You’ve probably heard the phrase “colonial revival” before. Most people think of it as an architectural style –what they mean when they say “a colonial style house.” In actuality, the phrase refers to a whole cultural movement in the United States that had its beginnings in the late 19th century and that still exists today. It is a style of architecture, decoration, literature, art, fashion, and even philosophy that has become so intertwined with American identity that we often have difficulty in separating what is truly Revival from what is truly colonial.
As with many trends in American history, the Colonial Revival can trace its birth to a World’s Fair, specifically the Philadelphia Exposition of 1876, commemorating the nation’s centennial. At the time, the United States was still healing from the Civil War, dealing with a rough economy, and experiencing a wave of immigration that was drastically changing the population. In the midst of this upheaval, Americans began to look longingly to their colonial past, when life seemed so simple and pure, and the ideals of the Revolution were supposedly clear-cut. Exhibits at the 1876 Exposition highlighted the virtues of simple, sturdy colonial American craftsmanship in furniture and household goods. Romanticized biographies of the Founding Fathers set forth a new American mythology. The clean, simple lines of Georgian and Federal style architecture were extolled as the epitome of Americanism. The realities of life in war-torn colonial America were lost in the skirl of fifes and drums, powdered wigs, and pewter tankards, however. Yet, Gilded Age Americans went wild for it. A craze was born, complete with wallpaper, draperies and spinning wheels. The Colonial Revival peaked in popularity in the 1920s, but then experienced a Colonial Revival revival in 1976, during the Bicentennial.
Photos showing the Kenmore exhibit in the Virginia Hall at the Philadelphia Exposition in 1926. Emily Minor Fleming (pictured second from the left, front row in the photograph below) lead the effort to construct a life-size replica of Kenmore’s portico and East façade. The exhibit highlighted important antiques from the colonial era in Virginia. (Kenmore Photographic Collection, .1345 and .1345-2 PBW)
The Colonial Revival had an especially interesting effect on historic sites and museums across the country. Today, historic house museum employees spend a great deal of time (some might say too much time!) pursuing historical accuracy and researching everything we do. Our early 20th century predecessors had a different idea of what a historic house should be. The homes of the Revolution’s great figures were seen as memorials not only to those great figures, but to their way of life, and thus the true American way of life. Emphasis was placed on collecting fine examples of antique furnishings, although the actual dates of those antiques were not so important. An English hall chair from the 1690s might sit beside a pie crust tea table from the 1790s, while the tea was being served from a silver plated teapot from the 1890s. It was more important that when put together these antique pieces created a certain feel and image to a room, one that conveyed a sense of cozy warmth, family values, and individual enterprise. The result was the postcard-perfect rooms that we’ve all seen – a wooden hutch against the wall, lined with pewter plates and tankards (which in actuality would have been used on a daily basis and not reserved for decoration), a handmade rag rug on the wide plank pine floors (rag rugs were actually a 19th century staple), a spinning wheel before the fireplace (spinning was considered labor and would not have taken place in the public spaces of a house, and probably not near open flame), a pot bubbling over the fire (cooking didn’t happen in the house), a smattering of toy soldiers scattered playfully on the hearth (children didn’t have much in the way of toys, let alone toy soldiers). The time, care, and effort that went into creating these rooms was immense, and it was the first time that the American public saw their history brought to life. While perhaps inaccurate by our measure today, the Colonial Revival created an intense interest in American history and is probably the main reason so many historical sites have survived.
Postcards from the 1970s showing Kenmore’s kitchen and “Children’s Room” in all their early American splendor. Descriptions of the rooms on the reverse of the postcards capture the essence of the Colonial Revival spirit. (The George Washington Foundation Manuscript Collection, MS 1675 and MS 1684)
Events and programs at historic sites at the height of the Colonial Revival also reflected this emphasis on the colonial ideal. Especially in the early 20th century, there was a strong belief that by exposing America’s youth to the style of colonial life, they would be instilled with the virtues — honesty, integrity, a strong work ethic and patriotic spirit — of the Founding Fathers. As such, events at historic sites were often aimed at young adults, and often called upon the participants to role play the parts of historical figures. At Kenmore, for instance, Colonial-themed balls took place and theatrical presentations were held on the lawn. Young soldiers headed to battle during the Second World War were entertained at Kenmore with ginger bread and tea, served by young ladies in colonial garb, and encouraged to “remember the Spirit of ’76, boys!” At Ferry Farm, where George Washington lived during his childhood, a home for wayward boys was established on the property, specifically in the hopes that living on the site of Washington’s youth would cause the boys to reform their ways.
Photos from a re-enactment of the Peace Ball, held in the Kenmore dining room in 1924. The participants are students from the Fredericksburg State Teacher’s College. (Kenmore Photographic Collection, .1713 and .1713-2 PBW)
The ideas of the Colonial Revival even traveled from the museum into people’s homes. It was during the heyday of the Colonial Revival that museums and home fashion crossed paths, perhaps for the first time in any significant way. Thousands of antique pieces from museum collections all over the country were selected to be reproduced for re-sale to modern homeowners wanting to bring the colonial style into their lives. Some of it was, shall we say, kitschy, while some of it was actually quite well done. Colonial Williamsburg became a leader in this industry, making a concerted effort to educate their customers on the history of the pieces they were selling in their shops and through an extensive mail order business. Even today, there are collectors who focus exclusively on finding pieces from the height of Colonial Williamsburg’s reproduction sales.
Advertisements for home furnishings in the Colonial Revival style in the 1960s and 1970s.
For the current Washington house reconstruction project at Ferry Farm, we find ourselves in a unique situation with regard to the Colonial Revival different from the one at Historic Kenmore. We recently completed a 10-year long restoration and re-furnishing project at Kenmore that was intensely focused on historical accuracy as determined through a nearly-forensic investigation of the house and its documentation. In essence, we have been trying to be less Revival and more colonial. Ferry Farm’s Washington house recreation has been a similarly intense forensic project but, in this case, we are actually turning to the Colonial Revival for some assistance. As you probably know, the Washington house will be fully furnished with reproduction pieces, allowing our visitors to sit on the chairs, open drawers and pick up the plates on the table. However, finding accurate, well-made reproductions of pieces from the Washington-era is no small feat.
Because of the scope of the Colonial Revival in this country, there are in fact well-made reproductions to be found, and there are craftsman trained in colonial-era techniques who know how to make these reproductions. Our Washington house furnishing project is the melding of intensive research into what the Washingtons really had in their house with the skills and products born out of a movement that ran counter to such research. Rather than finding our furnishings in antiques showrooms and in the treasure-troves of dealers and auction houses, our sources are a little different. In the coming weeks, we hope to share some of those interesting sources, from Hollywood production sets to hole-in-the-wall flea markets, and to give you some insight into how we find them.
Meghan Budinger
Aldrich Director of Curatorial Operations
