Historic Homes Magazine Spring 2023

Remember Last Look

ever yet was there a

ringtime when the

ds forgot to bloom

Editor's choice

Spring also brings S hae birthday i l a M . Bfor e l a nme ge– r the luck of the Irish– St. Patrick’s upu binl i sNew O w nDay. e r / EIdgrew itor/P h e r / Hampshire P h o t o g r a p and h e r although my birthday is in March, spring does not come until May e n n i s B eHaving l a n g e r a birthday in March still in northern New D England.

Design and Layout meant snow on the ground and no green grass. My mother always made my birthday special. My fondest memory of my Matt Belanger birthday isDirector having of a “green” cake, lucky me! She would visit Digital and Social Media our local bakery, which was called Jones’ Bakery. I can In Print remember as a little girl going to Jones’ and seeing all the Visit www.historichomesmagazine.com freshly made breads, cookies, cakes, and cupcakes. Everyone Online: knew when you were walking down the main street with a Visit www.historichomesmagazine.com brown box tied with twine – you had a special treat. There was always an array of cupcakes, but seasonal cupcakes were their Newsletter: Visit www.historichomesmagaine.com specialty. My mom made trips to the bakery and purchased their Media: seasonal cupcakes, Valentine’s Day, St. Patrick’s Day, Social Instagram: www.instagram.com/historichomesmagazine Easter, you get the idea. I carried on that tradition with our Facebook: www.facebook.com/historichomesmagazine son,Tube: always making sure those holiday-decorated cupcakes You www.youtube.com/@historichomesmagazine were part of holiday celebrations.

Q u eour s t i ospring ns We are excited about issue which features a contact@historichomesmagazine.com Georgian 18th century north shore home. It truly was a labor 860-413-2361 of love for this couple who have spent their time bringing their home to its high style. One of my favorite aspects of photographing homes is then sitting down and talking with the homeowners. We are fortunate to get to tell the stories and Historic Homes Magazine, Spring 2023 © by Historic history of these homes – one issue at a time.

Home Magazine All rights reserved. Permission to There r e p r i nist ono r qbetter u o t e e place x c e r p tin s gspringtime r a n t e d b y wthan r i t t e nthe r e qsouth u e s t to enjoy o n l y. early spring gardens. Every colonial garden includes herbs, and vegetables andP risi n set t e d iwithin n U S A period fencing. The South truly provides you with an early Spring like no other. Spring arrives in early March, although daffodils are known to make their appearance in February! It is a treat to see the hillsides filled with the color yellow.

We are thrilled to present interactive QR codes throughout the magazine, simply open your camera app on your smart phone and scan the QR code. Historic Homes Magazine is available all day, every day for your enjoyment.

Exciting News! Visit our new page called "What we do ". . which features our new YouTube channel and see behind the scenes of one of our photo shoots. We will be adding more videos to our channel over the next few months. Grab a cup of coffee and enjoy!

Thank you to all our readers and followers for your support.

Let’s welcome spring and its unique beauty!

Sheila

Made 8th pring ottery Board Century inGardens kiln Chest London ...Passion to table Contents

Easter Topiary Spit Captain Time Mount Jack toSide Vernon's Celebrate and George Dish TerraTate Cotta Outbuildings House Historic

What we do

e are a app reflection of you. Behind the scenes of this mera on your utiful phone home consisted of the “compound” the eowners have created on their property. We visited homeowners for a Fall photoshoot, a perfect time of year for this 1800s home. As you can see, we were greeted by some furry friends who live in one of many quaint buildings on the property. Thank you ur team, Matt, Jake, and Charlie for making this toshoot a memorable day. We all enjoyed the pany of the homeowners as well as the good food hospitality. Sometimes you meet the nicest people! h all her thoughtfulness in their home, Luanne and ert made our job very easy. It indeed was a day to ember! So pull up a chair and be prepared to be wed by this historic home and picturesque setting. watch our video of one of our behind the scenes of a toshoot, please scan the code below with your era app. is what we do!

oy, la

What we do home are a app reflection of you. Behind the scenes of this camera on your beautiful phone home consisted of the “compound” the homeowners have created on their property. We visited the homeowners for a Fall photoshoot, a perfect time of the year for this 1800s home. As you can see, we were also greeted by some furry friends who live in one of the many quaint buildings on the property. Thank you to our team, Matt, Jake, and Charlie for making this photoshoot a memorable day. We all enjoyed the company of the homeowners as well as the good food and hospitality. Sometimes you meet the nicest people!

With all her thoughtfulness in their home, Luanne and Robert made our job very easy. It indeed was a day to remember! So pull up a chair and be prepared to be wowed by this historic home and picturesque setting.

To watch our video of one of our behind the scenes of a photoshoot, please scan the code below with your camera app.

This is what we do!

Enjoy, Sheila

8th Century Passion

rca, 1710

18th Century Passion circa, 1710

Exquisite Simplicity

Exquisite Simplicity

made in

I

london

net, the advent of square pianos caused a stir. Many harpsichord players took to immediately – their treble tones sounded harming to ears that had known nothing e harpsichord and organ. The novelty of nstruments created a new fashion almost ernight. Ladies who saw them in their ds’ homes found them to be excellent in mpanying the latest songs, heard at the es or at Vauxhall Gardens. The ability to t and express, with varieties of loud and ithin a phrase, was something quite new. mposers of the era who owned and used m included J. C. Bach, Gluck, Paseíllo, osa, and Clementi, not to mention music orian Charles Burney, who also bought l for his friends and pupils. For a quarter ntury, the harpsichord and piano-forte d side by side, regarded as equally useful uments, depending on what music you d to play. Consequently, in many homes might see both instruments, often in the room, their owners decided that a 'small -forte' could be readily accommodated. It up little space, and when closed it looked h like a side table. Square pianos were d by everyone from George Washington homas Jefferson to Marie Antoinette and Jane Austen.

made in

I

london

Spinnet, the advent of square pianos caused quite a stir. Many harpsichord players took to them immediately – their treble tones sounded so charming to ears that had known nothing but the harpsichord and organ. The novelty of such instruments created a new fashion almost overnight. Ladies who saw them in their friends’ homes found them to be excellent in accompanying the latest songs, heard at the theatres or at Vauxhall Gardens. The ability to accent and express, with varieties of loud and soft within a phrase, was something quite new.

Composers of the era who owned and used them included J. C. Bach, Gluck, Paseíllo, Cimarosa, and Clementi, not to mention music historian Charles Burney, who also bought several for his friends and pupils. For a quarter century, the harpsichord and piano-forte existed side by side, regarded as equally useful instruments, depending on what music you wished to play. Consequently, in many homes you might see both instruments, often in the same room, their owners decided that a 'small Piano-forte' could be readily accommodated. It took up little space, and when closed it looked much like a side table. Square pianos were owned by everyone from George Washington and Thomas Jefferson to Marie Antoinette and Jane Austen.

high

style

high

style

Fancy Parlor

from the Historic Colors of America paint collection

Fancy Parlor

from the Historic Colors of America paint collection

W

decided they wanted a larger piece of land. Being horse lovers, the

e wanted to have their horses on their property. They purchased

and which consisted of 18 acres of land on the north shore of

n. They thought very carefully of where to site the house, which is

nter of the property so that they would not see any modern houses

d them. As you pull into the long driveway, the anticipation of

g this 18th century Georgian house is abounding. You leave the

nt century and at the end of the idyllic road, you enter the 18th

ry. It then became a labor of love for Nancy and William. Although

moved in four years after their initial purchase, the house required

er fourteen years to complete the interior. Both husband and wife

ngineers and figured they could master dealing with the

struction of an older home. They worked around their job

ules and every spare time they had was put towards completing

home. While they had a Restoration Housewright put up the

or, they finished the interior woodwork themselves with hand

d architraves and raised panel walls. William is a master 17th and

century furniture maker and joiner, and several pieces of his

ure are throughout their exquisite 18th century home. The details

s home showcase the passion of this couple.

his day, Nancy remembers the first Saturday they did not have a

ct to complete. They sat in their beautiful, finished kitchen at their

fast table. They each asked the other “what do we have to do today?

both repeated the magical word “nuttin”. It was the first Saturday

er fourteen years they had no projects on their to-do list. home was finally complete. What an accomplishment! sat with Nancy and William in their home, I truly could feel the

on and love they have for their 18th century home. Nancy looks

on their journey and thinks possibly she and her husband were

tics”, but she says she would not change a thing.

W

they decided they wanted a larger piece of land. Being horse lovers, the couple wanted to have their horses on their property. They purchased farmland which consisted of 18 acres of land on the north shore of Boston. They thought very carefully of where to site the house, which is the center of the property so that they would not see any modern houses around them. As you pull into the long driveway, the anticipation of seeing this 18th century Georgian house is abounding. You leave the current century and at the end of the idyllic road, you enter the 18th century. It then became a labor of love for Nancy and William. Although they moved in four years after their initial purchase, the house required another fourteen years to complete the interior. Both husband and wife are engineers and figured they could master dealing with the reconstruction of an older home. They worked around their job schedules and every spare time they had was put towards completing their home. While they had a Restoration Housewright put up the exterior, they finished the interior woodwork themselves with hand planed architraves and raised panel walls. William is a master 17th and 18th century furniture maker and joiner, and several pieces of his furniture are throughout their exquisite 18th century home. The details in this home showcase the passion of this couple.

To this day, Nancy remembers the first Saturday they did not have a project to complete. They sat in their beautiful, finished kitchen at their breakfast table. They each asked the other “what do we have to do today?

They both repeated the magical word “nuttin”. It was the first Saturday in over fourteen years they had no projects on their to-do list.

Their home was finally complete. What an accomplishment!

As I sat with Nancy and William in their home, I truly could feel the passion and love they have for their 18th century home. Nancy looks back on their journey and thinks possibly she and her husband were “lunatics”, but she says she would not change a thing.

Shades of Serenity

mplicity and grace. Immerse yourself in the color llet of an early american home.

Pottery......

iln to table

Pottery......

kiln to table

gnettes" says Nancy

M

enthusiasts to those interested in contemporary design. People are drawn to Redware’s associations with traditional forms and decoration and to the connection it offers to the lives of early settlers, embodying stories that cut across economic and social lines. The availability and variety of redware have also made this an ever-popular area for collecting. With the settlement of the first colonies in the seventeenth century, people required basic household utilitarian wares, and imported redware fulfilled that need. By the second half of the century, potters were producing redware from local clays, augmenting the redware from abroad, and continuing a tradition that extended back to at least Roman times. Early colonial potters generally produced copies of familiar, traditional German, English, Dutch, and French forms.

By the middle of the eighteenth century, American redware production had spread throughout the eastern seacoast, from the largest cities to the most rural communities. While some redware forms such as molded teapots were seemingly influenced by expensive imported silver prototypes, redware was primarily produced in utilitarian forms used by householders at all economic levels. Redware production continued at a steady pace well into the mid-nineteenth century, even though the introduction of stoneware and other materials such as tin and glass presented new options for household wares, particularly in the more urban centers. The clays needed for redware production are found in much of the United States. Whether the clay is gray, blue, yellow, or red when dug from the ground, the iron deposits in the clay make it red when fired. At times this color varies from red-brown to orange, depending on the clay's firing temperature and mineral content. A potter needed few tools: a potter’s wheel, which he could fashion on his own; red lead oxide for glazes that, until the discovery of domestic mineral deposits in the early nineteenth century, had to be attained from abroad or be melted from the lead foil wrapping that contained imported tea; and a kiln constructed of local stones or brick encased with iron bands for added strength. The establishment of pottery in newly settled communities was a welcome event. The demand for wares is exemplified in the Moravian records of Salem, North Carolina, where in 1761 “people gathered from 50 and 60 miles away to buy pottery, but many came in vain, as the supply was exhausted by noon. “The great demand for redware left little time for potters to embellish their products. When decorations were employed, it meant more time, which translated to a more expensive object. Most American pieces were covered with a transparent lead glaze to seal the surface; adding mineral-based colorants such as copper oxide for green or manganese for black provided a decorative element. Beyond glazes, there were several ways in which an object could be decorated: Simple surface incising was added during the final revolution on the wheel; decoration might be impressed by the use of a metal or wooden stamp; separately shaped or cast elements were applied; some objects were sponge-decorated; wares were dipped in a bath of watered-down clay called “slip,” hence the term slip-wares some were embellished with slip-trailed designs, and a relatively small group was decorated in the sgraffito tradition.

By Greg K. Kramer and Lester P. Breininger, Jr.

California PaintsHistoric Colors of America paint deck throughout the home. The colors created for this color deck is based on original pigment analysis of paint still existing in 18th century houses in Essex County.

Parlor Chamber

Parlor Chamber

Calimanco Coverlet

quilted glazed calimanco rlet with a gold wool lining.

Calimanco Coverlet pink quilted glazed calimanco coverlet with a gold wool lining.

Board Chest

6

s accompanying many settlers. It is not surprising, therefore, the chests built by 17th century joiners in this country were ed from English pieces designed in the prevailing Jacobean e popular in London at that time. As early as 1660, craftsmen in sachusetts and Connecticut were fashioning paneled and carved chests, constructed of wide stiles and rails. These had floating els with elaborately carved intaglio decorations. Instead of a eled top in the English fashion, the Colonial chest had a plain board top. This unadorned top surface was ideal for seating did not need cushions thereby making it more functional. In r crude fashion, these chests were the counterpart of the orate kas, armoires, and storage caskets owned throughout ope by wealthy families. Many households would not do out one of these blanket chests as few homes had a source of within the bedroom. On chilly nights it was convenient to ely go to the end of the bed and extract more bed covers to p warm.

Board Chest

6

items accompanying many settlers. It is not surprising, therefore, that the chests built by 17th century joiners in this country were copied from English pieces designed in the prevailing Jacobean style popular in London at that time. As early as 1660, craftsmen in Massachusetts and Connecticut were fashioning paneled and carved oak chests, constructed of wide stiles and rails. These had floating panels with elaborately carved intaglio decorations. Instead of a paneled top in the English fashion, the Colonial chest had a plain pine board top. This unadorned top surface was ideal for seating and did not need cushions thereby making it more functional. In their crude fashion, these chests were the counterpart of the elaborate kas, armoires, and storage caskets owned throughout Europe by wealthy families. Many households would not do without one of these blanket chests as few homes had a source of heat within the bedroom. On chilly nights it was convenient to merely go to the end of the bed and extract more bed covers to keep warm.

in Historic Homes Magazine online more "It's allat historichomesmagazine.com in the detail's"

ur camera app stagram for inspiration and join our community who have a passion for historic homes. nbeyour sure tophone sign up for our newsletter, which brings you to the latest news and release dates

r magazine. Thanks for following along on our journey of showcasing historic homes and ors.

Spring Gardens presents

Springtime

olution that New Year's took on a little bit different observance than today and was ally celebrated in the month of March r than in January.

March. You see, early on, New Year's Eve on the evening of March 24, according to ulian Calendar, and therefore, New Year's was March 25th. This practice lasted until ear 1752. ording to numerous sources it was way in 45 B.C., that Julius Caesar ordered a dar consisting of twelve months based on ar year. This calendar employed a cycle of years of 365 days, followed by a year of days (leap year). When first implemented, "Julian Calendar" also moved the nning of the year from March 1 to January owever, following the fall of the Roman ire in the fifth century, the beginning of ew year was gradually realigned to cide with Christian festivals. Centuries by the seventh century, Christmas Day ked the beginning of the new year in many tries. It wasn't until 1750 that an act of ament in England changed calendar dates gn with the Gregorian Calendar rather remain with the Julian calendar. The nning of the legal new year was then ed from March 25 to January 1. ceforth, New Year's celebrations will take on the evening of December 31st and last the following day. As a result, people before 1752 had to add 11 days to their dates. Also, those individuals born een January 1 and March 24 (again, re 1752, as George Washington, for mple, was born in February), also had to a year to be in sync with the new calendar, New Year's Day was moved from March January 1st. This double dating process used in Great Britain and its colonies, ding America, to clarify dates occurring een January 1 and March 24 in the years een 1582, the date of the original duction of the Gregorian calendar, and , when Great Britain adopted the dar.

Springtime

Revolution that New Year's took on a little bit of a different observance than today and was actually celebrated in the month of March rather than in January.

Yes, March. You see, early on, New Year's Eve was on the evening of March 24, according to the Julian Calendar, and therefore, New Year's Day was March 25th. This practice lasted until the year 1752.

According to numerous sources it was way back in 45 B.C., that Julius Caesar ordered a calendar consisting of twelve months based on a solar year. This calendar employed a cycle of three years of 365 days, followed by a year of 366 days (leap year). When first implemented, the "Julian Calendar" also moved the beginning of the year from March 1 to January 1. However, following the fall of the Roman Empire in the fifth century, the beginning of the new year was gradually realigned to coincide with Christian festivals. Centuries later, by the seventh century, Christmas Day marked the beginning of the new year in many countries. It wasn't until 1750 that an act of Parliament in England changed calendar dates to align with the Gregorian Calendar rather than remain with the Julian calendar. The beginning of the legal new year was then moved from March 25 to January 1.

Henceforth, New Year's celebrations will take place on the evening of December 31st and last into the following day. As a result, people born before 1752 had to add 11 days to their birth dates. Also, those individuals born between January 1 and March 24 (again, before 1752, as George Washington, for example, was born in February), also had to add a year to be in sync with the new calendar, for New Year's Day was moved from March 25 to January 1st. This double dating process was used in Great Britain and its colonies, including America, to clarify dates occurring between January 1 and March 24 in the years between 1582, the date of the original introduction of the Gregorian calendar, and 1752, when Great Britain adopted the calendar.

You can never have enough ulips.

You can never have enough tulips.

1755

Captain George Tate House

1755

Captain George Tate House

Colonial - era Furniture and Craftsmanship

Colonial - era Furniture and Craftsmanship

Life in Colonial Maine

Life in Colonial Maine

T

ptain George Tate (1700-1794) and his mily, who had recently arrived in the Colonies m England. te served as the Senior Mast Agent for the itish Royal Navy, overseeing the cutting and pping of white pines from Maine to England. is position assured Tate’s success and his tus in the community is reflected by the style architecture selected for his home. th its clapboards still unpainted, Tate House ne of two residences in Maine with an usual indented gambrel roof. As the only prevolutionary home in Greater Portland that is n to the public, the impressive period nishings, beautiful grounds and herb gardens, d unique architecture of Tate House offer an ghtful glimpse at the 18th century and life in lonial Maine.

T

Captain George Tate (1700-1794) and his family, who had recently arrived in the Colonies from England.

Tate served as the Senior Mast Agent for the British Royal Navy, overseeing the cutting and shipping of white pines from Maine to England.

This position assured Tate’s success and his status in the community is reflected by the style of architecture selected for his home.

With its clapboards still unpainted, Tate House is one of two residences in Maine with an unusual indented gambrel roof. As the only preRevolutionary home in Greater Portland that is open to the public, the impressive period furnishings, beautiful grounds and herb gardens, and unique architecture of Tate House offer an insightful glimpse at the 18th century and life in Colonial Maine.

ved a semi-manual method. The roast was suspended at the end of a long string attached by its other end above, ps from a wrought-iron dangle spit; hanging free it required only the flick of the cook’s hand to set it spinning. sting and untwisting itself, it might have remained in motion for several minutes before another rewinding was d. Handily, string roasters did not require complicated installations, and could be adapted to a number of fire They worked best to prepare one or two small roasts at a time and fed only a limited number of eaters, a ction that was in certain circumstances beneficial, but inadequate in a large establishment. ou were a wealthy soul living over 300 years ago, you and your cook would have counted yourselves lucky if you ome kind of mechanical utensil to turn a large roast on a spit (or several on a series of spits) on the hearth of a cooking fireplace. Perhaps the oldest and most impressive of these was the clock jack installed on the wall near the -either above the lintel or off to one side-a devise that turned the spit through a system of belts or pulleys. In lity this was an early rotisserie. identally, the early English word jack refers to the name of a common man who does menial work, or to a vance that saves human labor!). Today we find it hard to imagine people living before the modern age of science ngineering able to manage the engineering of a geared, mechanical gadget. But in fact the great clocks of val cathedrals lent their principles to the developing batterie de cuisine. From the seventeenth-century a number of opean kitchens, among them England and France, the jacks (like clocks) incorporated a series of gears and s to do the work. They were activated by either a key and spring system or by hanging weights. The speed of the as regulated by the “governor,” a small weight or a series of fan blades on the jack that slowed the winding down; eight of the meat on the spit worked the same way. The spit, tipped at one end by a grooved wheel that provided a for the pulley, was itself suspended horizontally on a pair of “spit dogs,” or andirons with hooks mounted at regular ing heights. One could control the heat by raising or lowering the spits. After some twenty minutes, when the ne ran down (and perhaps a signal bell had dinged a few times) the cook rewound it for another twenty minutes of ended roasting. It was the unattended part that was counted most, and the new ability to roast a great variety of at one time. With the growth of cities, colonies, wealth and power, expanding cooking needs needed mmodation. source of power for these labor-savers is also interesting. While elaborate mechanical gadgetry had obvious ntages, people of more limited means or needs managed to get by with systems that were at least partially manual. s one learns of early dog jacks where the animal itself, running in place on a wide moving belt, set the pulley-gear bly in motion. (Incidentally, the word dog also refers to something, perhaps a tool, that does work.) Still another was powered by smoke: a series of fan blades set into the chimney were turned by the rising heated and smoky drafts. y were similarly attached to the spit through a series of pulleys, belts, and sometimes gears. Whatever the source of , the mechanisms they drove offered the opportunity to do a greater volume of roasts at one time, and were clearly at significance in the largest establishments-the kitchens of aristocracy and wealth, in catering halls, and in large

Spit Jack

S

century mast yard on the banks of the Fore River in the Stroudwater Village section of Portland, Tate House – an elegant Georgian townhouse with a unique clerestory set in a gambrel roof – was built in 1755 for George and Mary Tate and their family. George Tate, the senior mast agent to the British Navy, held a prominent position in the colonies because Britain’s naval supremacy depended on a steady supply of masts that came from logging the massive white pines in New England. By law all white pine trees over twenty-four inches in diameter were the property of the King and were marked with the sign of a “broad arrow” (three axe slashes). George Tate was responsible for the overseeing of the marking, removal, and the Fore River so they could be transported to the great shipbuilding cities in England. Like the tax on tea, the broad arrow mark came to symbolize the tyranny of the Crown and reactions to the Broad Arrow Policies (the precursor of eminent domain) helped to foment the Revolution in the Province of Maine.

Tate House Museum stands as a physical reminder of the economic importance of the colonial mast trade and its role in our history as a source of the American Revolution.

Bed Chamber

Bed Chamber

mber, the wash in and its tching ewer are h century softte porcelains de by the rcester Porcelain ctory in rcester, England. ments of their igns, including fret work border d cobalt glaze, re inspired by tly Chinese port porcelains. ue was an pensive color to duce in the 18th tury; the celains, like the e-printed linen tains in the bed mber, served as icators of wealth d status.

chamber, the wash basin and its matching ewer are 18th century softpaste porcelains made by the Worcester Porcelain Factory in Worcester, England.

Elements of their designs, including the fret work border and cobalt glaze, were inspired by costly Chinese Export porcelains.

Blue was an expensive color to produce in the 18th century; the porcelains, like the blue-printed linen curtains in the bed chamber, served as indicators of wealth and status.

H

Falmouth during the Revolution and the fires that astated Portland in the nineteenth century, Tate House is only pre-Revolutionary home in Greater Portland open he public. It offers area students, members of the mmunity, and visitors from around the world an intimate erience of eighteenth-century life and gives them the rare portunity “to connect with Maine’s colonial roots”. cause Tate House is an exceptional structure for rpreting the heritage of the United States, it is one of only 00 historic places in the country that has the distinction of ng a National Historic Landmark. Recognizing its nificance, a Historic American Buildings Survey ABS) that records achievements in American hitecture, engineering, and design first documented Tate use in 1936.

H

of Falmouth during the Revolution and the fires that devastated Portland in the nineteenth century, Tate House is the only pre-Revolutionary home in Greater Portland open to the public. It offers area students, members of the community, and visitors from around the world an intimate experience of eighteenth-century life and gives them the rare opportunity “to connect with Maine’s colonial roots”.

Because Tate House is an exceptional structure for interpreting the heritage of the United States, it is one of only 2,500 historic places in the country that has the distinction of being a National Historic Landmark. Recognizing its significance, a Historic American Buildings Survey (HABS) that records achievements in American architecture, engineering, and design first documented Tate House in 1936.

spr ing welcomes

spr ing welcomes

Time to

celebrate!

Time to

celebrate!

Easter Side Dish

he pastry ups all-purpose flour p butter ch salt

he filling

ion (chopped) (12 oz bag frozen) s s cream (heavy cream) s cheddar cheese (shredded)

for a spring celebration

ly ground black pepper p. nutmeg

aration Steps

he pastry: put the flour in a heap on a work ce, mix it with the salt, and make a well in the le of the flour. Cut the butter into small pieces catter around the well. Break the egg into the le and chop all the ingredients with a knife they have the consistency of breadcrumbs. kly knead the dough by hand, form it into a wrap it in clingfilm, and chill for about 30 tes.

the oven to 350°F. Grease an 11" tart pan. one where the bottom releases).

he filling: mix the cheese, onion, and peas. k the eggs and stir in the cream. Season with nd pepper and nutmeg.

out the pastry on a floured surface and line the an.

the pea mixture into the pastry and bake for t 45 minutes or until the filling is set. sprinkle ground pepper. Serve warm.

Easter Side Dish

For the pastry 1 ½ cups all-purpose flour ½ cup butter 1 pinch salt 1 egg For the filling

½ onion (chopped) Peas (12 oz bag frozen) 3 eggs 2 cups cream (heavy cream) 2 cups cheddar cheese (shredded) salt freshly ground black pepper ½ tsp. nutmeg

for a spring celebration

Preparation Steps 1.

For the pastry: put the flour in a heap on a work surface, mix it with the salt, and make a well in the middle of the flour. Cut the butter into small pieces and scatter around the well. Break the egg into the middle and chop all the ingredients with a knife until they have the consistency of breadcrumbs.

Quickly knead the dough by hand, form it into a ball, wrap it in clingfilm, and chill for about 30 minutes.

2.

Heat the oven to 350°F. Grease an 11" tart pan.

(Use one where the bottom releases).

3.

For the filling: mix the cheese, onion, and peas.

Whisk the eggs and stir in the cream. Season with salt and pepper and nutmeg.

4.

Roll out the pastry on a floured surface and line the tart pan.

5.

Pour the pea mixture into the pastry and bake for about 45 minutes or until the filling is set. sprinkle with ground pepper. Serve warm.

How do you color our Easter Eggs?

monplace, with colour being achieved through ng the egg in natural substances (such as, n peel (brown colour), oak or alder bark or nut nutshell (black), beet juice (pink) etc.), or can use using artificial colourings.

How do you color your Easter Eggs? commonplace, with colour being achieved through boiling the egg in natural substances (such as, onion peel (brown colour), oak or alder bark or walnut nutshell (black), beet juice (pink) etc.), or you can use using artificial colourings.

Topiary and Terra Cotta

an immersive, harbor ever-evolving property specializing snug farm hard-to-find plant material and landscape design

ted for life in Maine and greater New England".

Topiary and Terra Cotta

snug harbor farm

is an immersive, ever-evolving property specializing in hard-to-find plant material and landscape design suited for life in Maine and greater New England".

TOPIARY

ing plants into shapes, is very popular specially “portable” topiaries grown pots that may be moved from room to om or from indoors to outdoors with e change of seasons. Particularly hen grown in clay pots, they give a uropean garden” look to a room and mpliment many decorating schemes. e art of topiary has a long and teresting history. The first record of ese specially pruned and trained ants comes from the Greeks, although e term is from the Latin, topiarius, anslated as “pertaining to ornamental rdening.”

TOPIARY living plants into shapes, is very popular – especially “portable” topiaries grown in pots that may be moved from room to room or from indoors to outdoors with the change of seasons. Particularly when grown in clay pots, they give a “European garden” look to a room and compliment many decorating schemes.

The art of topiary has a long and interesting history. The first record of these specially pruned and trained plants comes from the Greeks, although the term is from the Latin, topiarius, translated as “pertaining to ornamental gardening.”

aine is absolutely required for all of your ringtime gardening. They have a team of owledgeable gardeners and designers to lp you on your next landscaping project.

Maine is absolutely required for all of your springtime gardening. They have a team of knowledgeable gardeners and designers to help you on your next landscaping project.

Make mine look old

Historic A look into Outbuildings

G

rdener's House

fly as a hospital for enslaved kers, then as a space for l-spinning, and finally as a lling. William Spence, a ng Scotsman who was head ener at the Mansion House m in 1799, probably lived . Washington hired opean-trained gardeners could cultivate the varieties ants and seeds he received m around the world. With aid of two or three enslaved kers, Spence oversaw the er and Lower Gardens, ards, and Greenhouse".

G

ardener's House briefly as a hospital for enslaved workers, then as a space for wool-spinning, and finally as a dwelling. William Spence, a young Scotsman who was head gardener at the Mansion House Farm in 1799, probably lived here. Washington hired European-trained gardeners who could cultivate the varieties of plants and seeds he received from around the world. With the aid of two or three enslaved workers, Spence oversaw the Upper and Lower Gardens, orchards, and Greenhouse".

S

inning iles for use at Mount Room Vernon. As disputes with England grew, Washington

d to improve the quality of the cloth they made. For the production of more tarian textiles, he practiced selective breeding of sheep, grew flax and hemp making linen cloth and rope, and experimented with cotton and silk. Finer erials for table linens and clothing still had to be ordered from England".

O

erseer's Quarters

O

verseer's Quarters

supervised livestock and crops and submitted weekly rts. Overseers also managed enslaved and free laborers. des his typical duties, Mansion House Farm overseer Roger ell agreed in 1799 to supervise the annual harvest of fish; p Washington supplied with mutton, lamb, veal, and wood; and repair fences around the estate, among other tasks. t year, Farrell earned an annual wage of $133.33, plus “board, lodging, and washing.”

who supervised livestock and crops and submitted weekly reports. Overseers also managed enslaved and free laborers.

Besides his typical duties, Mansion House Farm overseer Roger Farrell agreed in 1799 to supervise the annual harvest of fish; keep Washington supplied with mutton, lamb, veal, and firewood; and repair fences around the estate, among other tasks.

That year, Farrell earned an annual wage of $133.33, plus “board, bed lodging, and washing.”

K

chen

r many guests. Cooking in Mount Vernon’s kitchen was hot, smoky, demanding, and ed work. Enslaved cooks like Doll, Hercules, Nathan, and Lucy, arose at four each ning to light the fire in the oven and prepare for the meals to be served in the Mansion. r duties could continue well into the evening. The Washingtons placed great trust in r cooks, whose talent was evident in visitors’ descriptions of sumptuous meals. er Martha Washington’s supervision, cooks planned menus and selected ingredients for day’s meals. Enslaved laborers on the estate grew and harvested most of the hingtons’ food: wheat and corn from the fields, fresh vegetables from the garden, fruit m the orchards, fish caught in the Potomac, and smoked ham from hogs raised on site. orted luxuries like tea, coffee, chocolate, olives, oranges, and wine supplemented egrown ingredients. r role in the kitchen allowed enslaved cooks to shape the tastes of the household—and egion. Many iconic southern dishes bear the influence of West African cuisine, from s like gumbo to ingredients like okra, sweet potatoes, peanuts, and collard greens. placement of the kitchen at Mount Vernon was dictated by a series of functional, social, environmental factors. The concern for safety from potential fires, the desire to avoid hen heat, and the need to avoid the smell of food cooking in the household were of ificant importance. In addition, there was a desire to separate domestic functions from main house in order to reinforce the segregation of enslaved workers' activities from e of the planter family".

K itchen

their many guests. Cooking in Mount Vernon’s kitchen was hot, smoky, demanding, and skilled work. Enslaved cooks like Doll, Hercules, Nathan, and Lucy, arose at four each morning to light the fire in the oven and prepare for the meals to be served in the Mansion.

Their duties could continue well into the evening. The Washingtons placed great trust in their cooks, whose talent was evident in visitors’ descriptions of sumptuous meals.

Under Martha Washington’s supervision, cooks planned menus and selected ingredients for each day’s meals. Enslaved laborers on the estate grew and harvested most of the Washingtons’ food: wheat and corn from the fields, fresh vegetables from the garden, fruit from the orchards, fish caught in the Potomac, and smoked ham from hogs raised on site.

Imported luxuries like tea, coffee, chocolate, olives, oranges, and wine supplemented homegrown ingredients.

Their role in the kitchen allowed enslaved cooks to shape the tastes of the household—and the region. Many iconic southern dishes bear the influence of West African cuisine, from stews like gumbo to ingredients like okra, sweet potatoes, peanuts, and collard greens.

The placement of the kitchen at Mount Vernon was dictated by a series of functional, social, and environmental factors. The concern for safety from potential fires, the desire to avoid kitchen heat, and the need to avoid the smell of food cooking in the household were of significant importance. In addition, there was a desire to separate domestic functions from the main house in order to reinforce the segregation of enslaved workers' activities from those of the planter family".

S

t House

age for the large quantities lt that George Washington onally imported from land, Portugal, and the bbean. Fresh meat and fish e packed in dry salt or brine preservation. Salting fish was icularly important; herring shad were plentiful in the omac River. They provided hington with income and enance for everyone on the tation".

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nd experience all four seasons

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*Indulge in stunning nteriors and historic homes

collect them all !

and experience all four seasons

or order today!

your www.historichomesmagazine.com gift camera for app on yourself your phone or others *Indulge in stunning interiors and historic homes

ca, 1705 Concord, Resources

amera www.squarepianos.com app on your ne to see a video of his home.and Lester P. By historic Greg K. Kramer

Breininger, Jr. assachusetts ww.incollect.com/articles/americanredware Dr. Lori Verderame www.drloriv.com

Ken Giorlando ww.passionforthepast.blogspot.com Colonial Williamsburg www.history.org Captain George Tate House www.tatehouse.org Alice Ross www.journalofantiques.com Snug Harbor Farm www.snugharborfarm.com Mount Vernon www.mountvernon.org

The Colonel James Barrett Farm www.jamesbarrettfarm.org Historic New England Historic Colors of America www.historicnewengland.org

Resources

camera www.squarepianos.com app on your

phone to see a video of circa, 1705home.

Concord, this By historic Greg K. Kramer and Lester P. Breininger, Jr. Massachusetts www.incollect.com/articles/american-

redware Dr. Lori Verderame www.drloriv.com Ken Giorlando www.passionforthepast.blogspot.com Colonial Williamsburg www.history.org Captain George Tate House www.tatehouse.org Alice Ross www.journalofantiques.com Snug Harbor Farm www.snugharborfarm.com Mount Vernon www.mountvernon.org The Colonel James Barrett Farm www.jamesbarrettfarm.org Historic New England Historic Colors of America www.historicnewengland.org

Historic Homes Magazine website: historichomesmagazine.com

its all in the Historic homes details magazine

aptain George Tate House details ring Gardens