Old Manse North Parlor, Concord, Massachusetts

The north parlor at the Old Manse in Concord, probably around 1890-1910. Image courtesy of the Phillips Library at the Peabody Essex Museum, Frank Cousins Glass Plate Negatives Collection.

The scene in 2023:

These two photos show the parlor in the northeast corner of the first floor at the Old Manse. In contrast to the south parlor, which was used primarily by family and close friends, the north parlor was historically a more formal space for entertaining guests, and would have generally had finer decorations and furnishings.

As described in more detail in an earlier post, the Old Manse was built in 1770 as the home of William and Phebe Emerson. William was the pastor of the church in Concord, but he died only a few years later in 1776, while serving as a chaplain in the Continental Army. His successor at the church was Ezra Ripley, who would go on to serve as pastor for 63 years. Ripley also married Emerson’s widow Phebe, and they lived here in this house for the rest of their lives.

The house remained in the Ripley family and their descendants for many years, but the house is best remembered for its association with two prominent writers who lived here early in their careers. From 1834 to 1835, William and Phebe Emerson’s grandson, Ralph Waldo Emerson, lived in the house, and then from 1842 to 1845 the family rented the house to Nathaniel Hawthorne and his newlywed wife Sophia. Both Emerson and Hawthorne used the same upstairs room as their study, and they each wrote some of their earliest published works there.

The top photo shows the north parlor at some point around the turn of the 20th century, when the house was owned by Ezra and Phebe’s granddaughter Sophia Thayer. Her daughter, Sarah Ames, subsequently inherited the house, and she owned it until her death in 1939. Sarah’s husband then donated the house and all of its contents to the Trustees of Reservations, a nonprofit conservation and historic preservation organization in Massachusetts.

Today, the house is still owned by the Trustees and operated as a museum. Here in the North Parlor, the highlights include an 1864 Steinway piano, which is partially visible in the lower right corner of the second photo, and the standing desk beyond it to the right. The desk originally belonged to Ezra Ripley, and it was there that he composed over 3,000 sermons during his more than six decades of ministry at the church.

Old Manse Main Staircase, Concord, Massachusetts (2)

The second floor hallway and staircase at the Old Manse in Concord, probably around 1890-1910. Image courtesy of the Phillips Library at the Peabody Essex Museum, Frank Cousins Glass Plate Negatives Collection.

The scene in 2023:

These two photos were taken directly above the spot where the ones in a previous post were taken. The photos in the other post show the scene on the first floor, while these two photos show the stairway from the second floor, looing west. As discussed in more detail in other posts, this house was built in 1770 as the home of William and Phebe Emerson. The Emerson family was here when the Battle of Concord occurred in their backyard, and they witnessed the battle from the room on the right side of this hallway, in the northwest corner of the house. However, the house is perhaps best remembered for having briefly been the home of their grandson Ralph Waldo Emerson, and later as the home of Nathaniel Hawthorne.

Ralph Waldo Emerson lived here for about a year from 1834 to 1835. At the time he was a young widower and former pastor who had abandoned the ministry after the death of his first wife. Although he spent a relatively short time here, this was a formative period in his life as he began to develop his Transcendentalist philosophy. His study was located in the same room where his grandparents had watched the battle, and it was there that he wrote his famous essay “Nature,” which had a strong influence on the subsequent Transcendentalist movement.

Emerson moved out of the house after his marriage to his second wife Lidian in 1835. His step grandfather Ezra Ripley, who had owned the house, died in 1841, and starting in 1842 Ezra’s son Samuel rented the house to another young aspiring writer, Nathaniel Hawthorne. Hawthorne and his wife Sophia spent their wedding night here in the house in 1842, and they lived here for the next three years, with Hawthorne likewise using the same room as Emerson for his study. While living here, he wrote a number of short stories that were later published as a book, titled Mosses from and Old Manse.

The top photo was taken at some point around the turn of the 20th century by photographer Frank Cousins, who used his camera to document the interiors and exteriors of many historic New England homes. The house was still owned by descendants of the Ripley family, and it remained in the family until 1939, when Ezra and Phebe Ripley’s great granddaughter Sarah Ames died.

After Sarah Ames’s death, her husband donated the house and its contents to the Trustees of Reservations, which continues to operate the house as a museum. It remains well-preserved, and it is still furnished with the Ripley family’s belongings, including many of the items shown here in these photos. The furnishings are not all in the same spot as they were when the top photo was taken, but otherwise the only significant difference is the wallpaper. The current wallpaper, with its trompe l’oeil drapery, is based on the wallpaper that was in the hallway earlier in the 19th century, before the wallpaper in the top photo was installed.

Old Manse South Parlor, Concord, Massachusetts

The south parlor at the Old Manse in Concord, probably around 1890-1910. Image courtesy of the Phillips Library at the Peabody Essex Museum, Frank Cousins Glass Plate Negatives Collection.

The room in 2023:

These two photos show the south parlor at the Old Manse, a historic home that was built in 1770 as the home of the Reverend William Emerson and his wife Phebe Bliss Emerson. The house served as the parsonage, or “manse” for Emerson until his death in 1776, and it was subsequently the home of his successor, the Reverend Ezra Ripley, who married his widow Phebe in 1780.

However, the house is best remembered for its association with two prominent 19th century writers. Ralph Waldo Emerson, a grandson of William and Phebe, lived here from 1834 to 1835 and wrote one of his earliest works, the essay “Nature,” in his upstairs study here in the house. Then, from 1842 to 1845 the house was rented to Nathaniel Hawthorne, who lived here with his wife Sophia and their infant daughter Una.

The floor plan of the house is typical for late 18th century homes. It features a hallway and staircase in the center of the house, with parlors on either side of it on the ground floor. As was often the case, the north parlor was the more formal one, where its expensive furnishings would be better protected from sunlight, while the south parlor—shown here in these two photos—was a less formal space that would have been used by family members and close friends. This room has a door connecting it to the main hall, and it also has a door to the kitchen, as shown on the left side of these photos.

By the time the top photo was taken, the house was over a hundred years old and had become a famous landmark, thanks in part to the title of one of Nathaniel Hawthorne’s early works, Mosses from an Old Manse, which he wrote while living in the house. It was still owned by descendants of the Ripley family, and many of its furnishings dated back to when Emerson and Hawthorne lived here.

Perhaps the most famous object in the top photo is the stuffed owl on the mantle. According to legend, the owl was brought to the house by Harvard students after they fled Cambridge at the start of the American Revolution. Regardless of how it ended up here, though, Hawthorne discovered it in the attic when he moved in. He brought it downstairs to the parlor and named it “Longfellow” after his Bowdoin College classmate Henry Wadsworth Longfellow. Hawthorne’s wife Sophia was somewhat less enamored with the owl, and the family left it here when they moved out in 1845. The owl is still here in this room today, although it is now in the corner behind where these two photos were taken from.

The house was owned by Ripley descendants until 1939, when Ezra and Phebe’s great granddaughter Sarah Ames died. Her husband then donated the house and its contents to the Trustees of Reservations, which has owned and preserved the house ever since. The room was decorated for Christmas when the second photo was taken, but otherwise it does not look much different from when the top photo was taken. The house remains an important literary and historic landmark, and it is open to the public for guided tours.

Old Manse Main Staircase, Concord, Massachusetts

The main staircase at the Old Manse in Concord, probably around 1890-1910. Image courtesy of the Phillips Library at the Peabody Essex Museum, Frank Cousins Glass Plate Negatives Collection.

The scene in 2023:

These two photos show the view looking up the main staircase from the front door at the Old Manse in Concord. This house, which was featured in more detail in an earlier post, was built in 1770 as the home of William and Phebe Emerson. William was the pastor of the church in Concord, but he died in 1776 while serving as a chaplain in the Continental Army. His widow Phebe subsequently remarried his successor, the Reverend Ezra Ripley, and the house would remain in their family well into the 20th century.

During this time, the house had several notable residents. William Emerson’s grandson was the prominent Transcendentalist writer Ralph Waldo Emerson, and he lived here for about a year from 1834 to 1835. He was not yet a famous author at this point, but he wrote one of his early works, the essay “Nature,” here in this house, in his study at the top of the stairs on the right side of the hall.

Ezra Ripley died in 1841, and his son Samuel inherited the house. However, he did not immediately move in, and instead rented the house to Nathaniel Hawthorne and his newlywed wife Sophia. They spent their wedding night here on July 9, 1842, and they lived here for the next three years. Like Emerson before him, Hawthorne was an aspiring yet largely unknown writer. He also used the same upstairs room for his study, and he wrote a number of short stories there, which would later be published in 1846 as the book Mosses from an Old Manse. However, Hawthorne struggled financially during this time and was unable to pay rent for the house, so he and his family ultimately moved out in 1845.

Another prominent resident here was Sarah Bradford Ripley, wife of Samuel Ripley. She and her husband moved into the house after the Hawthornes left in 1845, but Samuel died just two years later. Sarah was a self-taught scholar and educator, and after her husband’s death she earned an income by tutoring Harvard students here at the house.

Sarah Ripley died in 1867, but the house remained in her family for several more generations. The top photo was taken sometime around the turn of the 20th century, during the ownership of Sarah’s daughter Sophia Thayer. By this point the house was already a famous landmark, largely because of its association with Emerson and Hawthorne, and it had become known as the “Old Manse” because of the title of Hawthorne’s book that he wrote here.

In 1914, Sophia Thayer’s daughter Sarah Ames inherited the house. Sarah was the great granddaughter of Ezra and Phebe Ripley, making her the fourth consecutive generation to own the property. She died in 1939, and her husband subsequently donated the house, including all of its contents, to the Trustees of Reservations, a nonprofit conservation and historic preservation organization.

Today, the house still looks largely the same as it did when the Ripley family and their descendants lived here. The wallpaper here in the stairway hall has changed since the top photo was taken, in order to reflect the style of wallpaper that was here earlier in the 19th century. Otherwise, though, not much is different from the top photo, and even the sofa appears to be the same in both photos. The house is still owned by the Trustees, and it is open to the public for guided tours.

Sargent Gallery, Boston Public Library (3)

The Sargent Gallery in the Boston Public Library’s McKim Building in 1896. Image courtesy of the Boston Public Library.

The scene in 2021:

As explained in more detail in an earlier post, this gallery on the third floor of the McKim Building features a mural by prominent artist John Singer Sargent. Titled Triumph of Religion, the mural features scenes relating to Christianity, Judaism, and other ancient religions of the Near East. It was a long-term project for Sargent, who completed the mural panels in stages between 1895 and 1919.

The first photo was taken in 1896, shortly after the first installation of panels. Starting on the ceiling in the distance is Pagan Gods, featuring the goddess Astarte and the god Moloch. The large lunette at the top of the north wall in the distance is Israelites Oppressed, showing the enslavement of the Israelites by the Egyptians and the forced exile of the Israelites by the Assyrians. Beneath this panel is Frieze of Prophets, a three-panel set that depicts the various Old Testament prophets.

Over the next few decades, Sargent would add more panels to the gallery. This process is explained in more detail in the previous post, but it involved installing panels on the south wall in 1903, followed by the lunettes at the tops of the side walls in 1916. The last installation occurred in 1919, with the addition of Church in the foreground on the right side of the second photo, and Synagogue further in the distance on the right. In between these is a large blank space on the wall, where Sargent had intended to put the final panel, Sermon on the Mount. However, he died in 1925, before its completion, and the space has remained empty ever since.

Sargent Gallery, Boston Public Library

A view of the murals in the Sargent Gallery on the third floor of the Boston Public Library’s McKim Building, around 1896. Image courtesy of the Boston Public Library.

The scene in 2021:

This building serves as the main branch of the Boston Public Library, and it is also an important architectural and artistic landmark, both on the exterior and interior. The building itself was designed by Charles Follen McKim, a prominent architect of the firm of McKim, Mead & White, but he also worked with a number of other leading artists of the period. Sculptor Augustus Saint-Gaudens carved the seals above the main entrance, and his brother Louis carved two lions at the base of the grand staircase. Other sculptural works included the bronze statue Bacchante and Infant Faun, by Frederick William MacMonnies, which originally stood in the courtyard before being moved to the Metropolitan Museum of Art in New York. In addition, the interior includes murals by three major artists: Pierre Puvis de Chavannes in the grand staircase, Edwin Austin Abbey in the book delivery room, and John Singer Sargent, here on the third floor.

Sargent was born in Italy in 1856, but his parents were originally from Massachusetts. He studied at the École des Beaux-Arts in Paris, and by the late 19th century he had become one of the leading portrait painters of the Gilded Age. For this mural at the Boston Public Library, McKim gave him discretion over the theme, and Sargent chose Triumph of Religion, with images that focused on the history of Christianity and Judaism, along with other ancient Near East religions. This became a long-term project, with sections of the mural being installed in four different stages between 1895 and 1916.

The mural panels in this scene, located on the northern end of the gallery, were part of the original 1896 installation, and the first photo was taken the following year. The panel on the ceiling is titled Pagan Gods, and it features the goddess Astarte on the right side, and the god Moloch on the left. Beneath them, on the top of the north wall, is Israelites Oppressed, which depicts the Israelites being attacked by an Egyptian pharaoh on the left and an Assyrian king on the right. This represents the enslavement of the Israelites by the Egyptians, along with the conquest and forced exile of the Israelites by the Assyrian empire. The last three panels, which are located directly above the doors, feature various Old Testament prophets. From left to right, the panel on the left depicts Zephaniah, Joel, Obadiah, and Hosea; the panel on right depicts Micah, Haggai, Malachi, and Zechariah; and the central panel depicts Amos, Nahum, Ezekiel, Daniel, Elijah, Moses, Joshua, Jeremiah, Jonah, Isaiah, and Habakkuk.

The rest of the panels are not visible in this view of the gallery, but they were installed in 1903, 1916, and 1919. The final panel in the project was never completed because of Sargent’s death in 1926, and that space on the wall in the gallery remains blank. Overall, this particular view here at the north end of the gallery has changed very little since the first photo was taken over 125 years ago. The mural was extensively restored in 2003 and 2004, and this space is now known as the Sargent Gallery, in honor of the artist.