewski: Eau Claire’s Arts

Michael Milewski began working with his father at age 11 learning the old world craft of carpentry using only hand tools. In 1983 he founded and is President of MBC: Michael’s Building & Construction a successful remodeling business in the Chicago area currently creating artistic architectural elements for both homes and businesses. In 1987, Michael founded and is President of McVicker Management a commercial, residential, and agricultural rental management company.

In 2010, Michael co founded and is co owner of Galaudet Gallery which has an international client and artist base with two gallery spaces one in Chicago, IL and the other in Eau Claire, WI

Michael is also an artist, when he was 6 years old, he won first place for a watercolor tiger he painted for the Arlington Heights Community Art Show. At 11 years old he won an honorable mention for a gigantic collage kite of monsters and dinosaurs drawn and constructed by him for the Arlington Heights Community Art Show. At 13 years old he won third place for his sculptural piece of an eight foot high Tyrannosaurus Rex for the St. James Art and Science Show. He then moved on to his construction and a rental business incorporating his creative ideas and repurposing recyclable material. He believes every project should have at least one creative element to set it apart from everything else like it. Currently he is exhibiting his mixed media pieces internationally.

Michael Milewski has worked as a carpenter/contractor since he was 13 and learning the trade from his father. Michael’s artistic practice has spanned construction, mixed media, social concerns and historical provocations. His work toward establishing sustainable building practices that also infuse a creative impulse has won awards and his architectural elements have been photographed for magazines and exhibited internationally. His practice of using unique materials integrated with elements of functional construction ideas has been hailed as a provocation of historical art.

Michael’s current creative projects reflect the resultant collages of fresh new ideas, actual patents, repurposed construction material, and his respect for the Nature. His construction work focuses on sustainable building design that goes beyond green. His work with the homeless is focused on creating homes from a creative perspective so that each unique individual can be protected from the elements and have the basics most of take for granted. Michael sees how his sustainable construction techniques, his multi media practice examining recent tech pasts for windows into tech futures and his concern for homeless people all lie on the same trajectory and somehow all have the same goals.

Section Two: A Revival

618 South Farwell, Eau Claire, WI 54701

The Milewski Mansion, located at 618 South Farwell Street in Downtown Eau Claire, Wisconsin, not only has significant persons, who contributed and continue to contribute to Eau Claire history, associated with it but it is also architecturally significant and historically linked with the development of Eau Claire in business and innovation. This American Queen Anne Revival style house is unique and still retains much of its historical character and substance. 1905 marks the first time the address is listed in Eau Claire Directories; the complete New Columbian fireplace is marked as 1897.

The attention to details, high standard of craftsmanship focused on the qualities of the materials being used and the natural and open design choices are exceptional examples of the Arts and Craft Movement. The Arts and Crafts Movement began in Britain before capturing the world’s design aesthetic of natural forms, done by expert craftspeople using natural materials that were allowed to speak through their uses. The philosophical underpinnings of the Arts and Crafts Movement came from William Morris (1834 1896), who believed that industrialization alienated labor and created a dehumanizing distance between the designer and manufacturer. Morris strove to unite all the arts within the decoration of the home, emphasizing natural forms, historical symbolism and quality in work and materials. All these attributes are present in the Milewski Mansion and support Galaudet Gallery’s actions to continue the Arts and Crafts Movement in the 21st Century.

The many distinctive features of the American Queen Anne Revival style are also easily seen from the asymmetrical façade to the round tower and the porch covering the main doorway and center of the front façade. Andrew Jackson may have built it but it is the Whites that made it a home and helped Eau Claire prosper the house seems fitted to them from the way they invented their lives and pivoted their company to meet future demands to the work they did within the house in preparation for opening their company. Just as John Hertz continued the tradition of allowing the beauty of this building’s spaces inspire him, so too do Michael and Vicki work with the beauty seeking to enhance it, learn from it and work within it.

This painted lady style building is designed elegantly but simply. The current owner, Michael Milewski knew the beauty of this building would be a perfect setting for a fine art gallery location and so he and his sister, Vicki Milewski, brought their Galaudet Gallery inside knowing full well that the building is one of the gallery’s works of art. The original architectural flourishes inside and outside are quite remarkable.

The east facing house is front gabled with a pedimented10 , broad porch of the Beaux Arts11 style, common on Queen Anne Revivals in America, and has a triangular tympanum supported by neoclassical columns topped with flora and the Greek classically inspired dentil12 which goes around the entire rectangular porch roof. Baluster 13 surrounds the porch supporting a curved handrail with carved piping.

A monumental chimney rises above the complex angles of a steeply sloped 3 story roof line. The bricks of this chimney have been patterned throughout. Starting with a smaller triangle found in the front of the front porch roof, to a triangle on the first level of the third floor to another triangle before the chimney works off the other angles of the roof and the 3 story tower’s conical top is like a rounded triangle. The upward pointing triangle is symbolic of strength and stability. Two of the triangles are equilateral and one on the tower is an acute triangle while the one in front of the front porch is an isosceles triangle. These Queen Anne Revival characteristics add an upward movement to the front of the building, with fish scale siding on the third story to counter the thinly cut great white pine clapboard siding on the first two stories. This upward movement belies the large stone

foundation made of natural, uncut stones as was the custom in building at that time. Such a large building with an equally large stone foundation could feel heavy but instead it seems very light because these four triangles and other features work together making this rather large building seem to float upwards.

10 A pediment is an element in neoclassical architecture, and derivatives there from, consisting of a gable, originally of a triangular shape, placed above the horizontal structure of the entablature, typically supported by columns. The tympanum, or triangular area within the pediment, was often decorated with relief sculpture depicting scenes from Greek and Roman mythology or allegorical figures.

11 Beaux Arts architecture expresses the academic neoclassical architectural style

12 In classical architecture a dentil (from Lat. dens, a tooth) is a small block used as a repeating ornament, here it is placed under the gable to be seen only by those who walk under it.

13 A baluster is a molded shaft, square or of lathe turned form, a form cut from a rectangular or square plank, one of various forms of spindle in woodwork, made of stone or wood and sometimes of metal, standing on a unifying footing, and supporting the coping of a parapet or the handrail.

Front door

The front door is of oak and has a carved, circular laurel wreath made of interlocking branches with ribbons on the bottom half and an oval, beveled glass window on the upper half. This entry door wreath has long been a symbol of victory and deep intellectual prowess. The oval window above the laurel wreath makes it certain that these architectural choices where to show each guest that victory and intellectual pursuits lie within. There is mosaic tiling on the outer entryway floor in green and white with a natural flora pattern. The inner door is of oak and has a rectangular beveled glass on the upper half and paneled door on the lower half.

The inner entry way is framed by a grand stairwell with elegant baluster stair railing, ornately carved hand railings and fleur de lis14 carved around each banister in its iris formations. A half circle entryway after the first four steps up to a large landing featuring a rectangular leaded window with curvilinear pattern street facing and a hidden two seat bench with storage compartment inside are on the north side of the entry way. At the top of the stairs are exceptional north facing double stained glass windows of opalescent and stained glass with a golden oval pattern surrounded by curvilinear patterns in greens, lavenders and rich browns. The stained glass windows are such an artful greeting in this entrance way the Michael and Vicki made it their Galaudet Gallery logo. It is also in this stairwell and stained glass windows that the first hint is given of observance to the Arts and Crafts Movement and symbolism of the fleur de lis and the way of St. James.

In honor of these movements and symbols, the current owner of the Milewski Mansion, Michael Milewski, has chosen pieces that work with these inner meanings and to accentuate the fine art Galaudet Gallery within the four main first floor rooms. His first choice was the purchase of an antique gold cabinet found on Galveston Island, Texas with archeologically

14

The fleur de lis is a stylized lily or iris. According to French historian Georges Duby, the three petals represent the medieval social classes: those who worked, those who fought, and those who prayed. In the United Kingdom, a fleur de lis has appeared in the official arms of the Norroy King of Arms for hundreds of years. It was also believed that the fleur de lis represented the Holy Trinity and is used to mark The Order of Santiago First seen in Ancient Egyptian bas reliefs, the fleur de lis was used as a connection point to the earth for growing metaphysical interest and is seen as the mark of someone concerned with increasing intelligence, finding new ways and leading a morally upright, or pure as a lily, life.

accurate renderings of the Egyptian god Ra15 and his usual cadre of attendants is in the entryway alongside the grand stairwell. This cabinet also honors Akhenaten16 who abolished the traditional religious rites of Ancient Egypt and instituted the first known monotheistic state religion in the world and, according to some, Akhenaten began the idea of monotheism itself. The use of the fleur de lis in Ancient Egypt is also seen here in its original design. The light shining on this cabinet through the gold stained glass is quite a sight and captures the early 20th Century’s fascination with aesthetics coupled with growing global knowledge tempered with an embrace of quality craftsmanship. It also continues the Arts and Crafts theme began with the front door and embraces the founder of the Arts and Crafts Movement, William Morris’s attempt to unite all the arts within the decoration of the home, emphasizing nature and simplicity of form.

There are three tall oak doors that provide access to the first floor’s main rooms from this foyer area. Michael and Vicki choose to use the Eastern most doorway for the entry way to Galaudet Gallery. Entering through this door leads into the Tower Room

The East facing corner tower which gives name to this first room, rises three stories ending in a pinnacle on top and a hewn stone round foundation in the basement. This tower is placed on the southeast front corner with a conical roof and three rounded windows on the first two stories with the third story being for the cone. The rounded windows have round woodworking inside and rounded glass for the original windows. The ceiling molding and base board and base are also made of rounded wood.17 The current owner, Michael Milewski, recognized the acoustic beauty in this room due to the Tower and the maple wood that is usually chosen for its sonorous disposition in concert halls and pianos. For this reason, he and his sister, Vicki Milewski, have founded The Tower Room Recording Studio and have produced three records so far of local talents performing in this wonderful room.

15 Ra was the first known monotheistic god in Egyptian culture and was known by the rays of sun that symbolizes his presence.

16 Akhenaten (r. 1353 1336 BCE) was a pharaoh of Egypt of the 18th Dynasty. His reign is known as The Amarna Period because he moved the capital of Egypt from the traditional site at Thebes to the city he founded, Akhetaten, which came to be known as Amarna. The Amarna Period is the most controversial era in Egyptian history and has been studied, debated, and written about more than any other.

17 Creating “rounded wood” takes skill and time in that the wood is slowly bent into the preferred curve over the course of sometimes months and then held in place for several more months to ensure that the wood’s grain has sufficiently been altered to retain the desired curve.

The Tower Room also holds an exquisite fireplace which merges many Movements and Ways like the Arts and Crafts and Art Nouveau. The complete “New Columbian” fireplace is marked as being produced in 1897 within the pellet fire box. An Art Nouveau rendering of Columbia 18 herself sculpted from brass stands on either side of the fire box. Columbia is seen emerging from a traditional corn motif fleur de lis and is holding aloft the fire of knowledge contained in an ancient symbol for holding this fire a rounded fire pot.19 The two rounded, wooden columns on either side of the ornate hand carved wooden mantel piece with mirror, continues the blooming corn motif interjecting the Way of St James symbols in the fleur de lis and the four pointed fleur de lis. The bottom of each column has an inverted fleur de lis which represents the cotyledons of a corn stalk where the two leaves formed inside the seed are the first to emerge from the soil along with the root and shoot meristems; the fleur de lis is inverted to show the connection of the root to this design and to the growing plant.

It is in the Tower Room that Michael and Vicki first noted the picture molding present throughout the entire first floor rooms and in the foyer. Picture molding has been used for 100’s of years first created in France after much research the molding here uses the original French design. Brass rods have a hook on one end which fits into the curved molding made for this purpose. Finding the correct rods and hooks is important since pictures hung on the rods need to be displayed properly and safely. The picture molding here requires a specific hook that is rounded along its outer form and narrow in a unique way and the rods have a slight bend to them at the top to distribute the weight of what is hung and to allow it to hang at a visually pleasing angle.

Brass Fireplace element from New Columbian fireplace inside 618 S. Farwell

18 Columbia is a historical name used by both Europeans and Americans to describe the Americas, the New World, and often, more specifically, the United States of America. It is also a name given to the "Spirit of the Frontier" of which was used to illustrate Manifest Destiny.

19 A fire pot is an earthenware container used for carrying and keeping fire during prehistoric times.

Through two working and in perfect shape French, paneled pocket doors lead into the Bay Room so named for its wonderful canted bay window which overlooks Seaver Street. On top of the flat, center window in the bay is a wonderful wavy, beveled rectangular leaded window which refracts the light from outside into several different prismatic structures due to the diamond shapes, the longer crystal shapes and the wave of each row of glass. This window is also above the wonderful large Bay Room picture window and in an identical canted bay window in what is now called the Center Shop directly opposite to the north of the Bay Room.

The Bay Room also has a lovely period inspired 8 globe light fixture in the center of the room. Acquired by the property’s third owner, John Hertz, this fixture is a perfect accompaniment to the room. It is affixed to the ceiling through a wonderful rounded floral carved plaque that adds to the room. Replica Tiffany lamps have been great sellers for Galaudet Gallery and two can usually be seen in the angled windows of the bay window.

Through another set of French, paneled pocket doors is what Galaudet Gallery has named the Studio since it is currently used as an artist studio as well as another room in the gallery. This must have been the dining room since it has paneled wainscoting around it. John Hertz had built a wall in this room (which Michael took down to return the room to its original size) and in the wall John built was another wavy, beveled rectangular leaded window which matches the other three exactly although according to John they found the window for sale somewhere else!

The main architectural feature of the Studio is the built in buffet with detailed railings on each shelf with moldings. Beveled glass is set in the door in the center of the hutch and cabinets and drawers are on its bottom. Detailed molding and curved finishes to each corner along with a horizontal rectangular mirror below the above shelves

makes this a wonderful place to display arts and crafts for sale and for treats and drinks to be offered.

On the side of the Bay Room is the Center Shop which has canted bay windows, the wavy, rectangular leaded window above the center bay window lacks the beveling as found in the Tower Room and Bay Room but the view of the western sky and setting sun makes up for it. There is an L shaped closet that ends underneath the front stairs and the pocket door which leads to this room is one full piece of wood paneled oak door. An oak bookcase created by Lenard Milewski fits perfectly on one wall.

There is a small kitchen through a swinging paneled door to the west of the Studio and several other rooms in back as well. Upstairs are two wonderful apartments with some of the great woodwork and design elements that mirror the first floor. The third floor attic is unfinished and will become a great artist studio and place for classes to be held like yoga, art and lectures on various topics. Much work is needed in this regard but it will be worth it!

Tower’s Curved Lines and wood inside 618 S. Farwell

Section Three: The Leader’s Historic Records

A Selected List of the White’s Mentioned in the Eau Claire Leader

Following are some relevant articles and other writings on A.E. and Georgiana White’s activities in Eau Claire as memorialized by the newspaper of record the Eau Claire Leader. Listed in chronological order:

6.26.1910 Short mention of a court case between A.E White and Phoenix Manufacturing regarding patents

11.2.1913 Short Article about A.E. White’s Saw Swage inventions and that they are made at White Machine Works

11.29.1913

Short article about White Machine Works Incorporating with A.E. and his wife Georgina and a William White

4.26.1914 Article on A.E. White’s White Machine Works expansion and mention of inventions, a couple quotes from A.E.

5.27.1917 Article about White Machine Works expanding mentions saw mill equipment being made and a foundry where piston rings and casings are made.

9.20.1917 Short article about smoke at White Machine Works but it was an enameling oven being used at night. Need to check back on patents for enameling that I saw and thought was A.E.White

7.13.1919 Mention of college student working at White’s Machine Works for the summer

9.16.1920 Mention of A.E. and Georgina White Vs The Frawleys

5.31.1923 Mention of A.E. White’s Bushing patent

A.E. White is also mentioned in Book on Eau Claire History

The Rivers Flow On: A Record of Eau Claire, Wisconsin History by Lois Barland Published Stevens point, WI Warzalla Some information may be incomplete.Publishing Company 8.2.1965

A.E. White mentioned on pages 305 306

Above Leaded windows inside 618 S. Farwell

Section Four: Inventors

A.E. White’s Registered Patents

Verified by at least three sources for authenticity unless otherwise noted

1890

Ceiling Block 20 an improvement in ceiling blocks so that the ceiling or walls of an apartment may be laid in the coldest weather, and a further object of the invention is to provide a means whereby the blocks may be placed and held in position.

1895

Door Knob 21 This invention relates to devices for securing and rigidly holding the adjustable knob at any point required on the spindle without the use of screws.

1897

Saw Swage Improvements in the Saw blade teeth. a swage is used to flare large bandsaw or circle saw teeth, which increases the width of the cut

1902

Hoisting Apparatus a mechanism adapted to the large and heavy work of loading and unloading vessels, barges, and the like carrying ore, coal, and other heavy and bulky freight and wherein there is usually a transfer to or from a car and in connection with which the apparatus serves to perform practically all the work through power appliances

1906 Saw Swage An Improvement of the above mentioned

1910

Saw Shaper A tool for shaping the teeth of band, gang and circular saws

1912

Saw Swage An Improvement of the above mentioned

1915

Saw Tooth Centering Indicators, when this device is moved over the saw any slight variation of a saw tooth from its proper alignment with the saw" blade will be indicated.

1922

Bushing for Automatic Grinders (using a newly created alloy called stellite since it is not magnetic and does not wear down easily.

1935 Alloy Steel and Articles made there from 22

Verified by two sources

Verified by one source

Verified by two sources

Beauty in History

Restoration, Research, Recognition: A Renewed Sense of Existence Conclusion: Restoration: A Work In Progress

First Words

This is the conclusion of this little booklet which will be a full length book in the future. This is the beginning of my part in this saga which will actually be the center of the book. The first part will be the history that you have read up until now, the second part will be the work that we will do in our Restoration of this beauty. The third part will pull together the history, research and thinking to formulate a theory of historic Restoration for the 21st Century. It is funny how all three of these parts work off of one another and assist each other.

Keeping an older building viable is important work since it is part research, part learning and then part doing. First research is needed to understand how something is constructed, was finished and then was cared for. This type of research requires a lot of time spent with the building, working on it and taking time to reconstruct the past which will work as a foundation for the future work needed. Second is to learn new ways from the old and new ways from the current. So saying it is important to not only research but to learn how older buildings were built and the processes in place at the time of construction. Then take the history of building processes and add to them what we have learned currently. Combining the old and the new ensures that the best procedures from both will be utilized and this can also ensure longevity for the building. The last part of this process is the doing, which is sometimes more than just painting a wall since materials have to be selected and collected, tools the same and methods have to be learned and practiced. It is during this part that the real choices are made since some tools may not be available so procedures you hope to do and the same for materials.

After the research is done into the history of the property and you believe there is enough historic significance to the property you should then begin historically renovating and restoring the building. A side note is that the research never truly ends because you will continue to discover new information and find more information that will add to the confirmations you already have made.

Another side note is that it is always an asset to find period furniture and fixtures that help give emphasis to that time period. For instance, I purchased an Arts and Crafts Egyptian gold leaf Cabinet. Among other details on the cabinet there are many three petal lilies like a frame around the Egyptian cravings of scenes of ancient Egypt that were taken directly from off ancient walls in Egypt. The skillful handmade cravings on the cabinet are another tribute to the artisans of the Art and Crafts Movement of that era. The significance of the three petal lily is that each petal represents a different contributor to those who created and maintain human

civilization. One petal represents the worker, another petal the leader, and the last petal the priest. This is important because during the Middle Ages in Europe the Iris took the place of the lily with each petal representing the same contributors to civilization. During the Victorian era the symbol of the Iris gained a fourth petal. The fourth petal pointed downward and represented the human connection to the Earth and that without that connection there would be no civilization. These iris fleur de lis are carved into the oak wood moldings throughout the building to show not only the respect to history, but that the occupants of the building believed they were one of those iris petals continuing to contribute to the advancement of civilization. You can see now how a piece of furniture can help support and enhance the existing elements inside a historic building. There are many other symbols inside the Milewski Mansion that will be explored in more detail but I felt it was important to mention that it is important to take some thought into what you add to the building’s historic nature. I will probably mention this more than once but it is worth repeating that when cleaning the interior woodwork if does not need to be stripped and resealed, lemon juice polish is the best to clean the interior woodwork. I will go into interior work later.

Inspecting and working on the foundation

It is best to start at the bottom unless it is leaking at the top. Since the roof does not leak and is in good shape I began with the foundation. I discovered the foundation needed repointing. The foundation is a mix of sand stone and sand stone block. I was relieved to see that the only cracks were in the mortar joints and none of the blocks or stones were cracked. If you are working on a building foundation that was built before 1910 in the USA you have to be careful with the kind of mortar you use. You never want the mortar that is stronger than the sand stone or sand stone blocks. The reason for this is because if the mortar is stronger than the block or stone the block or stone will crack instead of the mortar. In the time period that this building was built they used OO type mortar. This might not be something you will find at your local home center. Hydraulic cement and other mortar types will also probably be too strong for the stone and block, so what I did is mix some lime into a readymade mortar mix that already had sand in it. It took a little trial and error, but I eventually found the right consistency. If you want to add color to your mortar to match what you have I would suggest experimenting with liquid color additives available out there. I was not that interested in color because the foundation was painted and it would be almost impossible to remove all the paint so I decided I would have to paint the

foundation. I usually am against painting a foundation because I like the foundation to breathe and moisture can get behind the paint, but sometimes you have to work with what you got. So I will be preparing the foundation for paint the same way I would a wood surface.

Painting the Exterior

Now I will focus on the outside of the building. Painting is the easy part. Preparation for painting can be time consuming and challenging. Clap board wood siding dominates the outside of the building with fish scale siding on the pediments near the top of the building. Thankfully vinyl or aluminum siding never covered these features. Any siding to cover up the building I would advise against. Wisconsin and Federal historic guides prohibit its use. The reason is that moisture collects behind the “new” siding creating rotting wood and mold issues that could lead to the destruction of the building. After inspecting the outside of the building, I noticed some wood would have to be replaced and some could be repaired. Some of the front porch flooring needed to be replaced and I was fortunate to find the exact same flooring made from Douglas Fir. Before I purchase materials needed for repair work, I research what was used and determine what would be an adequate replacement. Then I start saving my money and waiting for sales. Obviously I am going to paint the wood siding on the house. In order to do this I need to prepare the surface for painting. This is a combination of judgment calls and having patience as well as looking at the historical maintenance of the exterior and the current state it is in. Add to this equation that there is clapboard siding and fish scale siding that needs to have different effects and procedures due to the cut of the wood and where it is located on the building. It is a personal choice what colors and kind of paint to use, but keep in mind a cheap paint might not last as long as you would want. I am using a paint that is also a primer and modern colors determined from what was available during the time period of the building. Since it is an Arts and Crafts movement building I will be using colors that will empathize that. I will use a roller or brush, but most of the time a brush. Depending on the paint you are using the roller or brush should be made to the kind of paint you’re using. Sometimes two coats might be necessary but don’t put a second coat of paint on until it has dried at least overnight. The temperature and humidity is also something to consider since to paint when the atmosphere is not right will cause the paint to last less long and may even not last through a season!

Further Words

This is the end of my writing for now. Keeping an older building viable is important work since it is part research, part learning and then part doing. There is also a sense of continuing the wisdom of the ages in rehabilitating historic properties since if the construction techniques of the past are not energized into acknowledgement providing worthwhile information on how things were done and why then this lost knowledge may be lost forever leading to not only disrepair or worse destructive repair but also leading to poorer quality buildings constructed now and in the future. Many people lament about poor quality materials as opposed to the past materials and many now are finding that new buildings are equally poorly constructed. Notating and learning from the past means we not only don’t repeat the mistakes from the past but we may also learn how to do something that needs to be done today. Part of the problem in endeavoring to launch into this kind of research and work is that there are theories and beliefs about historic preservation that often do match with each other or with the reality of upkeep, maintenance and Restoration. It could be that we fall into a metaphysical explanation since we are seeking a foundation to work off of and in that seeking we are asking questions of inanimate objects where there is often no written information on how something was done or even why. So this takes us outside of the actual practice of historical preservation, outside of the work that needs to be done to preserve historic properties and this is where I have to simply return to the building I am working on and continue to get to know it as best I can since I can philosophize about theories and reasons, methods and outcomes but in the end I want the door to open and close correctly, I want the window to be useful well into the future, I want to do these things and more with an eye toward keeping history alive well into the future.

As a guide we have been researching Eugène Emmanuel Viollet le Duc, or Viollet, who is seen as the founder of the modern restoration movement for many reasons. Viollet was an architect, restorer, writer, and archaeologist who was asked to restore some of France’s historic properties after the last revolution was over. France went through three separate revolutions with each destroying buildings, monuments, churches and more that were often medieval, so when Viollet started his work there was little left. The use of photography was just beginning so there wasn’t even a pictorial record of the buildings. Norte Dame Cathedral is a good case study since it was almost completely destroyed and there were flying buttresses and other architectural elements which Viollet had to use his archeological skills to find how to even put the church back together. Viollet recognized that restoration meant joining the old and new to create something that preserves history but may not be put together in the same way:

The term restoration and the thing itself are both modern. To restore a building is not to preserve it, to repair, or rebuilt it: it is to reinstate it in a condition of completeness that could never have existed at any given time.

--Eugène Emmanuel Viollet-le-Duc

Viollet will figure more prominently in the third part of this book but for now we’ll leave you with the quote which inspired the subtitle of our book Beauty in History: Restoration, Research, Recognition: A Renewed Sense of Existence

In restorations there is an essential condition that must always be kept in mind. It is that every portion removed should be replaced with better materials, and in a stronger and more perfect way. As a result of the operation to which it has been subjected, the restored edifice should have a renewed sense of existence, longer than that which has already elapsed.

Eugène Emmanuel Viollet le Duc

The Tower at 618 S. Farwell

Image List

Cover Page

Exterior Front Elevation of 618 S. Farwell

By Vicki Milewski

Frontpiece

Foundation with Flowers of 618 S. Farwell

By Vicki Milewski

Title Page

Collage of Farwell Windows

By Vicki Milewski

Forward Fleur de lis

By Vicki Milewski

Table of Contents

Four Exterior Views of 618 South Farwell Eau Claire, WI

By Vicki Milewski

Page 1

Wallpaper Fragment from Galaudet Gallery Studio Room Photo by Michael Milewski

Page 2

Artist Sketch of fleur de lis found in the interior of 618 South Farwell By Vicki Milewski

Page 3

A.E. White Doorknob Patent

Page 4

Artist Sketch of 618 South Farwell Eau Claire, WI

By Vicki Milewski

Page 4

Photo of Saw Shaper with A.E. White Mach. Wks. on handle Photo by Vicki Milewski

Page 5

A.E. White Hoist Patent

Page 6

Image from A.E. White’s patent for a Saw Centering Indicator

Page 7

Embrace Architectural Arches by Michael Milewski

The New Columbian Fireplace inside 618 S. Farwell

Page 8

Artist Sketch of 618 South Farwell Eau Claire, WI

By Vicki Milewski Page 4

Page 9

Doorknob in Farwell

By Vicki Milewski

Page10

Digital Photo of Stained Glass Windows at 618 South Farwell Eau Claire, WI

By Grant Gilchrist

Page 10

Circles found inside 618 South Farwell Eau Claire, WI Photos By Vicki Milewski

Page 11

Spiral Wood Carving inside 618 S. Farwell

Photo of Front of 618 South Farwell Eau Claire, WI with superimposed triangles By Vicki Milewski

Page 12

Front Door Wreath on Farwell

By Vicki Milewski

Page 12 Photo Stairwell Window

By Michael Milewski

Page 13

Rita Simon playing flute in Galaudet Gallery’s Tower Room Photo by Michael Milewski

Page 14

Photo of Columbia from the New Columbian Fireplace By Vicki Milewski

Page 15

The Bay Room with bay window

By Vicki Milewski

Page 15

The Studio with art By Vicki Milewski

Page 16

The Tower Room with tower By Vicki Milewski

Page 17 Foyer Alcove Beveled and Leaded glass Window

By Vicki Milewski

Page 18

Top of front page for two A.E. White patents a Saw Shaper and a Bushing

Page 18

Stained Glass Window “the egg” by Vicki Milewski

Page 19

Foundation corner of Farwell by Vicki Milewski

Page 20

South Façade of Farwell, Fall By Vicki Milewski

Page 22

The Tower Front of Farwell By Vicki Milewski

Page 23 Fireplace Page 24 Wood Carved and Appliquéd Fireplace Columns By Vicki Milewski

Page 25

The Stained Glass Windows at Farwell and the Galaudet Gallery Logo By Vicki Milewski

Page 26

Looking Into Bay Room from Tower Room during the Receiving Jar Exhibit

Sources: https://www.ecpubliclibrary.info/chippewa valley history/

like individuals, acquire idiosyncrasies, which must be taken into account. They have a temperament peculiar to themselves and which must be studied and intimately known before a regular course of treatment.

Viollet-le-Duc