George’s Hometown: Masonic Lodge

As George Washington’s Ferry Farm prepares to celebrate the reconstruction of the Washington house, we traveled around George’s hometown – Fredericksburg, Virginia – to visit a few places important in the transformation of George from boy to man.

In 1753, 21-year-old George Washington became a Master Mason having joined the Masonic Lodge in Fredericksburg the year prior.  In his encyclopedia on all things George, Frank Grizzard concluded that “For Washington, joining the Masons was a rite of passage, a formal entry into respectable and genteel if not elite society.”  The boy who arrived at Ferry Farm at the age of 6 was now an upper class Virginia gentleman.

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The Masonic Lodge of Fredericksburg at the intersection of Princess Ann and Hanover Streets.

The Fredericksburg lodge formed in 1753, the year Washington joined.  Its current building (pictured) was built in 1816.

Join us at the Washington House Celebration on Saturday, October 7, 2017 from 12:00 p.m. – 4:30 p.m. to celebrate the construction of the Washington house! A special ribbon-cutting ceremony will begin at 1:30 p.m. featuring notable speakers. After the ceremony, guests will be invited to view the reconstructed Washington house!

Ferry Farm opens to visitors at noon on Saturday, October 7.

PLEASE NOTE: PARKING for the event is off site at the VRE Fredericksburg Park and Ride Lot G at the corner of Prince Edward Street and Frederick Street. Buses will transport guests to and from Ferry Farm—traveling from the VRE lot to Ferry Farm on a regular schedule from 11:45 a.m. to 1:15 p.m., and 3:00 p.m. to 4:15 p.m. Bus transportation will pause during the ribbon-cutting ceremony. The last bus will depart Ferry Farm at 5:15 p.m. Limited handicap parking is available at Ferry Farm.

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The Man on the Ceiling: Neoclassical Decorating at Kenmore

As with many things at Historic Kenmore, the reasoning behind the choices Fielding and Betty Lewis made for their masterpiece of a house remain a mystery to us.  Why are Aesop’s Fables the subject of the decorative plaster overmantel in the Dining Room? Why is there an old-fashioned paneled wall in the Chamber? Why did they cover the expensive Drawing Room wallpaper with artwork but didn’t hang any art in the Dining Room? We’ll probably never know why they made most of these choices…but it’s pretty fun to speculate!

One such stylistic choice is at the center of the plasterwork ceiling in the master bedchamber.  Visitors to Kenmore may recall the man’s face surrounded by rays or beams of light depicted there.  It is believed that this man is Apollo, the Greek god, and that the light beams emanating from his head, in this case, indicate that he is being depicted as Apollo the Sun God (one of many titles attributed to him).

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Apollo on the ceiling of the master bedchamber at Historic Kenmore.

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The entire bedchamber ceiling with Apollo at the center.

When asked, we usually give visitors a fairly simple explanation for his position on the ceiling, something along the lines of “Apollo was a common symbol of the neoclassical style which was a popular decorating theme at the time.” That’s very true.  In the mid to late 18th century, the neoclassical style was all the rage throughout England and France, and much of the rest of Europe, as well.  As the story goes, the discoveries of the ruined ancient cities of Herculaneum and Pompeii created a fascination with the ancient world that showed up in everything from window curtains to tea pots.  Although the fashion arrived in the American colonies a bit later than in Europe, and despite far fewer options for incorporating it into their homes, the gentry tried to bring the neoclassical flare to their houses, as well.

However, this explanation for Apollo’s presence in the Kenmore bedchamber may be a bit oversimplified.  After all, Apollo’s face is really the only identifiable neoclassical symbol in the entire house.  Why would Fielding and Betty choose to place this one symbol in this one room, and then completely ignore the neoclassical esthetic in the rest of the house?

Much has been made of the mysterious craftsman who created Kenmore’s famous plaster ceilings – could the Stucco Man simply have chosen Apollo imagery at random for the bedchamber? Or, could there be another, less obvious, meaning behind the depiction? Maybe we should be looking at the 18th century concept of Apollo himself, rather than his use as a decorative motif.

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Exterior of the reconstructed Raleigh Tavern in Colonial Williamsburg. Credit: Maggie McCain/Wikipedia

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Raleigh Tavern’s Apollo Room in Benson Lossing’s The Pictorial Field-Book of the Revolution published in 1860. Lossing visited the tavern in the late 1850s just prior to a renovation (thus the depiction of tools in the room’s center). The tavern was destroyed by fire in 1859. Public domain. Credit: Wikipedia.

Kenmore’s bedchamber isn’t the only place that Apollo shows up in 18th century Virginia.  In fact, Apollo’s name is fairly common in the colony…especially in taverns.  Many inns and taverns had a room known as the Apollo Room.[1]  The most famous of these Apollo Rooms is probably the one at the Raleigh Tavern in Williamsburg, which was a well-known meeting space and the scene of large public gatherings, like balls or dinners.  When the House of Burgesses was disbanded by the royal governor in 1773, the burgesses simply moved themselves down the street to the Raleigh Tavern and conducted their business in the Apollo Room, drafting the non-importation act and other “treasonous” acts.  There is some thought that the Apollo Room in Williamsburg, and the other various Apollo Rooms in Virginia taverns, were named in honor of the Apollo Room at Hercules Pillars (or Pillars of Hercules, depending on who you talk to) in London.

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The Pillars of Hercules pub as it appears today in Soho, London. Credit: Ewan Munro/Wikipedia

The Hercules was a tavern established sometime before 1709, and is actually still in business today.  The Hercules was a leader among the several taverns in London that catered to the gentlemen’s “clubs” that were so popular at the time.  Much like modern-day college fraternities, these clubs were often known for one thing or another – some focused on scientific discourse, some were patrons of the arts, some met to read poetry, some were political in nature, some were more raucous than others, but they were all essentially drinking clubs.  For their monthly dues, members could meet at their club’s tavern and imbibe or enjoy a good meal, and take part in good conversation.  At the Hercules, the club met in the Apollo Room.[2]  Although it was a bit of a disconnect, Apollo was used in this case as a symbol of refined culture and knowledge, as opposed Bacchus, a god who symbolized wild partying and debauchery.  Whatever the reality, the Apollo Room was intended to be a place for polite discourse and companionship.

Now, in a previous post on this blog, we discussed some archaeological evidence that Fielding may have had ties to a fraternal organization (that was essentially a drinking club, too) in England known as the Right Honorable Society of Bucks, and we know definitively that he was a member of the Fredericksburg masonic lodge, another fraternal, social organization.  Could that be the idea that Fielding was trying to express in putting Apollo’s head on the ceiling in the bedchamber – Apollo as a symbol of fraternity and knowledge? It would make sense, especially in light of the fact that Fielding was clearly trying to create the household of a proper English gentlemen when designing Kenmore.  Membership in these social clubs was probably prevalent among Fielding’s business associates in England, and certainly masonic membership was important for businessmen in Virginia.  Perhaps Fielding was subtly creating his own “Apollo Room.”

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Kenmore’s master bedchamber

Alas, there is a glitch in this theory.  If Fielding is trying to create his own Apollo Room, or at least convey the idea of an Apollo Room, why did he choose the bedchamber for it? As visitors to Kenmore have no doubt learned on tour, the master bedchamber in an 18th century household was considered an entertaining space, so that’s not the issue – people other than Betty and Fielding spent time there.  It’s more that the bedchamber is typically the domain of the lady of the house.  It was Betty’s command central, she spent most of her day there, running the household, keeping tabs on the enslaved servants and tending to her children.  If there were visitors to be entertained there, they were most likely Betty’s visitors.  The bedchamber tends to have a feminine connotation.  If Fielding wanted to make his business associates and social guests aware of his culturally refined and knowledgeable status, wouldn’t he put the Apollo symbol in the Dining Room or the Drawing Room?

As I stated at the beginning of this post, there are many aspects of Kenmore that we might never fully understand, and the man on the ceiling is one of them.

Meghan Budinger
Aldrich Director of Curatorial Operations

[1] Study of Taverns in Virginia in the 18th Century. Department of Research, Colonial Williamsburg Foundation, 1990.

[2] Club Life of London with Anecdotes of the Clubs, Coffee-Houses and Taverns of the Metropolis, During the 17th, 18th and 19th Centuries, Vol. II. John Timbs, 1866.

Masonic Pipe in 3D

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Click on the photo for to link to a 3D image the you can zoom, rotate, and manipulate.

Recently, a 3D image of a smoking pipe was added to the Virtual Curation Lab, an online project of Virginia Commonwealth University.  You can view rotate, zoom, and manipulate the image by clicking the photo above or by clicking here.  The smoking pipe was discovered within the fill of the main cellar of the Washington family house at George Washington’s Ferry Farm, his boyhood home.  The pipe features the square and compass and twin pillars that distinguish this as a masonic pipe.  Such motifs were very popular.  The masonic symbols faced the smoker and fluting characterized that portion visible to surrounding friends.  The design elements used suggest that this pipe was likely made in the northeast of England sometime between 1770-1810, in places like Hull.

George Washington was initiated as an apprentice mason on November 4, 1752, passed to fellow craft on March 3, 1753, and became a master mason on August 4, 1753. He achieved all of these masonic ranks at Fredericksburg Lodge No. 4.  While it is certainly possible the masonic pipe belonged to George, he was one of four notable masons associated with Ferry Farm.  The other three were Fielding Lewis, Hugh Mercer, and George Weedon, who each may also have left this specimen behind in the archaeological record.

The Virtual Curation Laboratory (VCL) at Virginia Commonwealth University, headed by Dr. Bernard K. Means, scanned this pipe bowl in three dimensions.  3D scanning provides two types of digital models: a three-dimensional image to be viewed on a monitor and, with the use of a special 3D printer, a plastic replica of the item.  Replicas can be printed at a larger scale, allowing details to be viewed more easily.  VCL has used the technology to scan bones from extinct passenger pigeons, allowing researchers from around the nation to compare these known digital models to bird bones in their own assemblages so that they can identify passenger pigeons in their collection.

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The pipe bowl being scanned in 3D.

Three-dimensional scanning allows The George Washington Foundation to provide greater public access to fragile artifacts both on the Internet virtually and as 3D printed copies that visitors can see and hold.  Making 3D images available online allows more people to see these artifacts than could ever visit Washington’s boyhood home.  We can even make these digital files available to researchers on the web, allowing others to 3D print them wherever in the world they may be.  In the field, 3D replicas allow staff to engage visitors, showing them (for example) a wig hair curler or tobacco pipe, then inviting them to guess how the object was used in the past.

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3D replicas allow Ferry Farm archaeologist Lauren Volkers to share rare and unique artifacts with visitors when the archaeological dig site is open.

Fragile ceramic sherds can be printed in plastic, allowing visitors to mend the pieces together as an educational exercise.  Such access allows the original objects to be on exhibit while simultaneously allowing maximum access to the replicas physically and digitally.

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Archaeologist Vivian Hite uses a 3D printed plastic replica of the masonic pipe to engage young visitors.

Laura Galke, Archaeologist
Site Director/Small Finds Analyst