andrew low legacy

Andrew Low’s Legacy

by

Mrs. James Robert Logan

(Virginia Connerat Logan)

Published by The National Society of The Colonial Dames of America in the State of Georgia Headquartered at

Andrew Low House 329 Abercorn Street

Savannah, Georgia 31401

2013

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Virginia Connerat Logan

DEDICATION

With grateful humility, admiration and love, I dedicate this composition to my unbelievable husband of more than 45

years, Dr. J. Robert Logan. His enthusiasm and pride regarding the “Dames” and

“their” various commitments in Georgia and elsewhere arguably surpasses my own. Without Robert’s unwavering, endearing encouragement, his complete faith in my

ability and tenacity, and willingness to share the sacrifices, my “Never” would have

remained NEVER!!!

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FOREWORD

From early childhood I have heard the refrain “Never say never”. It was one of my pre-

cious mother’s favorite expressions.

Yes, mother, I remember well, “Never say never” and “Never promise ----just say, I will

try”. I even put it in writing when I received the second grant that I would not ever at-

tempt this type of labor of love on the computer. Frankly, the Good Lord has been watch-

ing over me. Two grants from the State Historical Activities Committee, then under the

superb guidance of its Chairman and long time supporter of this project, Mrs. Stephen Bo-

wen, (Deborah Ann Sieg) plus, the enthusiasm of then State President, Mrs. Royce

Augustine Hoyle, (Alice Virginia Hulbert), I presume clouded my good judgment. And,

perhaps a little false pride crept in when a former State President and Furnishings Chair-

man agreed to be my co-chair which, due to circumstances beyond her control, was not to

be so.

The theme of this manuscript is love. The thread that so seamlessly and mysteriously

weaves throughout identifies the caring and affection of the various Low ladies, future de-

scendents of Andrew Low II, and the truly remarkable devotion and stewardship for the

past 83 years by The National Society of The Colonial Dames of America in the State of

Georgia to conserve, preserve and maintain a masterpiece of history.

This has been a very rocky road --- and without the over-whelming encouragement of so

many board members, family and friends, especially the following “Dames”: Mrs. Laura

Connerat Lawton, Mrs. Frank A Chisholm, Mrs. William H. Mayo, Mrs. E. Pomeroy Wil-

liams, and Mrs. Richard R. Rubenoff, of Atlanta, I would have never made it! Not only am

I not a professional writer, my knowledge about architecture, antiques, fabrics, etc. is

“living” limited. However, there were two other points, I must admit, my mother used to

stress, “Don’t start something unless you are going to finish” and “Whatever tasks you un-

dertake, do to the very best of your ability” ---- even if it means you have to tie yourself to

the computer!!! I added that last quip, because computers in Mother’s days were nonexis-

tent.

Without a doubt, it would be a serious omission if I did not mention the following; our

very savoir faire present President, Mrs. Albert Carlyle Espy III, (Mary Jane Freed), who

appeared with a laptop computer having been told that the mountains were beckoning me

for health reasons, the Director of the Andrew Low House, Mr. Stephen Bohlin, who has

always been available for “whatever” and was gracious enough to offer to share a corner of

his office, and Mr. James W. Morton III, Exhibit Designer, last minute guardian angel, of-

fering me his personal perspective on antiques, editing, Savannah, and Georgia history.

Only wish it were possible to recognize by name all the artisans, vendors, docents, mem-

bers, and staff, past and present, who have given so much of themselves by going that ex-

tra mile for the “Dames” and the Andrew Low House. However, the State Board was con-

cerned that there could be an awful omission. You know who you are, and you are very

much appreciated!!!

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NEVER in a million years would I have imagined being given the opportunity to experi-

ence both the challenges and inspiration of writing a literary work of this magnitude but,

with God anything is possible. May this thread of love capture your curiosity and attention

in the ensuing pages, and, pique your interest to visit us.

VCL

© The National Society of The Colonial Dames of America in the State of Georgia

2013

First Edition

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Technical Support

Mr. Clarkson C. Logan

Mrs. Elizabeth Jensen Ray

Mr. R. Steven Summers

Mr. W. Barron Crawford

Mrs. Sam Trotz

Mr. F. Reed Dulany, Jr.

Editorial Advisers

Mr. Clarkson C. Logan

Mr. James W. Morton III

Mrs. Laura C. Lawton

Mr. and Mrs. Edwin Haupt Culver

Mr. and Mrs. Edwin Bryan Connerat, Jr.

Mrs. Frank Anderson Chisholm, Jr.

Mrs. W. Stephen Bowen, Jr.

Mrs. Joseph O. Saseen

Mrs. Pawling Schryver Steward

J. Robert Logan, M.D.

Mrs. William H. Mayo

Pictorial Research Contributors

Mrs. Wallace H. Lynah

Mrs. Don Frazer Sharpley

Mrs. William Wash Chisholm

Mrs. Laura C. Lawton

Mrs. Margaret Gignilliat Carswell

Mrs. Jesse L. Fulenwider, Jr.

Mrs. W. Claggett Gilbert, Jr.

Mrs. Frederick S. Bergen

Mrs. William W. House

Mr. Hugh Stiles Golson

Mrs. William W. Anderson, Jr., deceased

Mrs. Lyman Wilcox, deceased

Photography

James B. Gibbons, Jr.

Colin Douglas Gray

Kate Greene

Charlie Ribbens

Andrew Low House Archives

Prior to my indispensable, fabulous, fantastic list of technicians, proof editors, and picture

participants, I must make mention of the time, talent, patience, and total resignation --- later

accompanied with sudden bursts of confidence bestowed upon his overwhelmed mother by

our youngest son, Clarkson Connerat Logan. Clarkson has stuck with “mom” from the be-

ginning to the end. He must have listened to his “Granny” or has an abundance of Logan

blood. As his father has repeatedly said to him, “Remember, son, only in appreciating ones

past will we ever learn and hope to improve the future”. I will forever be in his debt.

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A legacy worthy of a state and a nation, the Andrew Low House has been preserved, pro-

tected, and maintained since its acquisition in 1928 by the Georgia Colonial Dames. The

former home of cotton merchants and a “princely” family, the gathering place for national

and international “Brahmin” and residence of the founder of The Girl Scouts of America

are well-known and much written about prequel. The sequel to this story is a grand and

perfect “fit”. As headquarters of The National Society of the Colonial Dames of America

in the State of Georgia, the Andrew Low House, since 1928, is a fascinating tale of devo-

tion, study, generosity, survival, and work ethic. I affectionately invite the reader to join us

on a “Dames sojourn” through the annals of this unique history.

The journey begins in Savannah, the first capital of colonial Georgia, with Mrs. William

Washington Gordon, the vibrant, accomplished, talented and moving force who, just two

years after the founding of The National Society of Colonial Dames, organized the Georgia

Colonial Dames in her home on Oglethorpe Avenue in 1893. Ironically, it was her daughter

Juliette’s home that would become the subject of this narrative just a short 35 years hence.

Initially, the Georgia Society held their annual meetings in the private homes of its mem-

bers in Savannah, among those, the Gordons, Wilders, Meldrims, Jacksons and Lows.

As an Aside: At the 1916 annual meeting held at the stately home of Mrs.

Meldrim, Mrs. William Langhorn Wilson, State President, presented the Soci-

ety with a handsome silk American flag which was brought into the meeting

by three young boys, Joseph Randolph Anderson, Edwin Bryan Connerat,

and Noble Jones, descendants of Thomas Jefferson, Lachlan McIntosh and

Nobel Jones.

The Georgia Colonial Dames asked for help from the Georgia Historical Society when they

began running out of closets, extra space under beds and dresser drawers for minutes, com-

mittee reports, treasurers’ accountings, histories and genealogical records. The Georgia His-

torical Society, feeling the “frustrations” and concern for the mass of accumulating histori-

cal records, made available their lower floor meeting room and storage space for a modest

annual donation.

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During the early years (1893-1928), operating without a headquarters was no obstacle for

our great charter members. Preservation causes are not just a recently inspired passion in

Georgia. In those years we saw the appropriate marking of many historic sites, notably the

memorial to Tomochichi, Mico of the Yamacraws, in Wright Square, and The Sons of Lib-

erty bronze plaque at the former location of the Colonial Tondee’s Tavern. The Georgia

Society was continually raising awareness and funds for State and National historic site

preservation, educational grants, and essay writing awards. There were on-going fund rais-

ing events like charity balls, afternoon teas, concerts and card games. Not just “gals” in

party dresses however, one of many projects had “Dame’s” President, Mrs. Joseph Wilder,

in 1904, personally supervising the retrieval of original materials from the Frederica River

for the restoration of the “Water Battery” of Fort Frederica on St. Simons Island. Mrs.

Wilder was the Georgia Society’s longest serving President. In her 14 year tenure, she con-

tinued to be the instrument of many equally fascinating preservation projects. Mercy-14

years!

In 1928, the indissoluble Georgia Dames committed “to the investment of a lifetime”. The

Georgia Colonial Dames purchased the Andrew Low House from the Trustees for the un-

derage nephew William Washington ‘B’ Gordon IV for use as their permanent headquar-

ters. It was not the best of times for such a large and long-term financial commitment, for

in just the span of a year was the beginning of “The Great Depression”. It was deemed

prudent that the Low House debt should be paid off as soon as possible. A “Five Year”

plan for retiring the mortgage was adopted and proved remarkably successful.

Such contrasting initiatives from selling camellia bush cuttings grown in the Low gardens

and cuttings, from the great camellia collections of Wormsloe and Lebanon Plantations, to

“Huckster Calling” contests proved, in spite of diversity, the winning strategy. To cover

increased operating expenses, a decision was made to convert the third floor of the Low

House into three spacious apartments for rental. Volunteers, contractors, and work teams

among the “Dames”, husbands included, were chosen for suitable abilities in the conver-

sion of the third floor. These apartments proved to be popular not only with long-term

renters, but also later on with visiting “Dames” finding the accommodations comfortable

and convenient. The waiting list w as never short and the additional proceeds, in every way,

benefited the bottom line. The privilege of “Dames” being overnight guests was so sought-

after that it remained in effect until 1988.

Soon after 1928, a section of the ground level which included the old kitchen, house staff

quarters, butler’s pantry, and children’s dining room, was converted to a tearoom, “The Co-

lonial Kitchens”, a local and regional gathering spot for several years. The menu favorites

were “Beaten Biscuits”, “Martha Custis Cake” and “Mrs. Habersham’s Terrapin Stew”.

Ogden Nash, writer and humorist for the New York Times, wrote the following excerpt in

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his introduction to the smash-hit, The Savannah Cookbook, by Georgia Dame, Miss Har-

riet Ross Colquitt.

“… for as everybody knows, life on Savannah victuals

is just one long round of Madeira and Skictuals

…but, if you seek something headier than nectar and

tastier than ambrosia and more palatable than manna,

set your teeth, I beg you,

in one of these specialties de Savannah.”

As an Aside: Ogden Nash’s parents were friends of the William Lows and on

one of the Lows’ extended trips to their Warwickshire Estate in England,

The Nash Family “Let” the Low House in Savannah.

Today this tea room space is the Georgia Society’s Headquarters’ floor with the old kitchen

doubling as a board room and the Research Library. The Georgia Colonial Dames suc-

ceeded with their five year plan, and several of today’s Savannah Dames remember their

mothers’ saying the headquarters’ debt was paid off in “Jig time”.

The Colonial Dames headquarters in those early years was furnished as thoughtfully and as

appropriately as possible, within the constraints of the times. The Trustees for the Juliette

Gordon Low Estate beneficiary from whom the house was purchased donated two impor-

tant heirlooms back to the house, including the lovely large pier mirror in the front parlor,

and the “prized piece”, the “Thackeray Desk” on the bedroom floor. Most of the care and

upkeep of the interior and contents, in the first few years, was the responsibility of the Sa-

vannah “Dames” as set forth in the early by-laws.

The physical setting of The Andrew Low House is today, as it was then, both beautiful and

historic. James Edward Oglethorpe founded Georgia, the last of England’s colonial experi-

ments in America, in 1733. Savannah, the colonial capital, was laid out by Oglethorpe in a

unique system of wards with central squares. In the next one hundred and twenty years of

city expansion, there were a total of 24 wards with 24 central squares laid out, thus filling

the original boundaries of the Common Land. Lafayette Ward, the location of The Low

House, was laid out in the 1830’s expansion. The House is situated on the southwest Trust

Lot of Lafayette Square, one of four Trust Lots on each square originally reserved for

churches or government buildings. Many Trust Lots went unused and were later sold for

larger residences. Oddly enough, the Andrew Low House rests on the foundations of the

old city jail. Some say that this might be one source of reoccurring apparitions seen

throughout the house; friendly, I should hope, as these elusive “guys” are now roaming

around in a far less restrictive environment.

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Standing in Lafayette Square today and gazing towards the Southwest at the stately Low

Mansion, I am engulfed by an urban forest. The spreading canopy of great Live Oaks, with

their omnipresent “Spanish Moss”, and the ever beautiful magnolias filter the sultry sun

light and cool the lush under-plantings of azaleas and annuals. Centered in the square is a

pleasantly scaled three-tier cast iron fountain given to the community by the Georgia Soci-

ety in 1983, as were many other local projects around the state to commemorate Georgia’s

250th Birthday. With the soothing splashing of water and the “clip-clop” of the tourist car-

riage horses around the square, I am easily transported, for a moment, into the 19th Cen-

tury.

In 1847 Andrew Low II, having achieved great success in his Uncle’s, Andrew I, cotton

factoring firm, commissioned John S. Norris, a prominent New York architect, to design a

house in the Greek Revival style, one that was based on the Classical Greek principles of

balance and restraint. The two-storied over a raised basement (stucco over brick) edifice,

with elaborate cast iron railings enclosing front and side balconies, adhering to those princi-

ples, was completed in 1848. Norris was working in Savannah having won the competition

to build the U. S. Customs House.

As an Aside: After many years of searching for documentation, to date no

one really knows without question who came to Andrew Low II’s aid and

replaced the damaged original hipped-roof positioned behind a surrounding

stucco parapet, with the more fashionable Italianate style at the time. We do

know that Mr. Low was pretty desperate as the leaking roof was responsible

for much damage and quoting from a letter written by a member of the Mac-

kay family, any and all assistance eluded him, “for love nor money”. And, we

are also aware that the Italianate roof, which has flat overhanging eaves and

brackets, was installed over the original tin roof. Another major change was

the complete removal of the covered cast iron balcony on the North eleva-

tion overlooking Macon Street, which was thought to have been heavily dam-

aged in the same storm. As previously mentioned, the balcony had matched

the surviving one on the South elevation overlooking Charlton Street, and

when the house was built adhered to the principles of “Balance”.

William Low in 1886, just months before his marriage to Juliette Gordon, asked Detlef

Lienau, noted architect in New York and Washington, D. C., to make interior renovations

at the suggestion of Mrs. Gordon, mother of the future bride. Lienau was asked to remove

the double parlor wide plank pine flooring, as it was considered old fashion, and replace it

with hardwood parquet. Lienau convinced his client to at least retain the original pine as

sub-flooring, thus saving an original element. Other change orders were to convert all of

the fireboxes from wood to coal burning on the parlor floor and up-date the bathing room

on the 2nd floor.

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The Low house is approached through a generous front garden enclosed within cast iron

fencing; unusual for Savannah as most Landmark District houses front on the sidewalks.

The “Dames” sensitively maintain the garden to its original hourglass shaped parterres with

seasonal plantings. This task is shared by the Albany and Athens Town Committees. It is

considered one of the oldest and largest surviving town gardens in Georgia. A pair of re-

cumbent cast iron lions “Welcome” and “Friendship” greet me at the base of the steps. Ad-

vancing up the steps, I also crossed over an architectural “dry moat” which completely sur-

rounds the house, incomparable in Georgia, certainly in Savannah. In reaching the top step

one could easily be intimidated by the heavily bossed double front doors framed by two

imposing brownstone columns which were adapted from the “The Tower of The Winds”

in Greece surmounted with a massive brownstone pediment.

In reviewing restoration, conservation, and preservation projects of the Low House, we will

begin with the years 1978-1980 under the masterful direction of Edward Vason Jones of

Albany, Georgia. Mr. Jones, at the same time, was responsible for redecorating work at The

White House and was the design architect for the new Diplomatic Reception Rooms at The

State Department.

My companions, who will be identified shortly, vividly recall his first assessment 0f our

treasure during a meeting held with various Board members. All attending agreed that Mr.

Jones described the threadbare draperies in the parlors, as having “… been fried by the

sunlight“, a condition which was most unfortunate, because they had been given to the

“Georgia Society” by Mr. Scalamandre himself. Mr. Jones emphatically stated, "You must

start from the ground up!” During the two short years remaining to him, he closely guided

every aspect of the Low House restoration, giving his talent, time, energy and many indefi-

nite loans from his personal collection of prime antiques. After Mr. Jones’ untimely death

in 1980, the house restoration project was continued, from 1980-1982, by his colleague

Berry Tracy of New York.

As an Aside: Around 1950, Mr. Franco Scalamandre heard about the An-

drew Low House from a friend in Charleston, Mr. James Leath, who person-

ally invited Mr. Scalamandre and another decorator, Mrs. Nancy McClelland,

to share with him the gratification of properly decorating it. With much en-

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thusiasm both agreed to assist in restoring the Andrew Low House to its for-

mer dignified elegance. Indeed, not only did Mr. Scalamandre provide soft,

silk hangings from his well-known extensive, exquisite fabrics, Mrs.

McClelland, “one of the outstanding designers of authentic old designs of

wall-papers” in America and France, recruited one of Savannah’s most re-

spected architects, Mr. John Lebey. Mr. Lebey, “architect for the historic site

commission”, made beautiful drawings and sent pictures to expedite matters,

via the U. S. Postal service. Imagine! After many telephone conversations

among the “Famous Four”, “once more the century old Low house became a

thing of beauty.”

Savannah Morning News,

Date April 16 1950

Walking into the entrance hall through the massive and profusely bossed doors, an unmis-

takable aura of grandeur greeted me as well as two of Savannah’s most distinguished, de-

lightful and, lovely ladies. These “Dowager Dames” had agreed to accompany me through

the house as we discussed the progression and transition of the Andrew Low House from

(A) single family home, to (B) State Headquarters and Club house, to (C) nationally re-

nowned historic museum house that must serve as a State headquarters and maintain the

standards of a listed National Historic Landmark. I will be eternally indebted to Mrs. F.

Willson Daily (Alice) and Mrs. Walter Charlton Hartridge (Susan); because these two

“Dames” were enthusiastic enough to jump into my widely cast net for a “walk about and

talk about.” The “walk about” was fine, fun, but the “talk about” on the recording was dis-

oriented, disastrous, and disappointing. Therefore, several stressful years later, this is the

alternative. Take note that I did not admit to how many years!

As an Aside: Susan is and will always be a favorite friend of Robert’s and

mine, and many years ago at a State Annual meeting, Robert toasted Alice as,

“Mrs. Andrew Low Museum House Lady” with the emphasis on museum!

Fortunately, the Society was beginning to understand and appreciate the

words “The Tax-Man Cometh” and the early necessity of their headquarters

being placed in a tax-exempt status. This was finally accomplished after a

three-year ordeal in 1974. Many are unaware that the Colonial Dames House

was the first Museum House to open its door to the public in Savannah in

1952. The present membership gives a huge “tip-of-the-bonnet” to those

stalwart Savannah members not only being volunteer docents but also willing

to take care of all of the in-house maintenance. Statewide “Dames” contrib-

uted tremendously when and what they could, especially financially. By hap-

penstance, during the presidency of Mrs. Robert V. Martin, Jr., Georgia’s

third National President, the Colonial Dames House began to be referred to

as the Andrew Low House.

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Breathing deeply and stepping softly, in reverence to all of those remarkable “Dames” over

the years, the three of us begin our sentimental trek. We can not help but applaud, right

away, the spectacular floor cloth of dark green painted faux marble blocks set on a diagonal

with a Greek key border that encompasses the entire length of the central hallway to the

back piazza. To prepare for the painting of the floor cloth, designed by Edward V. Jones,

Battleship linoleum had to be installed and covered with a coat of primer. Framing the

floor cloths central design at the corners of the border is painted an elegant gold circular

open leaf rosette. The baseboards are faux black Egyptian marble, and the bases beneath

the eight pilasters framing the doors are tipped-out in faux sienna marble. The hall walls are

plaster and painted an antique gold complementing the exquisite mahogany faux-grained

doors leading into the library, dining room and two parlors. The parlor floor ceilings are

131/2 feet in height including the five to six inch of the enhancing classic crown moldings.

The hall crown molding is in a bold “Egg and Dart” theme.

Actually, when one of the dining room doors was stripped, the name, “Lufburrow”, was

found inscribed on the door hinge plate. Mr. Lufburrow was a contractor and builder in

Savannah in the 1840’s and 1850’s and now there is evidence that he was the principal

builder who worked with John Norris on the construction of this house. In fact, with a

touch of pride, Mr. Lufborrrow built several of my family’s homes around the corner.

Just within the vestibule, delineated

architecturally by a corbelled ceiling

divide, on the facing sidewalls, are

placed an excellent period pair,

(1825) of mahogany and mahogany

veneer pier tables by Anthony

Quervelle. They have Nero tortorio

marble tops, the upper front and side

panels are outlined with gadrooning.

The superb pier tables have mirrored

backs flanked by mahogany pilasters

with ionic capitals. The intricately

carved winged frontal supports of

feathers and grapes are accentuated

with paw-scrolled feet and surmounted by eagle’s heads. They rest on a lower straight shelf

edged with gadrooning. All of the above rise from turned vase bases.

As an Aside: These pier tables are similar to the 1929 signed pier tables cre-

ated for President Andrew Jackson by Quervelle to be used in the East

Room of the White House. (I personally presume our label was inadvertently

misplaced or accidentally torn). They arrived having been French polished

with no conservation required! Most of the Georgia Society, the Furnishings

Committee, “Friends of the ALH” should be properly proud of our last pro-

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curement. In fact, it was the Brunswick Town Committee’s generous gift that

“sealed the deal”!

An imposing pair of double burner Argand Lamps, manufactured by Johnson Brooks &

Co. of London c. 1830, combines exquisiteness and efficiency, and each is centered on the

pier tables. The apex of each lamp is made of cut leaded glass and covers the crystal oil

font surrounded by crystal prisms. The circle of crystal prisms decline toward two brass

arms that are branching out, each holding identical hand-blown scalloped globes. Similar

prisms encircle the base as crystal prisms are not only decorative but also helpful in defus-

ing the light.

Above the pier tables hang the individual portraits of Mr. and Mrs. William Taylor, promi-

nent citizens of Savannah. “Her portrait is signed under the right hand, J.W.J., the initials of

nineteenth century artist John Wesley Jarvis, 1768-1832. Mrs. Taylor is turned in a three

quarter pose facing left and is wearing a frilled bonnet that is tied under her chin over a lace

collar. Known for her kind and gracious manner, Mrs. Taylor, around 1801, assisted in the

founding of the Savannah Female Orphan Asylum and was involved with The Reverend

George Whitefield’s Bethesda Orphanage. Bethesda has always been dear to a Georgia

“Dame’s” heart, and, perhaps Andrew II was the impetus for this relationship as he was

very generous benefactor. Mr. Taylor, a very close business associate of Andrew Low I,

presented in a predictable portrait of the period and in its original gold frame, is painted in

a three quarter stance facing right. He is wearing a black overcoat over a white collar and is

forever frozen with a somewhat stern expression. We three “Dames” rather see a more dis-

approving expression, that of a “Victorian Temperament” which one expresses when ob-

serving a misstep of social etiquette. The Taylors, more than likely, were a “Southern Aunt

and Uncle” to Andrew Low II when the latter arrived from Scotland to oblige his bachelor

uncle.

On the low shelf of the pier tables are a pair of nineteenth Century complementary Chinese

export tall mandarin rose porcelain vases, a gift from the Americus Town Committee. In

the left corner of the doorway is a porcelain umbrella holder in the same mandarin rose in

which stands a gentleman’s Malacca cane with gold Repousse knob, waiting patiently to

assist a walk in the square.

The pair of ceiling fixtures, c. 1820-1825, in the main hall hanging on three bronze chains,

attached to the chain from the recessed passion flower medallion, is thought to be original

to the house. Now electrified, their blown-glass globes are etched in a grape pattern with a

bronze rim-cap. They have round blown-glass “smokers” about ten inches above the top

rim that was helpful in defusing any smoke before reaching the ceiling. We all can imagine

the soft subtle flickering flame, protected from hall drafts and “scurrying specters”, drawing

admiring attention to their reflections in the brass risers on the stairs and in the silver door

knobs and keyhole covers. An effect that we are sure John Norris knew would happen in

creating a magical atmosphere for a 19th Century “Salon”.

As an Aside: The Savannah Gas Co. was not organized until January 15,

1850, and it was not until the end of August, after the city contract was ap-

15


proved, that there was an order to proceed with gas piping for city streets

only. Andrew Low II was on this particular city board, and one can only

imagine his cautious optimism with such advancement to the creature com-

forts in Savannah.

Further into the hall, on the north wall between the doorways to the front and back parlors,

regally stands a period Biedermeier mahogany tall case clock from Austria. A stunning nine

feet plus in height, it has a square bonnet with pediment and a simple Roman numeral

round face. We are reminded of those from central Europe, so refined. Dimier and Com-

pany made the works, c. 1830.

On the opposing wall from this grand grandfather clock is a fine sofa featuring many of the

earmarks of Duncan Phyfe. It is thought that this special sofa with its straight crest rail and

highly polished Honduran mahogany frame was made in Boston, c. 1835. There is a sun-

burst carving above the lion paw legs and a heavy gadrooned border below the seat. A

brass filet outlines the haircloth upholstery. The gorgeous green and gold rosette pattern of

the upholstery is duplicated on the bolsters tucked into the curve of each arm. Dolphins

are also part of the decorative motif of the arms and sweep down toward the legs. If one

looks carefully, the rosettes on the upholstery resemble the floor cloth rosette corners.

Over the Boston sofa is an important gilt wood double sconce Girandole with bulls-eye

mirror having ornately carved acanthus leaf foliage at the bottom and a stunning and sig-

nificant spray of carved gilt wood acanthus foliage at the top, c. 1830. The “convex” glass

of the mirror was to expand the reflection thereby increasing the diffusion of light from the

four candles. Interestingly, Ladies, it also expands the waistline if we linger too long!!!

As we amble down the hall beyond the stately stairway on our left and pass the rear parlor

door on our right, there is a late 18th Century English drop-leaf breakfast table with reeded

legs placed against the wall. On either side is a pair of fetching “Fancy”rush-seat

chairs,c.1820-1835. Each chair has an ocher painted base highlighted in black and gilt strip-

ing. The crest panel has a red and gilt leaf stenciling. Don’t you know that the Madison

Town Committee had fun in their search for “Fancy”chairs.

Over the English breakfast table is a pair of 19th century portraits of Mr. and Mrs.

Murphy. The formal portraits are in a plain molded rectangular period gold-leaf frame. This

pair of 19th century portraits of friends of the family, arguably, is performing the same du-

ties at the back door as our portrait friends at the front door. “Spirits” work in mysterious

disguises. Have you ever noticed “portrait eyes” that follow you around the room?

Now in the back hall of the parlor floor, we find ourselves just a few steps from being out-

side on the parlor level back piazza. Although, completely concealed by the original green

outside shutters, not added until the early 1870’s, this piazza has been enclosed with glass

so as to serve as a holding area for our tourist guests and a small gift shop. There were no

architectural alterations; therefore, at any time in the future, the glass could be removed and

no one would be the wiser!!! For those “historians” who may be interested, it was decided

to leave a sample of the original Knob and Tube wiring, on the ceilings of the parlor piazza.

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The historic parade of flags hanging from the ceiling in this piazza are representative of

flags flown over this country dating to the time of the Vikings and were a gift from the

Waycross Town Committee.

Before retracing our steps to Andrew Low’s Library, there is another important item to de-

scribe in this back hall. On the west wall, to the right of the rear door, there is an English

barometer. Both Andrew Low I & II were Anglo-Americans in the shipping trade and

knowledge of the weather was of primary importance. The Chippendale style barometer

has several weather indicators to aid in predictions. A description of the instruments from

top to bottom is as follows: dry/damp, vertical measurements 30-120F, metal knob ad-

juster, round mirror, large barometer dial with two hands and brass collar, ivory knob ad-

justment below, Round brass face with level. Any sailor and most others would appreciate

the above detailed description of this exquisite barometer. Of course, we have fair weather

in the hall, as we sail back down to Andrew Low’s Library.

Andrew Low’s Library is very much

a gentleman’s room. If one were to

call on Mr. Low as a guest or on

business, he would be ushered into

the room likely by Tom. The Li-

brary is located to the southeast of

the front door, and overlooks La-

fayette Square. Since 1928, this

principal room has had several

pseudonyms i.e.: Board Room,

Morning Room, Card Room, Wil-

lie’s Smoking Room and Andrew

Low’s Study. Researching another matter, a “Dame’s” husband, well-known lawyer, histo-

rian and genealogist, found reference to the library in a diary entry of Robert Mackey Elliott

dated 1865. “…It was Tom…who unlocked the library’s door!” This recorded, innocent, incident

solved the decade’s long mystery of the Low’s name for this room. In the Georgia Society’s

minutes of April 1998, Andrew Low’s Study officially became Andrew Low’s Library. Even

today, some of the Docents hope that Tom is continuing to help maintain order in this

house of intriguing “spirits”.

As an Aside: Tom, mentioned above, was Thomas Milledge who came into

the service of Andrew II around 1843. Although a slave initially, Tom was

Andrew Low’s trusted and beloved servant. For security reasons, after The

War Between the States, Tom, then a free man and at the request of the fam-

ily, moved into the Low house with his family. Tom was always treated as a

man and friend. He was the only person, other than blood-family specifically

mentioned in Andrew’s will and was left a sum of $500.00 a year, which in

17


1886 was a relatively comfortable amount . This ole friend died within the

year. The Low family, so moved by Tom’s passing, adhered to his request to

be “taken to glory by a white horse and a beating drum”. Tom was buried in

Laurel Grove Cemetery.

Upon entering the library, our attention

is drawn immediately to the portrait of

William Mackay Low painted by es-

teemed English equestrian artist, James

Lynwood Palmer, c. 1896. “Willie”,

astride a stallion, is in a scarlet riding

jacket and the tan cuffed boots of Master

of the Hunt. In Edwardian England, he

was a noted horseman having bred and

raised three Derby winners among the

fifty horses stabled at Wellesbourne, his

estate in Warwickshire. The Rome Town

Committee purchased the portrait in

England at auction through a third party. We feel most fortunate to have “Willie” come

home, as it is the only portrait known of Andrew and Mary’s son on horseback.

Below the portrait is an Egyptian black marble mantle adjacent to the room’s single win-

dow facing south. At each end of the mantle are matching Argand lamps with bronze

bases. In the center is a performing French Portico Clock, Charles X, c. 1830, with four

columns having gilt bronze capitals, bases and a profusion of satinwood marquetry. It is a

delightful relief in an otherwise man’s domain. A unique pair of small bronze urn shaped

Inkwells, surmounted with a male and female dancing figure, flank the clock. Fronting the

fire box is a black wire fender woven in a Gothic arch design with brass banding and brass

claw feet, a safety barrier to a warming fire. Nearby, casually rests a fire starter with shell

embossed end fitted with a row of teeth for striking sparks; it is signed and patented, a rar-

ity indeed! Conveniently placed is a painted tin coal scuttle with attached bucket and cast

iron fire tools, c. 1860.

Just inside the door and to our immediate right, about eye level, is a hand colored Audubon

bird engraving, c. 1840, 1st Edition, “Birds of America”. The birds portrayed are two Tall-

tailed Snipes, a male spreading his wings showing off his plumage and a female standing

with head down looking unimpressed. In the background of the print is depicted a planta-

tion surrounded by tropical vegetation. For preservation purposes, the furnishings commit-

tee had the Audubon reframed to museum standards with a black and silver eglomise glass

and mahogany frame. Further along on the right is the old service stair door that opens

now only to the tiny passageway leading to the dining room. We all agreed that a gentle-

man’s office should always contain a proper, unoffending, retreat path. On the celadon

painted wall to the left side of the mahogany faux-grained door are two imposing prints.

The higher one is the watercolor of The Cantonment of Savannah, c.1858, the 18th Century

military barracks and parade ground that was located on the site where the Desoto Hilton

18


Hotel is today. The Cantonment could be seen from the Low House and must have been

especially enjoyed from the second floor rear piazza. The other print, a gift from a direct

descendant, Hugh Stiles Golson, is a 19th Century view of paddle wheeler steamships in the

active Liverpool, England harbor. Liverpool was the destination port of most of Andrew

Low I’s and II’s Savannah cotton shipments. It was also the location of the Low and Com-

pany’s offices in England.

The Furnishings Committee in 2010 purchased an American mahogany game table, early

19th Century, Philadelphia, for placement in the library on the south wall. The D-shaped

fold-top swivels to reveal a well, retaining the original paper lining. The apron with a carved

sunburst tablet is resting on a half circle mahogany support centering a smaller reverse half

circle. A rectangular plinth bordered in guillioche molding supports the scrolled and foliate

saber legs, which terminate in beehive turned bosses, all on gilt bronze foliate feet and brass

casters. A rare similar example is illustrated in Furniture Treasury, Nutting, 1949 (plate

#1062). A period Sinumbra lamp adorns the game table, and it draws attention to several

small paintings of the family.

The lamp light radiates down to the fair “lass” Mary Cowper Stiles, age sixteen, in the ma-

hogany frame as well as onto the miniature painting of a more mature Mary, who became

the second wife of Andrew II. The artist of the younger Mary was her mother, Mrs. Wil-

liam Stiles (Eliza). The mature Mary was painted about 1849 in Vienna, when her father

was the U. S. Minister to Austria. The silhouette is of Gerard Alexander Low, Andrew II’s

cousin and lifelong friend, as a boy age eleven in his military cadet uniform. The framed

photograph of Andrew II, looking very much the southern planter in his Panama hat, was

taken with his daughters, Amy and Harriet (Hattie). He is visiting his delighted girls sport-

ing their school uniforms at a Brighton, England boarding school. They were daughters

from Andrew II’s first marriage to Sarah Cecil Hunter who tragically died a few months

prior to Andrew’s occupying the mansion.

The c. 1820, Empire Philadelphia mahogany secretary on the eastern pier wall, has an in-

triguing history of its own. It originally stood in the Clanton Mansion in Augusta, Georgia,

which happened to be the first house in Augusta to install running water. Unfortunately,

the Clanton Mansion was demolished, so the secretary definitely has Georgia provenance.

This significant high style secretary has a wide over-hanging cornice with a double gad-

rooned border and split balusters framing the bookcase. The bookcase has double glazed

doors, beaded tracery, and pleated gold silk backing the doors. The protected bookshelves

contain rare historical books, including first editions about the Low Family. Some years

ago, the board of the Georgia Society voted to follow The Georgia Historical Society’s

guidelines regarding their usage.

The centered drop-front secretary drawer when open reveals the exquisite satinwood on

the prospect door and other small interior drawers. Below there are three graduated draw-

ers with brass knobs and keyholes. Spooled split spindles flank sides and bracket feet.

When closed, the supporting steel handles disappear within the sides. When opened, on the

writing surface, it would be a pity not to mention the handcrafted quill pen resting nearby

19


that was made by a lovely lady who trained under the Supreme Court Pen Maker. Andrew

Low II would have been touched, no doubt, to be presented such an honorable gift. This

Quill Pen tradition and honor is given to all lawyers arguing before the United States Su-

preme Court, and the present pen was given to the Low House by a Savannah “Dame”.

Nearby is an opulent address embosser with Lafayette Square, Savannah, c. 1848. Adjacent

is a period Ballot Box with an opening for white or black marbles. Andrew II was the secre-

tary of the St. Andrew’s Society, Savannah’s oldest ethnic organization, and this box would

have been used in the very private membership voting process. David Flaherty, in celebra-

tion of The United States Bicentennial, cast the Parian bust, from the Houdon original, of

George Washington that seems to hold court in the center of the apron with a pair of

baluster turned brass candlesticks on rectangular bases uplifting both ends.

The photographs displayed on the writing surface are of the four children of Andrew II

and his second wife Mary Stiles with son “Willie” as a young boy. Notice the wonderful

miniature watercolor on ivory of Sarah Cecil Hunter, Andrew II’s first wife with daughter

Amy, by artist Cornelius Wurhamn. Since this is the only known likeness of Sarah, it makes

the miniature an irreplaceable artifact. The loss of Sarah, a gentle, kind, and loving wife and

mother was the beginning of a tragic year for Andrew II. In the span of a year, he lost his

greatest treasures, his wife Sarah, his father William, his uncle and benefactor Andrew I,

and his only son Andrew III. As he had not given up his British citizenship, Andrew Low

II was possibly the saddest, yet wealthiest widower of two countries, America and Great

Britain.

Turning to the left and facing the north wall Parian figures of Venus de Milo and Apollo

Belvedere crown the walnut bookcase, C. 1818. It is fronted with four pairs of Gothic lan-

cet arch doors having their original glazed panes which open to shelves. The bottom also

contains original four pair of glazed doors with shelves. The encased collection of books

and manuscripts is mid-nineteenth century and has handsome leather, hand-tooled or em-

bossed bindings. There are several sets of works by Andrew Low II’s good friend and

houseguest, William Makepeace Thackeray, a number of volumes of Shakespearean plays,

and several volumes that once belonged to William Henry Stiles, Andrew’s father-in-law. A

few years ago, the twenty-second State President of the Georgia Society contributed a col-

lection of period law books. The dignified portrait of a close friend and confidant, oversees

the library by its placement above the bookcase, is one of Georgia’s true statesmen, U. S.

Senator, Brigadier General in the Confederate Army and Inspector General of the Georgia

Militia Robert Augustus Toombs, 1810-1885.

During our stroll, the ladies and I have noticed the various styles of seating all designed for

human comfort as well as for their decorative element. The library is no exception. The

William IV secretary’s chair is Mahogany, English, c.1830-40. Four cabriole legs on brass

casters support the seat. The chair is upholstered in tufted/buttoned glazed “lime” green

leather, and has a barrel back with upholstered armrests fitted to a carved feather and half

scroll surface.

The rocking chair is an excellent example of a classical American style from the late 1840’s.

20


The shaped back encircled by a mahogany railing is covered in apple red, buttoned leather.

The railing follows under the padded armrests to hand grips flanking a detachable sprung

seat above tapering legs on retaining rockers.

Conspicuously placed by the rocker and yet inevitable in a gentleman’s library is the Canter-

bury, c. 1847, veneered in oyster-patterned walnut. We all agree that this English origin

component could only have been designed by a “frustrated English housekeeper” who was

constantly picking up the scattered books, magazines and newspapers of an erudite “Brit”.

The three spaces, on this particular Canterbury, were created for separating those errant

printed words by having twelve turned spindles and four larger corner post finials. There is

one small drawer under the racks and four turned legs on casters.

Also seen in the library is a “Voltaire” style armchair, c.1840-1845. It is reputed, probably

an unfair comparison, to have one of the most comfortable seating forms one can imagine.

Even Washington Irving, famed writer (l838-1905), regarded the style as his favorite sitting

chair. The armchair has a mahogany frame and is newly upholstered in cherry silk velvet.

The Furnishings Committee were so elated when the original tufting was found beneath an

interim fabric that they had it duplicated and covered with the cherry silk velvet. It has a

mahogany frame and a tall contoured back with an arched crest-rail. The arms extending

from the upholstered padding are decorated with carved lengthy leaves ending in a scroll

supported by two modest mahogany arches down to its serpentine upholstered seat on

short cabriole legs with brass casters.

Hugh Mackay, Ltd., of Durham, England, was commissioned to create all of the carpeting

on the parlor floor between 1975 and 1979 for the restoration. In the Library is an early

19th Century Brussels pattern called “Lorenzo” woven on Wilton looms. It has a back-

ground of gray-green, and the other prominent colors are deep reds and greens. Elongated

figure eights entwine with spherical rosettes similar to those seen in the corners of the floor

cloth in the main hall.

The bronze three branch neo-classical Argand chandelier, c. 1836, is from a Washington

County, Texas, plantation house. It arrived in Savannah without the three-glass chimney

inserts for the original globes. A long search for replacements was unsuccessful and the

beautiful chandelier remained incomplete for some time. Again, as fate would have it, the

President of Hirschl & Adler Galleries, Inc. made an unannounced visit in 2006 and was

most impressed with the house and tour given to him by our Furnishings’ Chairman.

Thank goodness, she happened to mention how unsuccessful the chandelier chimney

search had been because several weeks later a parcel arrived with the appropriate size and

style set of chimneys. While standing under the Argand chandelier, I still could not help but

think of the quote by Lord Rumford of England in 1811 “… No decayed beauty ought

ever to expose her face to the direct rays of an Argand lamp.” Perhaps, since I am told,

they disperse 8 - 10% greater light on the subject!

The Library window treatments are immensely imposing given the height of the windows

and certainly compliment the color themes of the room. The three French cornices are pol-

ished mahogany with a gilt bronze floret dominating the center. The pelmets are striped

21


crimson moiré, Scalmandre’, edged in tri-color silk braid. Plain off-white Swiss muslin un-

der-curtains, previously dipped in tea, an “EVJ” shared secret, are held back by circular gilt

bronze floral tiebacks, c.1835-1840. The Georgia Society’s seventeenth State President

gifted the twelve bold period tassels, c. 1824, from the historic, Hermitage Plantation, now

demolished. My companions reminded me to look behind the door and observe where the

paint layers for this room were researched and preserved, an interesting process.

As we traversed the marvelous central hall, our attention was drawn to the floor of the sun

drenched formal front Parlor. The documentary wall to wall carpet, of “Devonshire” de-

sign, ( from a carpet that was discovered in an Albany, N.Y. house built in 1835), was

woven on the 1810 Wilton loom by the Hugh Mackay Company in England with explicit

directives from Edward Vason Jones. The “Devonshire” pattern is a bold repeat center

square design with a rosette surrounded by a double border and a rosette at the four cor-

ners. The colors in the carpet are red, brown, and gold. This repeat of a pattern so large

would be overwhelming if it was not so right in scale for the room and so complementary

to the prime antiques it showcases. The plaster walls in both front and rear parlors are

painted Café au lait. The trim is a rich cream color and the baseboards are faux black Egyp-

tian marble. The pilaster bases are faux Sienna marble as in the central hall. The large pair

of richly faux-grained doors separating the front and back parlor remains in their “side

pockets” for the grand sweeping effect of space.

Of note, the majority of the windows in the house have been tinted for UV blocking, while

all of the wooden Venetian blinds have been chosen for their accuracy to nineteenth cen-

tury style and also provide additional protection from harmful sun rays. The architect John

22


S. Norris based his parlor floor window configurations on having experienced Savannah’s

sultry summers. It allows for the lower sash, almost 5 ½ feet high, to be raised into the wall

creating an opening through which people could step out onto the first floor balconies to

hopefully feel a breeze. As previously mentioned, horrific weather conditions years ago se-

verely damaged the north side balcony requiring its removal, and special sections were cut

from the original wrought iron railing and mounted against the North windows for security.

Crowning the windows are Scalamandre red and gold satin lampas lambrequins, which co-

ordinate with some of the upholstered furniture in the room. At the top of each lambrequin

a similar design to the tiebacks is used to give more cohesiveness, as the ceilings are 13 ½

feet high. The under curtains are of fine white eye-lit by Scalamandre, previously dipped in

tea. The curtain tiebacks in this room are an 1830’s variation of the American rosette in

brass.

The mantle on the North wall of black Egyptian marble is

original to the house. The coal grate sits in a larger firebox,

which indicates the original firebox was constructed for a

wood burning fire. In fact, this change from wood to coal

was made in the Lienau, 1886 renovation. Over the mantle

is a portrait of a mature Andrew Low II by George Wash-

ington Conarroe, Philadelphia, c.1836-1837. This is the

only known portrait to exist of Andrew Low II. On the

mantle is a three piece Argand garniture lamp two single

burner lamps with a center double burner lamp. All three

are urn shaped of gilt brass, the tops of which are encircled

with crystal prisms. Flanking the center garniture is a pair

of Paris Porcelain gold ground vases, c. 1830. The urns

were given in loving memory of the Georgia Society’s second National President, Mrs. Mal-

colm Roderick Maclean. The brass fender and fire tool set, c. 1820, sit to the front of the

fireplace.

Additionally, on the north side of the room are two glamorous Grecian couches, also

known as Meridians, with independent foot stools, all upholstered in the same regal red and

gold satin lampas.

The three of us now facing east find ourselves reflected in a rectangular shaped gold leaf

pier mirror, Louis XVI Revival, c. 1880. An egg and dart molding is over the grooved

crest. There are flowers adorning the sides as garlands that seem to disappear when the flut-

ing begins on the lower half of the gold leaf sides. This is the original mirror that was given

to Juliette Gordon and William Low as a wedding present from her parents, and it remains

in its same position. The Georgia Society will always be thankful to the heirs for this gra-

cious gift.

Also, on the east side of the front parlor, is a pair of Duncan Phyfe mahogany framed arm-

chairs covered in the same Scalamandre lampas material. In front of the surviving pier mir-

ror is a lovely round French polished mahogany table with brass string inlay on the apron.

23


It has an ornately carved pedestal base and four heavily carved splayed claw feet, c.1825.

Centered on this table is a five branch Cornelius & Co. candelabra.

In the northeast corner, positioned perfectly on a marble pedestal in the shape of a column

is a marble sculpture bust of Venus deMedici. Her head is in profile to the left as if to be

peering out of the east window checking the time on the Centennial sun dial now in the

front garden which was originally placed near the fountain in Layette Square. Because of

vandalism, it was restored and relocated in the front garden by a Savannah “Dame” in

memory of her son.

In the center of the room is a Duncan Phyfe style mahogany drop-leaf table, c. 1820, with

scalloped corners and a center drawer. It has a carved deep relief pineapple pedestal base,

as pineapples were a decorative motif but also the symbol of southern hospitality, with four

stenciled legs terminating in paw feet on casters. A pair of lyre-back Duncan Phyfe chairs

matching six others throughout the parlors are drawn up to the table. These Duncan Phyfe

chairs, c. 1816, have hairy-paw front legs and are upholstered in a red haircloth with small

gold design. Residing on top of the table are a large ornate silver punchbowl footed with

gadrooning, and matching footed cups, having a Repousse pattern made of scrolls, and

flowers, by Kentshire of Sheffield, England. A handsome silver ladle, once owned by The

Mackay Family, is alongside ready for an afternoon reception. With the exception of the

cups, all rest on a round silver galleried tray which has the following centered engraving, “In

loving memory of Rayburn Stokes Webb by his wife Lila Gignilliat Webb 1972”.

As an Aside: Speaking of receptions, we all remembered and almost spoke in

unison, of an amusing incident that occurred many years ago involving my

dear Mother. She had been requested by a “Dame’s” family to make a favor-

ite treat for their daughter’s debut Reception to be held in these very parlors.

Mother always removed her rings to roll out her famous “Bourbon Balls”.

After making the desired number and rushing to dress for the Reception, she

realize on the way that her engagement ring was missing. Undeterred, she

proceeded to the “Dames” House with her daughter, who had been asked to

serve. All, including the favorite treats arrived in plenty of time. Early in the

evening, there was a great commotion emitting from the family parlor and a

shrilled exclamation, “I won the prize in the delicious ‘Bourbon Ball’.”

Mother, hearing the excited comment realized with horror what had to be the

prized ingredient. She quickly and with gracious humility, hurried to retrieve a

most treasured possession. Needless to say, The “Bourbon Balls” were a

huge success even without a favor inside.

The south wall of the front parlor is dominated by the remarkable, rare, high style Regency

pianoforte, c. 1810. It is elaborately inlayed with brass bellflower designs across the top and

down the upright sides. Ivory covers the wooden keys and there are two harp-shaped ped-

als. We are initially transfixed by the great upper frame rising majestically toward the ceiling

above the keyboard, and the magnificent Scalamandre’ gold silk sunburst which masks the

vertical soundboard. As we start to observe other beautiful parts of the instrument, we note

24


that the whole weight is supported by four beautifully turned and carved “rather hefty”

rosewood legs with brass accents and brass casters. The front panel has a wood inset of the

maker’s name, John Broadwood and Sons in London. There are two convenient pullout

candle shelves, to illuminate the sheet music, for anyone who dares approach the keyboard.

Continuing on the south wall, the card table on the left side of the pianoforte is thought to

be a New York piece, c. 1830-35. It is an American Empire, the top is hinged and is able to

swivel to extend or reduce the width of the table. The apron and the supporting column

are both plain with a platform from which there are carved acanthus leaf legs and claw feet

resting on brass casters.

The table on the right is an excellent example of a mahogany card table in the empire style,

c. 1815, Boston. The apron is plain, and its pedestal has crisp turnings. There are three

reeded legs with brass claw feet. On each table is a girandole of brass with crystal prisms.

Placed around the lamps is part of a mid-nineteenth Century porcelain tea service with

painted flower pattern and gold-green border by Davenport in Stratfordshire, England.

Presiding over the card tables are the portraits of Mr. and Mrs. William Woodbridge, by

Nathaniel Jocelyn, circa 1813. Mr. Woodbridge was a cotton merchant and died in 1820 a

good friend and confidant of Andrew Low I.

Looking to the west side of the room, we begin approaching the wide expanse of the dou-

ble doorway and the pushed back “pocket” doors with silver knobs, one of

Norris’ trademarks. These doors separate the front formal parlor from the back family par-

lor. On either sidewall is one of an unusually useful pair of small English mahogany side

cabinets, c. 1810, with recently discovered obscure narrow drawers. English Regency style

ormolu (gilt bronze) candelabra are placed on top of the cabinets. Each of them has five

branches and an Egyptian motif of dogs, birds and anthemion leaves.

The matching Bristol lead, c. 1810, crystal chandeliers paired in the front and back parlors

were acquired from another John Norris designed house on East Gaston Street. Each is

comprised of twelve arms interspersed with steeple topped branched, crystal swags and

prisms. The elaborate plaster ceiling trim in both parlors is original to the house as are the

ceiling medallions.

Upon entering the back family parlor from the front formal parlor, on our right we are im-

pressed by a fine opened Rosewood Folio Stand displaying the extremely rare two-volume

set of Boydell’s Shakespeare, c. 1825. The mechanics of this period stand are for staging

large books or folios in the opened or closed position or a collection of large individual

prints for sharing with guests. The front and back covers of the Shakespeare volumes are

marbleized paper, and the spine is embossed leather with gilding.

Another original Black Egyptian marble fireplace scaled with the front parlor fireplace is on

the north wall between the two windows. In front of the coal grate is a brass fender with a

pierced circle and cross pattern resting on claw feet. On the side of the coal grate rests an

antique brass shovel and tongs.

25


Resting on the marble mantle is a pair of three branched candelabra with lyre shaped sup-

ports of crystal and brass, c. 1840. The cross arms are crafted in high relief of fire gilt brass

and are encircled with two rows of graduated crystal prisms. In the center is an Alabaster

French portico clock of the Charles X period, c. 1830. Ormolu capitals and bases decorate

four marble columns. This is a round faced eight-day clock with a brass pendulum and

brass ball feet. Joseph Clay Stiles, Mary Cowper Stiles Low’s paternal grandfather’s portrait,

painted by Henry Inman, c. 1820, is above the mantle. To the left of the fireplace is a nee-

dlepoint fire screen in a mahogany frame, a recent needlework adapted from an 1835 de-

sign of rabbits, squirrels, and dogs. In this intricate work, the talented artist, Savannah

“Dame”, substituted dogs for the rabbits and squirrels knowing the Low’s love for dogs.

The mahogany frame belonged to Joseph Stiles, having been saved from the destruction of

his plantation, Richmond, during Sherman’s to the sea.

Drawn close to the fireplace is a pair of mahogany

armchairs, presumed to be French in origin, that have

straight crest rails with open backs and a carved splat

resembling a “caduceus”. The gently curved arms end

in straight front legs, c. 1810; the seats are covered in

Scalamandre red and gold satin lampas.

Indeed the portrait of Joseph Stiles, over the mantle, is

especially suitable since he overlooks the pastel por-

trait, resting on an easel of his granddaughter, the sec-

ond wife of Andrew Low II. It was probably drawn in

the summer of 1854 while Andrew and Mary were on

their European honeymoon. Mary was a twenty two

year old beauty with brunette curls cascading to her

shoulders. She is attired in a light blue jacket dress

26


with three quarter length sleeves. The beautiful lace under-blouse is collared and extends to

a wide ruffled lace border fitted snuggly above the wrists. She is wearing on her left hand a

gold wedding band and complimentary diamond solitaire set in gold.

As an Aside: The lining of Mrs. Low’s bonnet, not shown in our portrait,

came in very handy as a hiding place for very important war papers for the

Confederacy when she and Andrew returned from England through Canada

in 1863-64. She was cleared through security but Andrew was briefly de-

tained.

A lady’s sewing, or work table, c. 1845, is conveniently positioned in the family parlor. It

somewhat serves in the same capacity as the Canterbury in the gentleman’s library, to give a

semblance of order to what would otherwise be scattered about the room such as spools of

thread, unfinished needlework, and swatches of clothing repair. The refined craftsmanship

of this sewing table with its lovely cloth basket was made to be in a more than casual set-

ting.

Dominating the south wall is a Joseph B. Barry (labeled), of Philadelphia, breakfront, c.

1810, originally owned by Mary Low’s maternal grandfather, Robert Mackay, and gifted by

the William Mills Family, direct Mackay descendents. The choice mahogany on this mag-

nificent two piece breakfront is Plum Pudding, and it is a superlative example of American

craftsmanship. It has a flat cornice with molding above the four bookcase sections, and the

two center glass doors have mahogany mullions using a Gothic tracery design where the

mullions on the flanking doors have a geometric design.

Centered in the lower case piece is a drop-front secretary drawer with a writing surface and

the front has a floating oval horizontal panel. The flanking cupboard doors have a floating

vertical panel where the center cupboard doors have a floating square panel and the corners

are inset. The secretary drawers are fronted with satinwood, birch or maple. The lower

case is raised on six distinctive turned beehive turned feet, four in front, and two on each

end in the rear with a pair of square tapered feet in the rear middle.

Among the several interesting heirlooms protected behind the glazed upper doors is a

miniature on porcelain of the three daughters of Andrew and Mary Low painted in England

in the 1870’s. The girls, from the left, are Jessie, Katie, and Mary. On another shelf is the

gold encased miniature of Mary Stiles Low that Andrew II carried with him until the end of

his life.

Positioned on another shelf of this extraordinary breakfront are several pieces of a rare 22-

piece Tucker Porcelain child’s tea services made in Philadelphia about 1835. The bone por-

celain is hand decorated with gilt bands and a spider-pattern of anthemion. Interesting, too,

is a tea set decorated with blue borders and a gold leaf vine design, Worchester, England, c.

1780.

Displayed on the writing surface is the Mackay Family Bible, c. 1838. It is surrounded by

various desk accoutrements including a Repousse letter opener, pen, and a pair of gold

spectacles for easy quoting from the Mackay Family Bible, given by direct Mackay/Stiles

27


descendent, Mr. Henry duBignon Howard, husband of the Georgia Society’s twenty eighth

President. Most importantly, an original Eliza Mackay Stiles’ letter, under protective cover-

ing, in 1865 from the Andrew Low House says, “The heat is intense, but we have enough

ice.”

Another interesting piece in this Parlor is a French vitrine, c1810-1815, with a glass top for

displaying curios. Its contents are most intriguing, principally, how they became heirlooms.

Mary Cowper Stiles Low’s parents Mr. and Mrs. William Henry Stiles lived in Vienna in the

1840’s while Mr. Stiles was the U.S. Minister to Austria. Marie Louise, Archduchess of Aus-

tria and the 2nd wife of Napoleon, returned to Vienna in 1814 after Napoleon was exiled to

Elba. The Congress of Vienna created for her the title, Duchess of Parma, giving her a title

and an accompanying income. She died in December 1848. Her personnel effects were ad-

vertised for sale on April 12, 1849. Mrs. W. H. Stiles writes in her diary, “…13th April,

1849,”… he [William H. Stiles] presented me with an Amethyst Parure…” The Amethyst set

consists of a necklace, two bracelets, and a tiara comb in their original green leather, satin

and velvet lined presentation case having gold stamping and inventory number. Mrs. W. H.

Stiles left the Amethyst Parure to her oldest granddaughter, Katie Low.

A second item in the Hepplewhite style oval vitrine is a miniature watercolor painted on

ivory in 1795 by miniaturist and relative, Edward Green Malbone. Its title “Shakespeare on

the Lap of the Muse of Inspiration” is based on the 18th century painting by Angelica Kauf-

man. It is one of Malbone’s earlier miniatures and is signed. Close by the Austrian treasures

is a gold, garnet and seed pearl broach given by Robert E. Lee to Eliza Mackay at the time

of her marriage to William H. Stiles.

As an Aside: Lt. Lee was the West Point roommate of Jack Mackay, Eliza’s

brother. After graduation, he was stationed at Fort Pulaski near Savannah,

and was a welcome guest at the Mackay, Stiles and Low families’ homes. It

was well known, the future General Lee was very fond of Eliza. On at least

one occasion a tourist has asked, “How did Mr. Stiles feel about such a per-

sonal gorgeous gift?” My response would have been, “He was probably re-

lieved it was not a ring!”

In between the two west windows is now a vertical Rococo style pier mirror, c. 1850. An

open scroll crown of gilt foliage and stems of flowers is at the top with beading down the

sides. This ornate mirror compliments the opposing one in the front parlor.

Six of a set of eight lyre back Duncan Phyfe chairs is also found in the back parlor. Each

chair has four carved hairy-shinned saber legs with recessed tablets terminating in animal

paws. The side rails are grooved and are bossed on either end of the back still rail. This set

of chairs is listed in Duncan Phyfe’s account book in 1816. The seat cushion is a dark red

haircloth with a deeper red rosette pattern. A sketch of these chairs is in the Metropolitan

Museum of Art.

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As we collectively catch our breath, the three of us saunter across the central hall and

through the door to the most hospitable room in the house. The dining room spacious,

elegant, inviting, and just by being in this room all anticipate the host’s epicurean event to

follow.

As an Aside: The near ceiling catastrophe of 1978, was averted by the nim-

bleness of these two determined females, Alice and Susan, standing here with

me now, who were there with the painters on their ladders assessing the ne-

cessity of painting the ceiling and medallion. (Betty Tattnall, the beloved

housekeeper for years, was performing her duties in another area.) All of a

sudden the ceiling began to bulge and crack as the painters shouted that the

ceiling was about to fall. Alice and Susan, alarmed, anxious but with adrena-

lin flowing, instructed the apprehensive but patient painters, on their ladders,

to hold up the medallion with their hands, until they could remove most of

the irreplaceable items in the room and protect what they could. As the last

chair was hustled to the hall by our “Team of two” the plaster began to fall; it

was all over in a “dusty” few seconds. Well! Happily no one was hurt. The

1978 restoration project, just beginning, was “none too soon”!!!

Gazing upon the documentary carpet, we are reminded that it is identical to the one in An-

drew Low’s library. The walls are a soft celadon and the baseboards are faux black marble,

and below the pilasters is faux sienna marble. The crown molding in the dining room is

original and was not damaged when the ceiling and center medallion fell in 1978. Although

the dining room has, perhaps, a diminutive difference in the molding size from other

29


rooms, it was properly scaled by a heaver deep relief floret design in the plaster.

The window treatment, Lambrequins, recommended by Berry Tracy, was based on a design

by Pierre de La Mesangere and the fabric is a documentary Scalamandre “Silksey Woolsey

Rosette”. It is a bottle green with a salmon silk taffeta lining. All we can exclaim is

“Luscious!” The trim is salmon, black, green and gold. The tassels were hand woven over

18th Century wooden molds in the Scalamandre workshop on Long Island. The under-

curtains are off white voile and have a ball-type fringe in the same colors as found in the

Lambrequins. (I am certain that the icon, Mr. Franco Scalamandre’ would agree this room

demonstrates the epitome of Passementerie’!)

The serving table to the left of hall entrance door is a mahogany “D” end of a larger Shera-

ton dining table dating back to 1810-1820. This banquet-end as they are called was a gift

from a descendant, Margaret Vernon Stiles. It was probably part of the family dining table

of Joseph Stiles whose portrait we saw over the mantle in the back parlor. On this “banquet

end” table is a Sheffield three branched candelabra that descended through the Wood-

bridge family, whose portraits we saw in the front parlor. Patiently waiting for filling gob-

lets is an elegant silver Repousse ewer by Kirk Brothers of Baltimore, Maryland, and a

smaller silver water pitcher, c. 1857.

Over the banquet-end table is hanging a prized gift acquisition recently arrived and placed

in this very appropriate location. The handsome oil on canvas painting by English marine

artist, Robert Salmon is of the three-mast schooner “General Oglethorpe”. Furnishings

Committee & Friends of Andrew Low House commissioned a Savannah artisan to build an

appropriate gilded frame based on period designs of c. 1800-1810. The water based gold

was applied, then expertly “aged”, to suit the period of the painting. Lamb’s Tongue sur-

rounds the inner part of the frame, and it is further accentuated by a rope design. We are

extremely grateful to William and Barbara Mills, Mackay heirs, for their exceptionally gener-

ous gift and, also, the Marietta Town Committee for their unexpected donation to assist

with the framing.

As an Aside: The grandfather of Mary Cowper Stiles Low and owner of the

ship, Robert Mackay, commissioned the painting shortly after the ship’s arri-

val in London on its maiden voyage from Georgia in 1801. A short lived en-

30


terprise, for in a letter from London to his wife Eliza, dated February 18,

1802, he writes: “…Here I am, my dearest Eliza, once more the child of mis-

fortune…the General Oglethorpe was cast away on the night of the 5th on

one of the Bahama Keys…23 souls perished…”. The painting hung in Mr.

Mackay’s dining room in Savannah for years.

The grand sideboard is Duncan Phyfe, c. 1820-1825. This bold cross-grained Honduras

mahogany sideboard has four three-quarter round columns across the front and center

flanking doors with shallow drawers above with fire gilt lion’s head pulls. The side rails are

grilled and the back splash has trove columns on either end. The paw feet are also fire gilt.

At either end of the sideboard is a carving slide with small brass knobs. Resting on the right

slide is an elk horn carving set. The wine coolers on either end of the sideboard are Shef-

field, c. 1810-1815. On the sideboard’s center is the Wadley silver service, including the hot

water kettle, tea pitcher and creamer, sugar bowl and waste bowl. Mr. William M. Wadley,

President of the Central of Georgia Railroad, was a friend of Andrew Low II and was a

guest at the Low/Stiles wedding, in 1854. Mr. Wadley provided his private rail car for the

Savannah wedding guests from Savannah to Cartersville, nearest terminal to Etowah Cliffs,

the Stiles family country estate. AHH! The idle rich, not so idle, but very rich.

The youngest child of Mary Stiles and Andrew Low II, Jessie Low Graham, has the honor

of being over the sideboard in a large three quarter length portrait painted in the 1890’s.

She is wearing an afternoon dress with a slightly off the shoulder double ruffle neckline.

The full sleeves are caught at the elbow and have a ruffled cuff finished with a narrow lace

edging. A blue satin sash is around her waist. Jessie is clasping a book in her right hand, and

wearing a wedding ring. There could not be a lovelier or more fitting family member to be

presiding over the dining room.

In the principal position and fully extended is an important Irish/English Sheraton ban-

queting table, c 1800. It was from the home of Robert and Eliza Mackay, maternal great

grandparents of the subject in the presiding portrait. The table is presently covered with a

lovely French linen banquet cloth. The table is formally set for the evening meal using the

fine French porcelain dinner service as it might have been for a special occasion with family

or friends. The sumptuous soup tureen with lid occupies the east end of the table and there

is a sterling silver soup ladle with the initials of Robert Mackay. There are several matching

service pieces including a gravy boat, with tram, a pair of butter dishes with their covers

and a large entree platter. Silver salts with cobalt liners, silver salt spoons, pepper shakers

and silver serving spoons are dispersed around the table. Gracing each place setting are

silver Repousse’ goblets and exquisitely etched grape design stemmed crystal wine glasses

and the Robert Mackay silver spoons. At the West end is a silver wine coaster and a cut

crystal Madeira decanter with the coaster having the initials J McQ., John McQueen, who

later changed his name to Don Juan McQueen, the father of Eliza Smith McQueen who

married Robert Mackay. Got that?

Fruits, indigenous to our area, such as berries, grapes and peaches attractively arranged in

an elegant epergne of English silver and crystal are the commanding centerpiece. A pair, of

31


complementary silver candlesticks, flanks the epergne.

There are sixteen dining chairs from a set of twenty-four in this room. The Andrew Low

House Collection has twenty one of the total set. They are American Empire having a re-

cessed tablet crest rail above the stay rail with the center leaf flanked by “C” scrolls and oak

acorns. The stiles are raised above the crest rails, with Klismos shape back legs and sabre

shaped front legs. The seats are covered in the same Scalamandra’ fabric, “Silksey Woolsey

Rosette”, pattern used for the lambrequins. It is thought that this rare set of chairs could be

the work of Michael Allison of Boston.

A mahogany five shelf étagère’, c. 1825, stands in the southwest corner. On the shelves for

convenient retrieval is a silver coffee urn, demitasse cups and saucers, waste bowl and an

Anglo/Irish glass dessert bowl with cover and tram that originally belonged to Eliza.

An original Black Egyptian marble fire-surround with mantle lends an exclamation point to

the well-dressed room. On the mantle is a pair of Waterford crystal girandoles with etched

hurricane globes, c. 1825. In the middle are three silver lustre bulb bowls filled with white

narcissus. The mirror over the mantle is edged with rope molding within a heavy gilt frame

decorated with shells, flowers, scrolls, and intervening acanthus leaves.

Centered above the banquet table is a Chandelier of French origin with four ornate gilt

bronze branches supporting etched-glass globes. The plaster medallion has been skillfully

recast and restored to its crowning position after the ceiling collapse in 1978.

On the west wall between the windows is a mahogany pier table. The top is fronted and

supported by freestanding columns with ormolu collars and cuffs having carved paw

feet .The rear supporting half round columns have mahogany collars and cuffs and frame

the mirror. There is a lower shelf fronting the mirror. Centered on the shelf is a washbowl

decorated with an exotic bird scene. I was told this eye-catching basin, c. 1810, would have

been used for rinsing wine glasses, a convenience allowing one to switch from red to white

wine, this custom would have been an acceptable practice in the mid-nineteenth century.

On the marble top are several pieces of a ruby Bohemian glass dessert service that consist

of monogrammed one hundred and forty four pieces ordered from Hoffman’s in Vienna,

in 1849, by William H. Stiles, Jesse’s maternal grandfather.

Now it gives me great pleasure to acknowledge the Federal carved and gilded pier mirror,

New York, c. 1825, given in Mrs. Daily’s, (Alice), honour by a renowned benefactor, re-

cently placed on the wall above the pier table. The mirror’s cornice with pendant acorns

and frame with crisply carved anthemion and acanthus leaf appliqués are stunning and

brings alive the south wall.

As an Aside: Inasmuch as the dining room began with a painting project

event, I thought it appropriate to end with one. There has never been any

question of the painting crews’ creditability hired through the years and this

was no exception. However, the timing of this job was to be shortly before

the probable peak of the tourist season; therefore, the painters were just to

do some emergency “touch up” in the evening allowing our doors to stay

32


open during the daytime and permitting them to continue their work on an-

other house as previously promised. (A good bet would be Historic Savan-

nah’s spring tour which often encompasses several historic areas, including

mine.) Fast forward, I happened to hear my painters grumbling about some-

thing spooky going on at this other rush job, but they kept assuring one an-

other their imaginations must be running wild. To their utter dismay, it got

worse instead of better. Either they mentioned that mansion on Lafayette

Square or my curiosity got the best of me. They related the following: “At

first it was just a few lights, but by time they were nearing completion”, (in

record time),” the whole house was ablaze with lights and several saw sway-

ing shadows! It all started on the first night when the boss man called them

back because a few lights were left on which they swore they had turned off.

Each night was the same story only more lights had to be turned out on their

return, and some were never turned on in the first place.” I learned later,

Betty had to stay extra hours for them to finish or some of the members of

the Georgia Society, who lived in neighborhood, had to baby-sit the painters.

Betty and I have laughed together time and again after she discovered our

home was the daytime site.

Before leaving the parlor floor, I wanted to identify that the 24th Georgia Society State

President realized the funds from the most successful “Georgia Heritage Treasured Reci-

pes” sales, printed in 1979 would be depleted soon. Up to this point, it had been used as

seed money to purchase a considerable number of early furnishings. A new avenue was

proposed and considered, hence, the inception of the Friends of the Andrew Low House in

1999. To say it has been successful would be an understatement, considering what the

“Friends” has accomplished in just ten years. To name only a few of these acquisitions: the

portraits of Andrew Low II, Mary Cowper Stiles Low, and Jessie Low, the miniature of

Sarah Hunter Low, and the amethyst parure. The Friends of the Andrew Low House and

the Furnishings Committee have combined for a number of purchases and projects. The

most well- known of these was the restoration of the Joseph B. Barry Breakfront; however,

there are numerous others. Please consider becoming one of our “Friends”. We would

welcome you with open arms.

Hidden behind the door on the east wall of the dining room and west wall of Andrew

Low’s Library was the narrow and steep service stairs that originally led to both the parlor

floor and third floor. The dumb-waiter, in the extra space between these two rooms, was

from the ground floor to the parlor floor only. The service stairs remained intact through

the William Low’s occupancy, but was partially removed when apartments were established

on the third floor after 1928 to accommodate the division of the bedroom floor into rental

apartments. The only access to the bedroom floor after 1928 and the present has been the

stately central stairs starting at the right of the dining room hall door. Due to the necessity

of having to provide air conditioning, the service stairs have remained blocked from parlor

floor to bedroom floor.

33


As an Aside: It was not just the back service stairs that were lost in 1928, to

provide closets, a maintenance area and two more bathrooms necessitated

boxing-in the end spaces on the second floor back piazzas and concealing the

west windows in the Lee and Stiles bedrooms. However, we were thrilled to

discover that there had been no architectural adjustments to the windows

during our last conservation/preservation project. A third bathroom was

actually the original bathing room when Andrew Low II built the house. Be-

fore William married Juliette in 1886, this bathing room was updated to a

“modern” bathroom. I must admit that I climbed the surviving service steps

to where they now stop less than a month ago to be sure there wasn’t a small

opening at the top one could slide through.

And, to be perfectly honest with y’all, a recent incident that involved two “Dames” and

two staff members, apparently, a “Dame” had some important papers to pick up and, since

she and her companion were running later than expected, she called ahead to be sure the

alarm had not been activated. On being assured that two staff members were in a “mini”

meeting and to come A.S.A.P. A short time later the two staff members heard a door open

and women’s voices chatting happily as though they had been to an afternoon party. The

staff waited expectantly for the “Dames” to come into the head quarter’s hallway on the

ground level but, instead, the voices were heard to be drifting upstairs to the parlor floor.

After a few minutes, one of the staff said that perhaps it would be polite to inform them

that they were downstairs and followed after the voices first to the parlor floor and then up

the stairs to the bedroom floor. Upon stepping onto the bedroom floor, the voices

stopped. Thinking surely that somehow they had missed each other on the stairs, back

down two flights of stairs he hurried noting with pleasure the new tweed stair carpet the

Furnishings Committee recently had installed between the parlor floor and the ground

floor. Just as he and the other staff member joined each other in the headquarters’ hall, the

doorbell rang. When the “Dames” walked inside the staff looked like “ghosts” themselves

and were in need of a glass of water, although something stronger probably would have

been preferred! On the Girl Scout’s Honor, I have repeated, as accurately as possible, this

most recent encounter with our spirit friends.

As we now proceed up the main staircase at an almost imperceptible climb due to the low

rise per step with deep tread, we take note of the well-turned newel post terminating the

lower end of the mahogany banister. A hidden mechanism within the newel is revealed

upon removal of a carved central indented button on the top. When an interior bolt is

turned, the banister is minutely pulled down to insure a tight fit with the spindles.

The stair carpet is likewise a documentary and in the pattern “Haddonfield” also woven in

Durham, England. The carpet border is in tones of rust, green, gold, and brown blending

beautifully with the dark pine treads to either side. The whole carpet is held taught by brass

horizontal rods (risers) with acorn finials. The brass risers would serve a second function as

34


its’ reflective sheen would aid in the delineation of the stairs at night when a candle was

used to navigate.

There are fifteen steps to the restored landing. High on the wall above the landing and

looking out onto the piazza is an original four-pane window, without so much as a forgot-

ten fissure, miraculously “still there” since 1848. This window is on the same level as the

two west bedroom windows, now restored. It has a spectacular classical window treatment,

given by our nineteenth State President. Crowning the window frame is a pair of mahog-

any, satinwood and ebony brackets together with a mahogany pole terminating in satin-

wood carved cones tipped in ebony. A complementing lambrequin in a deep red, green and

gold silk is from Scalamandre. The lambrequin is highlighted with two of the tassels, previ-

ously mentioned, from the Hermitage Plantation.

Centered below the aforementioned win-

dow is a stunning solid Honduran mahog-

any display case with Santo Domingan ve-

neers and ebony lined banding, housing an

original Currier & Ives Confederate Trice-

nium. While standing on the landing and

looking straight ahead one recognizes the

visage of President Jefferson Davis. Upon

glancing to the right the image of General

Stonewall Jackson comes into view, but

looking to the left one visualizes General

Robert E. Lee.

Suspended on chains from the center of the ceiling above the landing is a brass stair lan-

tern. The circular acanthus leaf border enables the glass globe to securely rest in the body.

Three decorative griffon heads with female bodies and twisted rope legs connect the small

brass base with the candleholders now electrified. Making a grand entrance to the formal

parlor floor from this landing can certainly be envisioned.

To change the mood of the moment a little, I asked my companions if they were aware of

the special step, on the stairs between the parlor and bedroom floors, where Betty Tattnall

would always feel as though one of the Low ladies had just passed her by, either coming or

going, wearing a delicious, delightful perfume. This enveloping aroma seemed to carry

Betty the rest of the way. And, just in case you wondered, yes, she would always be alone

and no tourists traces.

The rich mahogany railing curves gently to the right after we have ascended the last nine

steps to the upstairs hall. Centered in the middle of the railing is a tripod candle stand with

two fancy Hitchcock chairs on either side. The American chair maker Lambert Hitchcock

established a factory in Connecticut .The chair, typically not carved or upholstered, is

painted black over red with designs stenciled in colors or bronze. It is of good wood and

35


well built. The legs and rungs are well turned. The seats could be of wood, cane or rush,

c.1825-1852.

Our attention is immediately drawn to what are the original wide hand hewn pine floor-

boards. We are fortunate, indeed, that here on the second floor we see what is no longer

visible on the parlor floor since 1886, when that pine floor was covered with hardwood

parquet and later with the painted floor cloth and carpeting. Recently, The Furnishings

Committee convened and determined the second floor hall heart-of-pine floorboards re-

quired relief from heavy traffic. They ordered and had installed a wonderful woven “Sea

grass” rug, eight feet wide by eighteen feet long leading to the bedrooms and bathing room,

keeping in mine, exposing enough of the floorboards around the edges to enjoy. The cor-

ners of the rug are mitered and the whole effect gives texture to the floor, blending favora-

bly with the two summer furnished bedrooms. It has also been successful in preserving the

soft floorboards, especially with the non-skid padding underneath.

The same antique gold paint suggested by Edward Vason Jones, so many years ago, still

flows up the stairwell and into the surprisingly spacious upper hall. As the ceilings on the

second floor are 12 feet, the faux marble baseboard and sienna marble under the pilasters

continues in the upper hall giving the perception of greater depth and height. The door-

ways have wide moldings and a simple four-panel eggshell painted doors as expected on the

informal floor.

We now begin our walkabout along the second floor hall, on the wall to our right is a large

steel engraving of the popular painting by Winterhaulter of Queen Victoria and Prince Al-

bert surrounded by five of their nine children.

As we proceed in a counter clockwise direction and pass the entrance to the Stiles Bed-

room, we view a distinctive Duncan Phyfe Pembroke table, c. 1825, made of Cuban

“mottled” mahogany. (To be perfectly honest, we have not found Mr. Phyfe’s signature on

the above, but he seldom signed his work.) Brass inlay outlines the end-drawers having

brass lion pulls, and brass inlay continues around the bottom shelf. The Phyfe table has

turned legs with carved lions’ claw feet. If we dared open the drawer, only one is real, we

would truly be exposed to flawless dovetail joinery. A significant frosted Waterford hurri-

cane shade with exquisitely etched leaf and floret pattern, c. 1840, centers the table.

36


The superb scale of the American classical gilt wood mirror, c. 1815, labeled Muhlenberg

and Schmidt, New York, is so deserving of its placement over the Pembroke table. We

wondered if years earlier Mr. Phyfe had sighted this mirror in New York with its divided

mirror plate; roped cornice accentuated with acorn pendants, and colonnettes had some-

how been inspired to create the very compatible table below! Alice, take a bow, as this is

another grand mirror given in your honor.

Directly facing us down the hall on the eastern wall is a mahogany tall case clock, ca.1815.

The broken pediment bonnet houses an oval Roman numeral face with painted dial and

historical figures in each four corners. What appears to be an inlayed ivory urn is above the

solid pendulum door. The base balances with the width of the bonnet and is equally simple

in design.

Continuing counter clockwise, our eyes are brought to the English settee, c. 1810, resting

against the north wall, between the Thackeray and Children’s Bedrooms. The Sheraton

style settee is painted black with gilt stenciled bands on the slightly curved backs and I do

mean “backs” as there are four conforming seating sections within the two end arms. The

front legs are turned and the seat is cane with drop-cushion covered in a gold and white

striped satin. Traditionally, this settee would have been the “Post” for two maiden aunts to

sit on while acting as chaperones during social events occurring on the first floor. Fully

aware of and familiar with the invitation list, they would keep a watchful Victorian eye on

any unmarried couple advancing to the second floor and maintain a proper decorum en-

forcing the bedroom-door-open and bathing-room-door-closed policy. The Aunts would

do this with such engaging aplomb that any young couple would be none-the-wiser.

Another respectful custom during the late 18th to late 19th century in America regardless

of social status would be to find prominently displayed in the home either a picture of

George Washington or his family. Well, we have, in its’ original gold leaf frame, a steel en-

graving “Lady Washington’s Reception”, for viewing over the Sheraton settee. A few classi-

cal architectural elements were added by the artist to this scene: an archway entrance, two

niches with statuary, and paintings on the walls in the background, giving emphasis to the

new nation’s identity with the classical Greek. Even more important and somewhat surpris-

ing is the cartouche affixed to the back that identifies each of the individuals in the engrav-

ing. The beloved President Washington’s term of office was 1789 - 1797. It would be nice

to discover a Stiles, Mackay, or Cowper somewhere in the engraving? Even our visitors

might find an ancestor in this iconic gathering.

A pair of swivel-arm Argand wall sconces is positioned on each side of the engraving. The

wrought iron arms have an intricate open long-leaf design with a small cluster of gilt grapes.

The hourglass etched globes resting in brass frames shield three quarters of the glass chim-

neys. The brass frames are encircled by rows of cut glass prisms. The upstairs hallway pres-

ently begins and ends with great finds from the Furnishing Committee.

37


The bedroom that occupies the southwest corner is called "The Stiles bedroom". Eliza

Mackey Stiles, Mary Cowper Stiles Low’s mother, occupied the bedroom from the time of

Mary’s death, from pregnancy complications in 1863, until her daughter’s children were old

enough, in 1866, to travel with their father, Andrew II. It was always Andrew’s custom to

spend half the year in Europe, especially Great Britain. His girls by his first marriage to

Sarah Cecil Hunter were already in an English boarding school. The room is furnished as

the boudoir of a southern lady of prominence epitomizing tranquility and subtle strength.

Entering the room you will notice on the left wall an oblong gold gilt mirror with an ele-

gant eglomise upper section of a rural scene with a blue border. On the mirror’s left side

are watercolor portraits of Eliza Stiles, her daughter Mary and her son, William Henry

Stiles, Jr. The portraits were commissioned in Vienna in 1849 and are on indefinite loan

from Mrs. John B. Heald, a direct descendant of Robert Mackay. These extremely meaning-

ful family portraits, by arrangement, will become a gift to the Georgia Society at the time of

her death.

As An Aside: Mrs. Heald had made a promise to her mother that she would

never part with them so the Georgia Society arranged for a lifetime loan and

a gift only upon her death. Therefore, technically, Mrs. Heald has kept her

promise to her mother, which a dutiful daughter should do, and has made the

Georgia Society happy too!

On the right side of the mirror, across from his wife Eliza, is a steel engraving of William

Henry Stiles, bequeathed by his great granddaughter Mrs. Eleanor Stiles Golson. Beneath in

a gold frame, is an interesting watercolor drawing by ten year old Katie Low, Andrew II

and Mary's oldest child. It is an engaging work, in charcoal, of a branch with leaves and ber-

ries and signed, “K. M. Low”, 1866. In her grandmother's diary, Eliza mentions the fact

that “…Katie is coming along very nicely with her art assignments…” Katie’s charcoal is

yet another treasure gifted by family member, Mrs. Russell Layton.

38


One of the most cherished book acquisitions, made possible by cousins Hugh Stiles Gol-

son and Christopher Davidson, of South Africa, is the prayer book residing in this room

below the above on a Sheraton mahogany card table .The prayer book contains the signa-

tures of Mary Low, 1855 and Katie Low, 1869. Conservation work has been done on this

prayer book as well as on many valuable volumes purchased by the Friends of the Andrew

Low House. The mahogany period table has a plain skirt and reeded legs with column capi-

tal tops. Just the suitable size to hold the prayer book, a treasured three-tiered candelabra

with a glass finial on top and multi colored glass finials; clear crystal, pale amber, and ame-

thyst suspended from a pair of candleholders all supported by a bronze base. And, of

course, one of the fabulous, fine fans given through the years by “Dames” perhaps passed

down several generations. In fact, my Grandmother’s fan has had the honor of being one

of those chosen. Fans, in the past were not just decorative or created a breeze, had a lan-

guage all of their own! Most certainly a “come hither” included!

Hugh Mackay of Durham, England wove the documentary all wool carpet. The carpet has

a deep blue background with rows of stylized dogwood pedals of rose beige with crimson

center. The registered rug border was selected simultaneously and consists of a rolled acan-

thus accent in complementing colors delineated by matching stripes. Note: It was fascinat-

ing to hear that, indeed, this carpet is "one of a kind" as Mackay of Durham, England

mailed samples of different designs and color charts to The Furnishings Committee to

study. The Committee returned same with their preferences. (Response was really remark-

able as to accuracy and timing. Our favorite local rug company seamed sections together

with their usual expertise.)

The documentary wallpaper, corded satin, was chosen from the 18th Century samples col-

lection of original wallpaper from a house in colonial Philadelphia. The paper design has a

white background with a brilliant blue twine shaped as a diamond. Blue tassels hang down

from the apex of every third diamond. The size of the diamond is approximately 11 inches

vertically and six inches horizontally, giving the room a lighter and larger appearance. The

wallpaper cornice border, satin drapery frieze, mimics blue fabric swags entwined with a

small white rose rope. A blue and white large "welt" or paper braiding tops out the base-

board. There is no border paper pattern around the doorways or the windows as The Fur-

nishings Committee felt it prudent to let the white woodwork define itself.

In the Phyfe style and to the right of the hall entrance is a bed, given to the Society by its

fourth State President, and has occupied this special space for many, many years. It is a

large, high bed with four identical hand-carved reeded mahogany posts having acanthus

leaves at the top. The headboard, a replacement, c.1875-1900, is more ornate than the origi-

nal. As bed draping disappeared and fashions evolved, the classical broken arch, urn, and

flame finial with carved acanthus leaves of the headboard became a proper addition to the

bed and frequently for footboards as well.

Because of the height of period beds, a set of bedside steps would certainly be appropriate,

and here they are, goodness, George III mahogany bed steps, no less! All three steps have

inset tooled red leather on the step surface. The top step is hinged and the middle section

39


slides out to accommodate a chamber pot. Matching crotch- mahogany riser panels belies

its double duty. The steps are a bit heightened on turned feet.

As we all felt and could be conceivably assumed, the bed demanded documentary fabrics as

well. The Indigo linen damask coverlet, a suggestion of a trapunto quilt, is a Brunswick and

fils design, and the wonderful watered silk moiré plum taffeta lining, a Scalamandre mate-

rial. "Winfield", the exquisite floral chintz chosen for the bed canopy, draperies, swags, dust

ruffle and windows on a white background with a bright blue ribbon running through it, is

a Cowton & Tout fabric. Because the pre-eminently blue carpet, with shades of creamy

rose with a touch of red, and the wallpaper in tones of blue having to be considered, it was

quite a challenge to track down all the complimenting colors.

The finished bed draping and window treatments on all three windows are a gift of the Sa-

vannah Town Committee. There are only two differences in the window valances and bed

canopy. The lining of the valances had to be neutral polished cotton so that colors would

not bleed through from sunlight. Both treatments have pleats folding to the outside and a

scalloped edge with a fringe of blue and red tassels. The under-curtains of embroidered

white muslin, also by Scalamandre, are loosely looped back with ormolu leaf and white por-

celain flower tiebacks given years ago by a Savannah “Dame”.

A small escritoire presently placed on the bed belonged to Eliza Mackay Stiles. It was be-

queathed to The National Society of The Colonial Dames of America in The State of Geor-

gia from the estate of Mrs. Eleanor Stiles Golson. This writing case has attractive ivory

inlay and carving on the exterior and a velvet writing surface. It has wells for two small bot-

tles, one to hold the ink and the other for sand to shake over ones writing absorbing the

excess ink. There are a couple of small compartments for a pen and probably the small tiny

tips made of metal to fit inside the pen. A special surprise inside is an early pen in a small

leather case that presumably belonged to Mary Low. And, we do know that Mary traveled a

lot. She spent an entire summer in Newport, Rhode Island transcribing the journal of her

great, great, grandfather, Godfrey Malborne, "The Princely Navigator of Newport".

At the foot of the bed is a mahogany crib, which was purchased by Robert and Eliza Mac-

kay for one of their daughters while they were living in England. Placed within the crib is a

cream colored crocheted coverlet that was created by a Savannah “Dame” in 1909 and

gifted by her granddaughter also a Savannah “Dame”. The crib is on indefinite loan from a

Mackay descendant, Mrs. Caroline Gordon Armstrong, and hopefully, it will be with us for

a long time. It is properly placed where Mary Low’s mother, Eliza, could keep a grand-

mother’s watchful eye on Jessie, approximately a year old at the time of her mother’s death.

A page from one of the family Bibles documents the birth dates of each of the Mackay chil-

dren. It is fascinating because all but two of the children were born in Savannah on Rey-

nolds Square. The first child was born on Catterns Point and their last child was born on

Broughton Street where Eliza Mackay and her unmarried daughters lived for the rest of

their lives.

The "wash and dressing" stand, c.1830, near the window, is a rare early example by furni-

ture maker Isaac Vose of Boston. The Furnishings Committee purchased it (after much

40


consideration) with Georgia Heritage funds. The Committee certainly realized the piece had

faults, missing and damaged parts, incorrect beading, legs and brasses. However, the overall

form and proportion, ebony banding around the side doors, fan carving in the corners of

the kneehole well, particular type of mahogany, all influenced their decision. It was trans-

ported to our furniture restorer’s workshop where the craftsman found wonderful sur-

prises, Lo and behold, beneath the solid top, was the original top with all the cut outs for

washbowl, shaving mug, soap dish, pitchers, all in tact! Additionally and hidden where the

kneehole is cut through, a mirror was discovered having its original glass with articulated

hinges allowing it to tilt and turn. The restorer carved replacement beading, sections of the

fan, finial, by comparing with other Vose pieces.

To those who served many years on The Furnishings Committee and prayed their counsel,

blood, sweat and tears would be acceptable, comme il faut, my compliments! For now, in-

side the fittings of this Boston masterpiece, there is a wonderful Wedgewood porcelain

dressing set that was given to the ALH many years ago. This sizeable set (10 pieces) now

has a "happy home". The set includes: a lovely, large wash bowl, pair of rather substantial

well-shaped pitchers, a shaving mug, a toothbrush holder and a covered soap dish. In addi-

tion, and sitting beside the "wash and dressing" table, there is a covered slop bowl and cov-

ered chamber pot all in the beautiful blue and white, peony pattern. It was undoubtedly a

case of the wash and dressing stand arriving to make a home for the Wedgewood dressing

set as they were meant for each other. Resting across the top of the "W & D" are old linen,

fine fringe hand towels and a pair of silver candlesticks received from one of the Town

Committees a number of years ago. According to tradition, they had been in a Polish

Church and are certainly unique when thinking of English or American styles, having a

square base and then rising from the base six tiers up to the rim of the candle sockets.

Some of the chased elements have an almost Gothic petal-like form. A pair of candlesticks

would have provided to use the mirror for washing, applying powder, rouge on cheeks,

and, if daring, on lips too. Two precious prints in oval gilt frames adorn the above space

that depicts scenes of the late eighteenth century. One is of shepherdesses wearing straw

hats with goats, and the other has children climbing on a haystack as they add more

sheaths. One of two Empire chairs in the room is pulled up to the "W & D". Both have red

and gold lampas upholstery on the slip seats.

Occupying the center of the southern wall between the two windows is the expected, es-

sential black marble mantle. On either end of the mantle is one of a pair of three-armed

brass candelabra. Each has star and daisy prisms dripping down upon a brass sculptured

rustic scene of peasants, flowers, and trees mounted on an oblong white marble base. In

the center of the mantle is an ormolu watch stand of spiral volutes in a triangular shape

with motifs of greyhounds and honeysuckle. At the tiptop there resides a beautiful ladies

gold watch which has a round chased gold face. Both had been the personal possessions of

late Savannah “Dames” which is so meaningful.

Above the mantle is the personable portrait of eighteen year old, Caroline Steenbergen

Gordon, c. 1850. Caroline, wife of George Anderson Gordon, was Juliette Gordon Low’s

aunt. She died in childbirth in 1851, just one year after her marriage. The artist skillfully

41


captured her classic charm over the somberness of her brown muslin dress with multi-

pleated neckline and darker shade scarf draped over the arm. Caroline and Juliette are both

buried in Laurel Grove Cemetery, Savannah, albeit many years apart.

Placed between the mantle and bed is a mahogany frame rocking chair typical of the 1860’s.

It has turned arms with the upholstered armrest fabric folding into the wood. The seating

area is upholstered in the same soft becoming blue brocade that is very inviting for a morn-

ing, afternoon or anytime respite. No creaks when rocking!

To the right of the mantle is a Duncan Phyfe vanity suitably placed under the window with

a southern exposure. This dressing table has two long drawers, a low middle slightly swirled

shelf, and carved legs with paw feet.

The West wall door once again exits onto the second floor back piazza after the removal of

the 1928 bathroom giving access to the evening breeze, smoke, nightcap or perhaps a pri-

vate piazza rendezvous, as this door mirrors the West door in the Lee bedroom.

A stately armoire of crotch mahogany stands to the right of the doorway. Underneath the

projected arched cornice of carved foliage is an imposing acanthus leaf border. Paired col-

umns with carved Corinthian capitals give the dramatic effect of being free standing. This

wardrobe has marvelous features. Each door has a long upper panel and shorter lower

panel of the commanding crotched mahogany. The wainscoted doors have about an inch

wide brass band down the closure, and an appealing keyhole escutcheon. When opened,

there are fitted shelves and drawers. The feet are carved with foliage and animal paws.

Finally, we have reached the third window, looking out to the second floor back piazza,

which, happily, was reinstated in 1995 along with its counterpart across the hall in the Lee

Bedroom.

Under the window there is an Empire style sewing table with delicately carved gadrooning

under the bottom drawer and on the skirt of the columned platform supported by four paw

feet on casters. On this sewing table is a sweet French porcelain chocolate set.

Coming full circle, there is an attractive yet modest mahogany commode next to the far

side of the bed. Yes, I said, commode, a necessity at any time frame. It is really amazing

how 18th and 19th Century craftsman could conjure up an appropriate disguise, and I wager

that more than one “Dame” has taken home a beautiful piece of furniture, only to later dis-

cover that…! We think that Eliza would have had assorted articles arranged on top or just

handy. For instance, a small porcelain tray for pins, needles or such and her favorite poet’s

collection of works, and most certainly a convenient candleholder. I love all this compatible

blue too, as the Savannah Dames were primarily responsible for its furnishings, but we

must move forward, ladies.

The bedroom to the immediate right of the bathing room, on the southeast corner of the

house, is referred to as The Low Bedroom. The Atlanta “Dames” deserve kudos’ as they

have spent great funds, effort and time to make it right and not to shut the door as Mr.

42


Jones had, with a wink, suggested they do. Following his early suggestion “…from the

ground up…” They have indeed elevated the room to America’s distinguished consultants,

the late Edward Vason Jones, standards. The Low bedroom has been furnished generally

lighter in nature than the other bedrooms, and depicts how a Savannah summertime bou-

doir would have appeared in the 1800’s. On the floor there is a grass rug, which was espe-

cially woven in The West Indies. Mr. Barry Tracey, the concerned and capable consultant

after Mr. Jones, was very explicit that the rug be thin and a “period pattern”. When the rug

arrived, The Furnishings Committee members, Atlanta “Dames” in particular, chose to ex-

pose an approximate two-foot border of the original flooring. Their intuition was correct as

now the room certainly makes a delightful contrast to the other very formal bedrooms.

The wallpaper is Scalamandre documentary pattern Pussy Willow dominated by red angled

squares of three to four inches with a deeper red scroll border. If one looks closely, the

scroll is actually made up of many birds in flight. The window curtains with gentle swags

are of white cotton mull in a shadow plaid pattern. They are edged in a harmonious hand-

made fringe and held to the sides by tiebacks of milk glass rosettes on Tudor posts.

On our immediate left, the North wall, upon entering the bedroom is a fine mahogany

American Empire gentleman’s bureau with a two-tiered surface. This piece has an unusual

number of accenting gilt-brass features. Brass capitals top the freestanding columns fram-

ing the graduated drawer section accented by brass lion head pulls on the three deep draw-

ers. The above set of shallow drawers rests on a bowed centered fourth drawer. The top

divided section of smaller drawers is the perfect home for gloves, formal or informal bow

ties and cufflinks. Bold supporting scrolls hold the centered stationery mirror for aiding in

the last minute positioning of the askew bow tie. A handsome pair of gilt-brass animal paw

feet supports the whole arrangement.

Continuing clockwise on the East wall between the two windows is a large mahogany dou-

ble bed attributed to Duncan Phyfe, c. 1825. The four intricately hand carved posts are

topped with a canopy in the same Scalmandre matching material and fringe as the windows

giving the room an ethereal touch. The cotton off-white Scalamandre trapunto bedspread

43


designed by Mr. Tracey is patterned on a twenty square grid with flowers and leaves along

with three handmade pillow shams with lovely lace work compliment the room’s whole

effect.

As we face the bed and to the left is a New York mahogany marble top table, c. 1825.

Placed on top and within easy grasp is a porcelain Veilleuse made in the

19th century with, amazingly, all four surviving parts! Imagine the convenience of a sooth-

ing, comforting cup of tea by just lighting the candle in the base providing a warm cup of

tea at any time of day or night. Light is supplied by an appealing lamp with a Sheffield base

and an etched globe of grapes. The complimentary china cup and saucer, ca. l800, is from

Worcestershire, England. A well-worn and likely well read Book of Common Prayer is In-

scribed “Mary C. Stiles, from Mrs. I. C. Habersham, Etowah Cliffs, and May 17, 1854”.

The date was Mary’s wedding day to Andrew Low II. The “I. C.” was Isabelle Clay.

At the foot of the bed is the sweetest sewing table made of dark mahogany. A muted cherry

color material gathered in pleats covers the work basket or bag, which, of course, held large

pieces of fabric. It has drop leaves and two drawers with wooden knobs and stands on

finely turned rope legs. A small mahogany Empire chair, c. 1820, one of a pair in the room,

has been drawn up to the sewing table as though anticipating a session with needle and

thread.

Resting on the sewing table’s top is a hexagonal shaped Chinese lacquered workbox,

c.1840. Astonishingly, most of its original ivory fittings have been preserved. The box has

miniature drawers with ivory knobs for storing sewing necessities and four corner “cut

outs” that hold the spools on which the thread would be wound! Two more marvels are

concealed in this “treasure-work” of Chinese art. The tray that contains all these intricate

items will lift out to reveal a secret storage space below. Also, there is a small drawer with a

lacquered front visible only when the tray is removed that probably would have held some

marking implements for tracing onto a piece of fabric what they wished to embroider.

On the right side of the bed, is a classical Duncan Phyfe style dressing table, c. 1820, with

two cross-grained mahogany drawers with brass lion-head pulls and an inward curving bot-

tom shelf allowing for a pull-up chair. The original mirror is framed in cross-grained ma-

hogany and supported by rope turned columns topped with a corn finial. The dressing table

has been placed perfectly in the southeast corner of the bedroom allowing for the benefit

of defused daylight in applying touches of rouge and powder. As an additional aid to com-

plete the morning toilet, there is a very pretty porcelain floral patterned seven piece dress-

ing table service that includes candlesticks, jewelry boxes and powder jars and a serpentine

service tray.

The fireplace with a black marble mantle centers on the south wall. On either end of the

mantle is a pair of brass and glass Argand lamps. Brass eagles support the acanthus leaf lid-

ded vessels that connect to the arms supporting the glass globes. Dominating the mantle is

an impressive mahogany and satinwood Eli Terry shelf clock, c.1820, with a broken arch

top and brass finials. There is an enchanting eglomise, reverse painting on glass, panel of a

44


New England farmhouse in the door. The clock face is decorated with gorgeous gilt stencil-

ing and framing the overall clock case are freestanding columns.

The English fire tool set is solid brass, c. l870. There is a pair of brass andirons with flame

finals on orbs with half reed and molded shafts. Each has a stirrup foot and molded log

stop. This fireplace has the only surviving original fender, c. 1848. It is cast iron with a de-

sign of twelve acanthus leaves laid out in a semi circular pattern. The fender was painted

and coated in black in l886, during the wood to coal conversions corresponding with the

house renovation requests for the marriage of William Mackey Low to Juliette Gordon.

In front of the mantle is an upholstered Sheraton barrel-back wing chair, c. 1810, with

straight legs on their original brass casters. The upholstered vertical sides support scroll

armrests curving outward. It was originally purchased in 1964 for the first floor family par-

lor. Spotted by an ardent Atlanta Furnishings Committee member with a good eye, it was

swiftly swept up to the Low Bedroom where, without a doubt, both bedroom and chair

compliment each other. Upholstered in a red documentary Scalmandre fabric, the chair

makes a very inviting place of respite for daytime “drifting”, meditating as my husband

would say, especially during the colder seasons due to the proximity of a warming fire.

Adjacent to the above chair, is a tripod mahogany table with a hexagonal top. It has a

turned shaft with three square splay legs. Conveniently placed on top is a porcelain tea ser-

vice consisting of an exceptional teapot, a superb covered sugar bowl, a cup and saucer all

in excellent condition. Also handy is one of a set of six “five o’clock” spoons in the Bed-

ford pattern. These special coin silver spoons have urn shaped ends with a beaded banding

and are the work, I am told, of a Savannah silversmith. With all that meditating above,

whatever the season, it would not be a bad idea to have a “spot” of tea for a little “pick-me-

up”.

Peering around the wonderful wing chair, we glimpse, under the south window, an Ameri-

can Empire drop leaf table, c. 1830. There are two drawers with brass knobs and keyhole

escutcheons. The tabletop is bordered with brass banding inlay. In fact, each side of the

block shaped front and the perimeter of the drawers is bordered by brass banding. The top

drawer has three compartments and could convincingly be a small ladies worktable for one

of the five young mistresses that were in the Low family. The table is supported by a pedes-

tal base with scroll feet on brass casters. The afternoon sun tests its’ refractive rainbow

through the three-tiered candelabra with its precious pear shaped crystal prisms. What a

wonderful dance of colors flicker across the room on a sunny afternoon. As we follow the

dancing colors on this sunny afternoon to the west, our eyes sweep past the door that was

converted, after 1928, to a closet from that of being the doorway to the service stairs.

The eye is always searching for beauty regardless of size and shape. Frankly, trying to find

adequate words to “do justice” to the mahogany wardrobe immediately to the right of the

now closet door draws me back to my past. As a child, I was always awed by the vastness

yet uniquely useful chifforobe that was my Grandmother’s, a Georgia “Dame”. Having sev-

eral synonyms to choose from such as wardrobe, chifforobe, gentsrobe, and in spite of pos-

sibly being accused of putting on airs, the French really do have a word for it, armoire, a

45


grand and elaborate wardrobe.

This particular armoire has for many, many years been attributed to Charles-Honore Lan-

nuier (1779-1819), who moved from France to New York in 1803. He, along with Duncan

Phyfe (1768-1864) from Scotland, brought with them astonishing skills and techniques that

truly set a higher bar for the already established cabinet makers.

The bold overhanging molded cornice with a slight upward turn has as its only accent an

embellished egg and dart gadroon. Below the cornice are two flame-grain paneled doors

with cross banding and ormolu escutcheons. Framing each side of the doors are freestand-

ing columns with fine ormolu capitals and cuffed bases. Beneath the cuff is an ebonized

area with an acanthus leaf banding. On both ends there are spacious hanging cupboards.

Inside there is a series of various size drawers that have fire gilt knobs and rings. Not to be

ignored are the four exposed elongated gilt brass hinges on the paneled doors.

So special, even in the shadow of the preceding wardrobe, is a diminutive, mahogany Hep-

plewhite design basin stand, also referred to as an American washstand, wash-hand stand,

and washing stand positioned inconspicuously in the northwest corner of the room. Al-

though, not a common colonial household article until the end of the first quarter of the

nineteenth century, it would be welcomed and expected in the bedrooms of the affluent.

The sliding tambour doors when closed give a Bombe appearance above carved legs with

ferruled brass ball feet. The sides slightly elevated curve around to the back splashboard

allowing just enough shelf space to display blue and white Canton porcelain soap and

sponge dishes accompanied by several lovely old linen towels with a deep fringe and em-

broidery. Additionally, behind the tambour doors is a blue and white Canton chamber pot

with lid.

On the wall between the wardrobe and wash stand are ink washes of Mary Cowper Stiles,

(Andrew Low II’s second wife), her brothers, William Henry Stiles, Jr., and Robert Mackey

Stiles. The period ink washes have been properly preserved in oval gilt-wood frames. On

the north wall, hangs an engaging engraving titled, “Number One Gathering Bridge”, pub-

lished January l, 1816, by T. Palser, Surry Side Westminister Bridge, engraved by R. M.

Meadows from the painting by George Moreland.

Some things never change, regardless of the age of the house or its occupants. Needless to

say, the modern bathroom, English Water Closet (W.C.), Loo, or in this case, the Andrew

Low House’s Bathing-room were rarely mentioned, unless it was a matter of necessity.

However, for a home this stately, this public mandate was a simple affirmation, “For Public

Health Hygiene, it is recognized that a bathing room should be incorporated in all private dwellings when-

ever possible”, c. 1840’s, extracted from The Journal of Hygiene.

The Thomasville Town Committee deserves much credit for their commitment of time,

talent, research, and resources to returning the Low’s bathing-room to its original avant-

garde awe. After all, according to national Savannah statistics, only a few of the very

46


wealthy would have had indoors plumbing, plus a bathtub and side-by-side commode! For-

tunately, a lawyer/historian, whose wife is a dame, while perusing the Savannah Georgian

just happened upon an advertisement placed by the acclaimed architect, John S. Norris,

decrying the “acts of vandalism” in l848 mainly mentioning the devastating damages caused

by water cascading from a cut lead pipe above “the Bathing Room”. Apparently, there was

and still sits a cistern in the attic, which could be fed from another cistern in the rear garden

using the heavy-hand pump method. The cistern above is still there but without connecting

pipes, needless to say. In fact, it is situated on enormous wooden beams that cover the en-

tire area between our new, inconspicuous ceiling lighting on the second floor. It just oc-

curred to me that it would be reasonable to assume that Mr. Low’s shipyard supplied the

beams!

The bathing room is situated between the Low’s

bedroom and Thackeray’s bedroom on the east

side of the house. An appealing square white mar-

ble doorstop ensures that the room is very visible

the moment one reaches the second floor. The

floor cloth is a cotton canvas reproduction geomet-

ric documentary design of a melon/orange octago-

nal, outlined in dark green interspersed with a slate

predominating color in the period pattern. A closer

view reveals a panel design reddish rosette in the

center. The border is comprised of two strips of

Charleston green, the outer being much larger

separated by the same sand/slate shade above. The

walls are painted pale mustard yellow with cream

woodwork and there is a delightful, decorative bor-

der hand painted on the walls just under the ceiling.

To see such artistic ability abound in such small

and problematic places makes one very humble.

The border has spaced anthemion and coral elon-

gated hexagonal panels containing urns on a yellow colored background. The complemen-

tarily colors elevate the floor cloth to a greater dimension.

Moving counter-clockwise, there is an enchanting English neoclassical Pitcher and Bowl set

(by Wood & Challinor of Tunstall, Stoke-on-Trent) in the “Etruscan Figures’ pattern, C.

l824-l837. There are sensational scenes including a Cassini dressed figure playing the lyre

entertaining a mythical griffin. The coloring complements the floor cloth, valance, and

above border.

The mahogany wash sand is a period reproduction hand made especially for the Pitcher and

Bowl set by another avowed artisan of Chatham County. There is even a small shelf below

to display linens, of the period, donated during the years by different “Dames”. Note the

presence of a period pair of brass candlesticks.

47


Perfectly positioned above the wash stand is an American Empire mahogany ogee mirror,

C. l830, with cross-banded borders and inner molding around 35” high and 25” wide.

Next our eyes light on a large, tin-lined copper hot water reservoir with a hinged lid, c.

1840, American (Massachusetts). Imagine this reservoir has been hidden away for years in

one of the bedroom closets. It was a terrific timing, as discovered only recently by our al-

ways astute furnishing chairman and, as one sees, is proudly shown off in the bathing

room’s southeast corner.

The one window in the bathing room faces east and, of course, has the wooden Venetian

blinds to avoid the morning sun’s glare and, perhaps, protect the furnishings. At the top

there is a hand carved, hand painted wood window valance with the background of

Charleston green greatly complementing the green in the floor cloth. On each end of the

valance is a joyful gold dancing dolphin that really gives one the impression of being three-

dimensional. The center charmingly reminiscent of one of Andrew Low’s smaller ships sail-

ing past a nineteenth century background of a high bluff with a few of our oaks or pine

trees soaked in fog. Simple, sheer, cream cotton curtains that reach the floor are looped

back with period pulls of the same colour. A pivoted pair of most attractive argand sconces

with glass globes with wrought iron arms of acanthus leaves is mounted on both sides of

the window.

Seizing your attention, and centered in front of the window is an amazing American carved

rosewood shaving stand, mid 19th century, bearing a stenciled label “From A. Roux, French

cabinetmaker, Nos. 479 & 481, Broadway, New York.” It has an oval mirror with pierced

crest, yoke support fitted on a turned stem with pierced brackets, white marble top, single

drawer case, faceted support, scrolled cabriole legs with casters. The “A” denotes, Alexan-

der Roux,1813-1886, one of New York’s eminent cabinet makers. Obtainable on the white

marble surface for a quick shave, is a man’s razor with its leather case stamped “W. H.

Worley & Sons, Warranted Razor, Germany, that’s if water, etc. not necessary. This is such

a super, special piece of furniture, for it was only made for the special people.

Turning north now, to our left is a C.1845 copper tub sporting a reproduction faucet coex-

isting with a reproduction commode, on its right, each encased in a mahogany surround. It

is important to note that it was during recent restoration/preservation projects that strong

shadows indeed indicated exactly where placement was provided for these two particular

pieces at the time the house was erected in l848. The awesome, artistic gentleman who par-

ticipated in the wash stand and window valance also made sure the hinged lid would fit per-

fectly over the cream-ware “potty” particularly, specifically, made by an American ceramist

of Yorktown, Virginia, well known in the museum world for her exact reproductions and

amusing sculptural pieces. Placed on the tub surround is a period covered soap dish with a

matching embossed sponge holder.

Within arm’s reach of tub is a mid-nineteenth century standing towel rack with the perfect

proportions. There are three bars at the top and three bars at mid-height that fit into neatly

turned upright ends terminating in simple scrolled feet. And, as always, we are indebted to

the “Dame” who are and have been so generous because, once again our fabulous Furnish-

48


ings Chair has ferreted from drawers, etc. so that the bathing room has several period plush

towels with fringe and a few even have embroidered flowers.

Inside to the left of the door opening is a linear side chair. Placed for easy access from tub,

enabling one to retrieve outer garment or have a rewarding respite after the demands of the

day. The chair is painted black with gilt decoration on its splat and stiles. The splat has

three vertical spindles each with one egg size flat oval, which has gold gilt. The front foot

stretcher has the same type of oval. There is a bellflower gilt swag on the splat. It has a

rush seat with double stretchers on each side below the seat.

As an Aside: A few months ago, two dependable docents had a rather rare

slow day due to inclement weather. One of the docents decided just to make

rounds to get a little exercise and insure that everything was in the proper

place. From the moment she reached the top stairs on the second floor, she

sensed something was out of place. She glanced around the other bedrooms

but proceeded forward. She suddenly realized that the bathing room chair

was sitting in the middle of the floor. Naturally, she assumed that the other

docent had, for some reason, removed it so she replaced it. She then pro-

ceeded back down the stairs and questioned her counterpart, “Did you move

the chair in the bathing room to the center of the room”? Instantly, she re-

plied, “absolutely not!” The two docents then decided to return together to

second floor. Voila’, the chair was once again in the middle of the room. The

docents determined that that chair wanted to be the center of attention; how-

ever, the girls hesitantly moved it back to its proper position, turned on their

heels, turned out the lights, appropriately locked up and turned on alarm and

left with the mystery unsolved!

The northeast bedroom is referred to as the Thackeray Bedroom. It is from this bedroom,

facing east, that Thackeray allegedly wrote about being able to look down on the double

hourglass garden. This refers to the formal shape of the flowerbeds outlined with the bas-

ket-weave tiles .This style of garden refers to the reign of Elizabeth I. The shapes were

separated by narrow paths of pebbles.

The bedroom is furnished with wall to wall documentary Wilton carpet woven in a Brussels

weave of dark green background with a diamond design and a gold flower in the center.

There is an oak leaf gold border outlining the room and hearth.

The historic wallpaper is an Oaklawn Plantation pattern, c. l830, from a house in Mecklen-

berg County, North Carolina. The pattern has expansive panels of magnolia blooms sepa-

rated by narrow lighter strips of green running vertically. “Lauren” by Brunschwig and Fils

was chosen for the paper border, which is an oak leaf and acorn design of different shades

of green.

49


At the windows are embossed Swiss muslin under-curtains held back by fire gilt strap tie-

backs. The window treatment is completed with a leaf design cut-out wooden cornice

painted white to match the woodwork in the room. The cornice was designed and hand

made in Savannah.

To the right, as one steps over the threshold, is a mahogany bureau with cross beading

around the drawers. The bureau is signed on the inside three times on different drawers "II

EHO". This probably indicates that this bureau was one of a pair. Various objects, dating

to mid-nineteenth century, suitable for a gentleman’s toilet are arranged on the top of the

bureau. This piece was originally owned by the mother of the Commanding Officer at Fort

Pulaski in 1862. A manly mahogany Ogee frame mirror hangs over the bureau.

The small mahogany piece situated under the window to the left is a Sheraton style wash-

stand with the opening for insertion of a bowl on the top shelf and a lower shelf and

drawer underneath. The China bowl and pitcher is Genevise, a transfer print, in shades of

gray/green, C. 1840. Two early linen towels rest on the shelf. Below the washstand is a

chamber pot and lid of azure blue, tan and ivory classical figures based on the design of the

famous Portland Vase from Ancient Greece. There is an excellent possibility that it be-

longed to Mary Low’s parents whose country home, Etowah Cliffs, contained many early

fine furnishings.

Positioned between the two windows facing east, is the stately and cherished rosewood

desk, an 1850’s Rococo revival style, the only piece of Mackay furniture original to the

house. It was presented to the Georgia Colonial Dames by the nephews of Juliette Gordon

Low, heirs of the Low Estate, when the house was purchased January 19, 1928. And, like

icing on a cake, there is a transcript of the letter Thackeray wrote from this very site, “Feast

of St. Valentine’s” dated 1856 on his second visit with his old, valued friend Andrew Low

II.

This distinctive desk has a roller-top cover and a writing surface that can be retracted when

the roller top is pulled shut. This mechanism is in perfect operating order, attesting to the

50


skill of its mid-nineteenth century cabinetmaker, John J eliff of New York and New Jersey.

There is a serpentine shaped drawer standing on cabriole legs with stylized leaf carving. The

desk is fitted with two small drawers and the open space above is Bird’s Eye Maple. Above

this open space are two drawers outlined with molding supporting a mirror-backed shelf.

Carved brackets at either end support another higher shelf surrounded by an intricate gal-

lery. .

Over the secretary is a banjo clock with an eglomise center panel and eglomise outlining the

panel of the door, which has clear oval glass so that the pendulum may be seen and the

brass finial at the top is crowned with an exotic bird. The case of the clock is black, and

the stencil design is of various leaves, including acanthus, and rosettes. The drop at the

bottom is shaped like an acorn. The upper is carved and the lower part is gold leaf, c. 1820,

New England.

In the northeast corner is a late eighteenth century period Hepplewhite wing chair, uphol-

stered in a toile pattern, of green and ivory. Positioned in front, there is a walnut table with

spool turned legs and an apron with inverted Gothic arches terminating at corners with

acorn shaped dropped finials. On it rests an original copy of The Victoria Regia, printed

and edited by women in London in 1861. It is especially appropriate because William

Thackeray’s contribution to this publication, “A Leaf Out of a Sketch Book” was written

specifically for this volume while enjoying Andrew Low II’s hospitality.

Almost directly across from the door we entered, hangs a three-section mirror in a gilt

frame, Ca. 1820 over another black Egyptian marble mantle. A black tin coalscuttle rests on

the hearth, together with fire tongs, an English teakettle and a warming screen in front of

the fire basket. On the mantle shelf is a three piece Girandole set with coffin prisms, the

centerpiece is flanked by two period black Basalt Urns.

The West Indian mahogany bed dominating the room made in Jamacia was a wedding gift

to Mary Low’s maternal grandparents, Robert and Eliza McQueen Mackay, in 1800, from

Eliza’s uncle and aunt, the Basil Cowper’s. The mahogany posts support a serpentine-

shaped tester with chinoiserie borders, filled with an elegant sunburst sea foam green fabric

canopy, topped by a mahogany coronet finial. On the bed beneath the sea-foam green dust-

ruffle, which matches the captivating canopy are the original iron wheels which would have

enabled the bed to be moved so as to catch the breeze on the few occasions Savannah

would have one! On the bed is a generous size Marsailles spread from France. In 2011, The

Reverend Eliza Linley, a direct Mackey descendant made a momentous gift by deeding this

treasured bed to the Andrew Low House, after being on loan for many years.

On the surface of the mahogany, reeded, three graduated drawer bedside work table

c.1820attributed to Duncan Phyfe, with fire gilt brass pulls having a French polished finish

are some interesting items relating to family and famous friends. Quite fitting, in a gold

frame, with cut outs accented in gold, which gives a three dimensional look, is a hand

penned invitation from Thackeray to Mrs. Peter Guerard on a calling card with photo-

graph.c.1853. Within an arms reach, is one of the Bohemian red water goblets. Another

treasured treat is to read the inscription in the little leather Bible, “Katie, With Papa’s best

51


love, Christmas, 1880”, “The Lord Help Thee and Keep Thee”, Numbers VI:24. The wal-

nut cathedral chair is in a Gothic Victorian style. The splat suggests a stained-glass window

frame with a double pierced opening, quatrefoil and the carving on the top of the crest rail

is shaped in a Gothic arch outline. The chair posts have pointed finials. The legs are

turned and rest on their original casters. The chair seat has been reupholstered in gold

damask, c. 1850.

The miniature of Robert Mackay in profile hangs between the chair and table. He is wear-

ing a dark coat with a standing collar and ruffled neck white shirt and neck cloth, .c. 1812-

1815. It seems fitting that he is ushering us out of the room that is identified as the Moul-

trie Town Committee room as they have over the years invested so wisely in its furnish-

ings.

The children’s bedroom is the center bedroom in between The Lee and Thackeray bed-

rooms on the north side of the hall. Straight ahead we note that the black Egyptian mantle

is considerably smaller which is appropriate for the size of this room. Below the mantle is

the brass bowed front fender topped with a solid rail with three supports. There are two

decorative knobs on the front of the fender. For safety purposes this fender fits into the

coal grate.

The real eye catcher, though, is the square Sampler over the mantle mounted on a black

frame with a narrow gilt liner. In the days of yore, it would have been not only an educa-

tional tool but a creative effort of self expression and work of art. This splendid Sampler is

embroidered in French and various techniques are quite evident. Samplers sometimes had

quotations, numerals, the entire alphabet, a Bible verse and an imaginary scene depending

on the embroiderer’s expertise. Our sampler, c.1823, worked by twelve-year-old Mary

LePage Agee of France, used mostly greens, gold, and white colors. At the bottom of the

52


sampler is a house with a lawn and b white dogs. Above the house is a white basket of

flowers with small urns of flowers on each side, bouquets of flowers, stars and, perhaps

pheasants. Above the two pheasants and between the groups of flowers and stars there is

stitching in French. Which one of you Augusta “Dames”, who have so tirelessly on this

room, can translate the verse so that we can add to the Inventory.

The Low children now consisted of the following: Andrew Low II’s two daughters, Amy

and Harriet Ann, “called Hattie”, by his first wife, Sarah Cecil Hunter and Katherine, Mary,

Jessie and, son, William Mackey Low, by his second wife, Mary Cowper Stiles Low.

The rug in the children’s bedroom of natural grass, wall to wall, would have been and still is

easily maintained, and easily replaced. It resembles traditional straw matting and is bound

on all sides, including the area cut to fit around the hearth. Appreciating that children will

be and should be children, and from the standpoint of hygiene, including the prevalence of

scarlet fever, yellow fever and diphtheria, in those days, the floor covering would have been

among the first furnishings to leave the premises.

The wallpaper is a Scalamandre documentary design taken from the Prestwood collection.

It is printed in multiple shades of green, light and airy, called the Magnolia Diamond pat-

tern. The border paper print is a reed and ribbon repeat also from the Prestwood collec-

tion, and it borders everything even the mantle which would have been appropriate for the

period of the house. The curtains for the two windows on either side of the mantle are of

off white mull trimmed with unpretentious white tassels.

The toys in the room are unique pieces. The pair of bisque headed boy dolls are sitting on a

Victorian rocking chair reminiscent of the rocker President Lincoln was sitting in the eve-

ning he was shot at Ford’s Theatre. One doesn’t usually see boy dolls, especially a matched

pair, even though one of the boys has lost his shoe. There is a Victorian Gothic doll bed,

and in it is a doll dressed possibly in her original morning dress with a porcelain head.

Nearby, in the doll cradle, is a rare and wonderful wax headed doll bought at the Paris Ex-

position which is attired in of the period clothes, not the least the genuine leather shoes!

Two small painted chairs are drawn up to a gate leg table and placed on one of the chairs is

a fairly good size bisque headed doll with moveable blue eyes, shoulder length real blonde

hair holding a tiny colorful fan.

As an Aside: She does not have on a happy face which makes one wonder if

she misses her real mommy. Maybe one of the attractive Augusta “Dames”

will take her on a short sojourn. I just happen to know the mother.

On the table is placed an English doll dinner set consisting of dinner, salad and dessert

plates, covered casseroles, platters, soup tureens and a gravy boat in cream color with a

pink band around the edge. The set has approximately forty pieces. Appearing, as if it were

to be delivering supplies for the family, is a mini wagon pulled by an antique horse.

A nice note to the room is the addition of several toys, including a set of blocks, an articu-

lated elephant, a hobbyhorse painted dopple gray with an authentic horsehair mane and tail,

53


and an old doll’s leather trunk. But more important is the meaningful multipurpose work-

table under the window facing north, which has a pair of wells lined with satin. Each side

has a removable drawer in the top that lifts out. There are spindles that retain them. The

spindles are in alternating ebony and maple. The center actually opens and has a mirror in

the lid and a velvet recess to hold toilet articles if being used as a dressing table. What

makes this precious piece even more charming is the intriguing initials, “M.S.” indented on

the work table’s wooden tray. Tradition accepts that this tray was made for Mary Stiles by

one of her brothers.

The furniture in the children’s room is called “cottage furniture” and was originally in the

Johnson-Hay House, Macon, Georgia, designed by Alexander Jackson Downing, c. l853.

This set consists of a bed, bureau, wash stand and a bedside table with a compartment for a

“potty”. It is painted French blue with garlands of flowers and gilt scrolls on the serpentine

drawer fronts and bed headboard. The tops are white marble

Hanging on the wall to the left of the doorway is a watercolor of spring flowers signed by J.

Hoffman, a student at a finishing school in Maryland, c.1843. In addition to the “cottage

furniture”, there is a winsome walnut youth bed, c.1840-1860, with a suspended frame at-

tached for a bug protection net. It has a solid shaped headboard with recessed panels and

the footboard has six turned spindles. The four bedposts are turned and similar to the

footboard spindles.

The nettings on both beds are Indian Gauze tied back as they would have been during the

daytime. Most of the children’s beds in those days would have had the bug netting, espe-

cially in the summer, especially in sultry Savannah. Both beds also have intricate, interesting

hand made Ivory crochet spreads. Close to the bed there is an arm chair made of fine fruit

wood which has stripped upholstery on the seat.

On the left, adjacent to the children’s room, is the bedroom which the Low family corre-

spondence refers to as the Robert E. Lee bedroom, although Willie Low occupied it prior

to his marriage. The reference to the General probably occurred after he had spent a week

in April, 1870 as the guest of his much younger “ole” friend, Andrew Low II. Y’all may re-

call, as a lowly Lt., he was a welcome guest at the Mackays, Stiles, and Lows homes on

many occasions. After all, he was Jesse’s Godfather.

The documentary design, c. 1820, of Brussels weave carpet and border were woven by

Hugh Mackay in Durham, England. The background of the carpet is navy blue with a re-

peated pattern of muted gold crosses. The border of the rug has three designed patterns,

the most prominent being ovals and leaves which intertwines the muted gold and beige col-

ors.

The wallpaper reproduced is the earliest type of wallpaper printed in America. The

wooden roller would impress a repeated design on a solid background. Admittedly, at first I

thought the room was painted a pleasing pale yellow. Actually, the yellow background is

54


covered with small white dots. It is a Brunswick et Fils pattern, and, although I have had

cataract surgery, there just had to be some very young eyes in the Valdosta Town Commit-

tee choosing same. An acanthus leaf motif border paper outlines the windows, the chim-

neybreast and the doors.

Simple off white mull curtains, an E. V. Jones’ trademark, looped over brass tie backs hang

at the windows. The valances are gothic pointed arch design on all three windows. Each is

flat shaped with center and corner pleats of deep blue lapis with muted gold lining with a

four inch gold bullion fringe.

The mahogany four-poster bed, c.1817, American, has spiral turned and carved top acan-

thus foot posts, and it is the only bed in the Andrew Low House made with strings of rope

remaining. The head-post and headboard are handsome in their military simplicity. The

tester frame is covered with the same dark blue lapis and gold as the valances. The bed cov-

ering is handmade c.i840.

As an Aside: All the beds during this era were much shorter than our modern

beds. That was not to indicate that height was a factor, rather because the

way people slept. The popular perception was that the night air was danger-

ous, and that sleeping while sitting up was healthier. Goodness, one wonders

how horrific neck pain was avoided and how so many children were con-

ceived. "Sleep tight, so the bedbugs won’t bite" initially imputed to having

one’s bed springs tight, may have had a double meaning, and, the beds were

narrower too! Enough said! The handmade crocheted spread is an exemplary

example of a nineteenth century creation.

The Sheraton styled bedside table has two drawers with wooden knobs. On the surface,

particularly positioned, is a tinted steel engraving of Robert E. Lee and a small cut glass ca-

rafe that could hold either water or Brandy with a brass candlestick and snuffer within easy

reach. Mounted above this table is a pair of early 19th Century eglomise paintings in glass.

They are based on English prints taken to China by sea captains to be copied by those hav-

55


ing highly reputed skill in the artistry of reverse painting on glass technique. The Chinese

really excelled in this creative craftsmanship.

At the foot of the bed is a commode, which is unusually unique because when raising the

lid all of the interior components are intact! Near it is a matching mahogany washstand

with its pitcher and bowl behind a Dorflinger glass door. A small drawer is below and a

shelf holding three folded linen towels with very deep hand tied trimming to enable one to

freshen-up their face and hands.

Once again, there is an original Black Egyptian marble mantel. In the fire place is a coal

grate, l886 Renovation, and a wire fender with brass feet and rim. Adjacent to the fender is

a four piece set of fire tools with stand. Above the mantel is an impressive three section

gilt mirror with rosettes and columns, c.1830.The pair of brass and ormolu candelabra,

circa l825, with scroll ends mounted with candle holders are on each end of the mantle.

Suspended from the holders are diamond shaped prisms. The center shaft has two tiers

each with pear dropped prisms, and the bases are Italian marble. A late nineteenth century

French brass mantle clock occupies the center. A pair of Federal hand carved chairs with

seats upholstered in off white satin, c. 1800, faces each other in front of the mantle, which

is on the north wall.

In front of the window to the left of the mantle is a mahogany washstand, c. 1820, with a

splash back on three sides that taper to the front. There is a shelf below with a cut out in

the top for a bowl, and a drawer with two brass pulls supported by four plain turned legs.

And, what a bowl! It is made of cut glass and has a matching pear shaped cut glass pitcher,

c. 1852, Dorflinger & Co., New York. Also accompanying the washstand is an appropriate

hand towel, c. 1850, which is laid on the small shelf.

The door on the west wall opens on to the piazza. This is a lovely, breezy area with shutters

on three sides overlooking the rear garden. It would have been a favorite shaded space for

outdoor seating. The furniture could have consisted of rocking chairs, Windsor chairs, a

settee, several small tables displaying plants and, on occasions several of the children’s fa-

vorite toys. The architect, John Norris, designed the shutters or jalousies, if you prefer, es-

pecially for Andrew Low II so the lower ones could be opened to catch the breeze or

closed to protect from inclement weather. They are, reminiscent of those in Barbados or

the West Indies.

During the most recent major Conservation Program (2007-2011) when we received a

matching grant from Save America’s Treasures, it seemed like everything needed a loving

touch, like the shutters, stairs, and wiring; however, most of us felt, correct me if I am

wrong, Susan and Alice, it was now or never to take on each of these big projects in the

right way. No one would have believed that the process would have taken so long. The

challenges that the State Presidents from 1997 - 2011 faced were monumental; however;

less we forget they are “Dames”. Also, it is important to acknowledge that these presidents

could not have managed without the leadership of both the Andrew Low House and the

Furnishings Chairmen during this period. Before we leave General Robert E Lee’s bed-

room, it behooves me to state that this last project would never have made it pass the fin-

56


ishing line if not for a “Dame”, who is also a qualified architect, and was asked to serve as

the Andrew Low House Conservation Project Manager when we suddenly lost our curator.

After the door, leading to the piazza, is the cherished chest of drawers c.1815 that is attrib-

uted to Mr. Michael Allison, a prominent New York cabinetmaker of the early nineteenth

century. There is matched mahogany graining and cross banding with a beaded edge out-

lining each of the bottom four front drawers and also the three smaller drawers across the

top. Amazing reeding is on both sides of the casing. The original embossed brasses are on

each drawer, and the chest has feruled brass feet. On top of the bureau is a shaving stand

with four turned feet and an adjustable mirror. It, too, has three small drawers. The fronts

are of satinwood, and the support columns for the mirror have nice grooving on them and

turned finials. Brass knobs adjust the original mirror on the support columns. A plain pair

of tall brass candlesticks, c. 1840, with hurricane glass shades, is on each side of the shaving

stand.

Near the west window probably positioned so that an occupant could have the possibility

of viewing the back garden through the adjacent piazza, is a wonderful wing chair with an

extremely elevated back and a narrow deep seat. The front legs are cabriole terminating in

clubfeet and the back legs are plain. The upholstery is off-white homespun linen.

The candle stand, c. 1810, beside the chair has a tripod base with neatly turned column legs.

On the stand is a Staffordshire figurine of a boy and girl in a countryside setting, a cup and

saucer, which might have remained from morning coffee, and three volumes for suitable

reading during the mid-nineteenth century.

The dignified dressing table on the south wall consists of two long drawers and two small

drawers that flank the center mirror, approximately 24” x 30”. It is supported by freestand-

ing pillars that are capped with acorns. Between the legs, at the very bottom, is a shaped

shelf, which accommodates an appealing papier-mâché watch stand with mother of pearl

inlay. A gentleman would suspend his gold-cased watch on the hook for the night, and we

all know General Lee was a gentleman!!!

Turning to usher the ladies out the door, I glanced across the hall and spied the rocking

chair in the Stiles Bedroom. Immediately, I recalled the third and perhaps the most impor-

tant of Betty Tattnall’s encounters with her “Special” friends so decided this tale had to be

told as it was not just a recent one time occurrence.

Years ago, before the Andrew Low House opened its house to tourists, it was not unusual

for Betty to be the only person present on any given day. Her normal routine would be to

check the rooms on the parlor level, and then spend the afternoons on the bedroom floor

to be positive everything was in perfect order. Satisfying herself on a job well done, she

would then saunter down the hall toward the main staircase where, on many occasions, be-

fore reaching the top step she would glimpse, out of the left corner of her eyes an elegantly

dressed gentleman sitting in the rocking chair! Betty admitted that, “Initially, she felt her

hair stand straight up!” Of course, it would have been perfectly natural for her to be fright-

ened by the apparitions and discuss the matter with her wise and knowing mother. Her

57


mother’s simplistic yet sage advice was, “If you don’t bother them, then they won’t bother

you”.

The same visualization of a handsome gentleman, top hat and all, gently rocking, appeared

time and again during her tenure as head housekeeper enough so her fear was abated years

ago. Betty would give him a slight nod, and he would give her “a tip of the hat”. Betty told

me she thought, “That he was giving her a “good job” sign. Both the “Dames” with me

agreed on three things at that moment: (1) Betty was a rare jewel and (2) the gentleman

“specter” was probably Andrew Low II keeping watch over his darling wife, Mary, who

died from complications of her fifth pregnancy, and (3) this gentleman probably misses

Betty Tattnall, his “portal” to our world, as much as we do.

Mercy, memories are great but it’s time to move on. So even though you two leaning

against the wall have had a long day, please retrace your steps toward the Lee Bedroom’s

western door which leads out to the second floor piazza. Hopefully this final treasure will

cement for you and those to come how the present meets the past. This shuttered piazza

gives one that needed bit of fresh air and the chance to appreciate the walled garden below.

The center is paved with flagstone and the periphery has raised garden beds filled with ca-

mellias, azaleas and blooming spring flowers. Near the center of the enchanting garden, in a

small rectangular pattern, are four raised brick planters for blooming trees.

We note, the western end has a basket weave brick fence, and featured in the center is “The

Protector”, a wrought iron lion head fountain, c. 1850, Vienna, a gift from the Columbus

Town Committee. This wall has always separated the Low family’s original carriage house,

first headquarters of Juliette Gordon Low’s beloved Girl Scouts, from the rest of the prop-

erty.

As an Aside: I know the entire Georgia Society are as thrilled and relieved as

we are about the decision of the Board to purchase the vacant lot next door

on the corner of Charlton and Drayton streets originally belonging to the

Andrew Low’s Estate. The Macon and the Waycross Town Committees were

among the first to contribute to this worthy cause. The Savannah Morning

News recently printed an article, including pictures, illustrating that Juliette

had a wall built on the Drayton street side to provide privacy for members of

her first Girl Scout troop from onlookers as they played basketball in bloom-

ers. Ironically, my mother-in-law was the last surviving member of that first

troop!

As we move our eyes westerly, we see a magnificent sunset forming, which appropriately

backdrops the view the Low family and friends would have had of the old Revolutionary

military barracks and the lofty spires of St. John’s Church on Madison Square from which

emanate the sound of chimes filtering through the air. As the gentle breeze washes our

faces, we can almost hear again the clip, clop of the horses’ feet pounding in perfect ca-

dence with the bells of The Cathedral of St. John the Baptist behind on Lafayette Square.

What a gorgeous setting for a party, which makes me reminisce on how clever the last Low

“Grand Dame” was indeed. Juliette was honoring her niece with a candlelight debut Re-

58


ception featuring this very garden. Horrors, because of an early frost the entire gardens’

camellia blooms burned. Undaunted, Juliette Gordon Low just sought-out the many un-

damaged camellias around town and beauteous blooms were delivered from family and

friends for her to tie onto her own de-blossomed bushes with pink bows. Juliette’s de-

meanor was a complete reversal of “the calm before the storm”.

Y’all have been dear to agree to be participants in the Andrew Low House’s first “walk

about- talk about” and , now, finally, “written about”. Truly such special Georgia “Dames”-

-- you, Alice, a former Georgia State President, National Board Member, Georgia Board

Member, Honorary Furnishings Chairman, and Susan, 50 year member, Georgia First Vice

President, Recording Secretary, Museum Properties Chairman. In addition, both of you

have been selected for the Georgia Society’s Roll of Honor. I have been honored by your

participation.

A last peek as the sunset vanishes puts a lump in my throat. I am so thankful to realize

God and the heavens have pulled that seamless thread of love through the needle and tied

it into one of Juliette’s knots. What better way to say adieu to these devoted “Dames” than

to complete the Aaronic Blessing Andrew Low II began in his daughter, Katie’s, Bible --

Numbers 6:24-26.

The Lord bless thee and keep thee:

The Lord make His face shine upon thee,

And be gracious unto thee:

The Lord lift up His countenance upon thee

And give thee peace.


by

Mrs. James Robert Logan

(Virginia Connerat Logan)

Published by The National Society of The Colonial Dames of America in the State of Georgia Headquartered at

Andrew Low House 329 Abercorn Street

Savannah, Georgia 31401

2013

andrew low legacy

Documents

state of georgia

state president

andrew low house

andrew lows legacy foreword

following dames

colonial dames of america

various low ladies

national society