Monochromatic color schemes: making just one color look interesting

Monochromatic color schemes use only one color from the color wheel. Interest is generated by using different values of the color from light to dark. There are other design techniques that can be employed to create visual appeal. These photographs feature a gold monochromatic scheme, and as you can see there is nothing boring about this room setting.

These photographs were taken at the JW Showroom located in the Marketplace Design Center Philadelphia, PA. In this vignette the JW Showroom is highlighting furniture and accessories from the Nancy Corzine product lines. The Marketplace is a compendium of showrooms for Architects, Interior Designers, and their Clients. It’s a local resource where the pages of Architectural Digest, Elle Décor, Dwell, and other fine Interior Design magazines come to life. Many of the showrooms are to the trade only. If you would like to shop the Marketplace, an appointment can be scheduled through Hearth & Hedgerow Ltd. 

This room uses varying shades of gold to engage the eye, and also brings an array of textures and dimensions into play. The assorted textures absorb and reflect different amounts of light. The range of light and texture create a design that is just as captivating as a vivid color scheme. This gold room is rich and luminescent, but through the use of one color is also a relaxing and harmonious space. 

Dimension is created by using tone on tone stripes in mixed widths. The upholstered chair stripes are both wide and narrow. By mitering a skinny stripe on the accent pillow an optical perspective of squares is formed. The stitching on the leather ottoman top divides the rectangle into a series of triangles. The stripes and damask are smooth and shiny. The velvet on the sofa is soft but crinkled, which splinters the light producing a variety of shades from one solid colored fabric. The leather on the ottoman is matte and smooth, but the ottoman frame is a metallic finish. 

The pair of lamps on the sofa table are clear glass, spattered with a sparkling, gold, metallic inside. The cocktail table combines a gold leaf frame with a glass top, both elements are radiating light into the room. This setting is an excellent example of what can be done to design an interesting room using just one color.

For more information on using the color wheel and color theory in Interior Design review this article. 

Industrial Chic part two: How did this style of Architecture and Interior Design evolve?

Drafting Table - photo courtesy of Found Objects of Industry

Industrial Chic part one touched upon why we developed so many industrial buildings, the abandonment of these buildings, the loft living trend that started in SoHo, New York and other adaptive uses for these structures. Although many distinctive buildings have been revitalized, others were structurally unstable and required demolition. A property owner with a different aesthetic may opt to remove an edifice and put up a new building. When a structure is being razed there may be unique components in good condition that are very attractive. Concurrent with the expanding interest in the adaptive reuse of buildings the Architectural Salvage trade began to prosper.

Cast iron lawn rollers - photo courtesy Found Objects of Industry

Locally we have a wonderful resource, Found Objects of Industry, is just outside of Kutztown, PA. This excerpt from their website reveals the foresight of proprietor Leonard Schechter:

“In 1972 Leonard Schechter pioneered saving architectural masterpieces being demolished in New York City. The company he created became the inspiration for an entire industry of architectural salvage that today is visible on the pages of magazines like Martha Stewart Living, Architectural Digest, and many others.”

photo courtesy of Found Objects of Industry

Len houses his collections in the Moslem Farms Mill which is listed on the National Register of Historic Places. There are no set hours of operation; you can visit the showroom by appointment or by chance. The Found Objects of Industry website allows you to shop and browse the collections at your convenience. 

Medical Showcase - photo courtesy of Found Objects of Industry

Numerous items can be salvaged: doors, windows, mantels, stairways, light fixtures, plumbing fixtures, hardware, fencing, wood, brick, stone, tile, machinery, valves, gears, pulleys, church pews, showcases, workbenches, industrial furniture, etc. Many of these items were originally constructed of sturdy materials such as metal or concrete which is why they are still serviceable today. The brick, stone and wood that was used to construct these buildings is so aged and worn by time that it has developed a rich patina. The gears and other mechanical devices are often intricate or oversized, and can be used to create wall art or accessories. Using these reclaimed treasures as components has resulted in an abundance of creative projects and useful items.

Bronze Screen from the 1920's - photo courtesy of Found Objects of Industry

Concern for the environment continues to increase. Architectural and Industrial salvage provide sustainable solutions for several of the issues. If salvaged materials are used as a component in a new item, it reduces the harvest of the earth’s resources. It also keeps the reclaimed materials out of the landfills. Industrial Chic objects can be mixed with a variety of other styles to create personalized interiors. 

Hardware Store Screw Display Cabinet - photo courtesy of Found Objects of Industry

One of my favorite found objects is this Hardware Store Screw Display Cabinet from the Victorian era. This piece is absolutely perfect for designing a "Steampunk" home. 

Industrial Chic part one: How did this style of Architecture and Interior Design evolve?

Bethlehem Steel Works - Photo courtesy of Chuck Kuhn

With the Industrial Revolution society shifted away from hand crafted items produced in the home or village. Household goods, textiles, and a variety of parts and products could now be made by machine, in a factory setting. Mass production made goods more affordable, which increased demand. New mechanical designs were invented both for machinery in the factories and advanced modes of transportation. These changes supported continuing expansion and fueled the need to build more factories throughout the 19th Century. 

During the 20th Century America shifted into a post industrial society. Many formally developing nations are now capable of mass producing products and their wage rates are significantly lower. Transportation made it possible to reside beyond the city limits. During the second half of the 2oth century suburbia expanded and eventually the population of some major cities decreased. These are just a few of the factors that contributed to the abandonment of many mills, warehouses and factories. 

Eventually these abandoned buildings would be repurposed, loft living was one of the first adaptive uses. The loft living trend started in the SoHo district of New York in 1968. SoHo was once described as an “industrial wasteland” of sweatshops and small factories. SoHo is also home to an unsurpassed collection of 19th Century Cast-Iron Architecture. Early Historic Preservation efforts and local artists looking for affordable living and studio spaces converged. Many exceptional buildings in SoHo were preserved and loft living became a new trend. 

Artists were drawn to the SoHo area because the lofts offered large spaces for living and working. On the other hand the neighborhood had been neglected, so rents were affordable. High ceilings and large windows provided plenty of natural light, which is ideal for an artist’s studio. These spaces also offered improved acoustics and interesting structural elements, such as exposed brick. Some people choose to leave ductwork and electrical conduits exposed. The loft lifestyle has become so chic that some structures are re-outfitted for luxury living. The loft lifestyle is still pursued by artisans, but also sought out by urban professionals from all walks of life.

The lofts were only the beginning, since then these abandoned buildings from the industrial age have been morphed into restaurants, office spaces, retail outlets and a multitude of other uses. Locally we have the Steel Stacks campus, a renaissance at the former Bethlehem Steel Works. This site will serve cultural, educational and historical interests as well as the tourism, entertainment and retail industries. 

Check back in a few days for part two, or subscribe to this blog by clicking the Follow button above.

Breathtaking Beauty

Balance Chandelier - Photo courtesy of Ulla Darni

Being in the Interior Design business I have the good fortune to be introduced to beautiful things every day. I may spend the day at the Marketplace Design Center in Philadelphia, touring showrooms full of the most exquisite fabrics and furnishings. If I’m in the office, working at my computer magnificent imagery arrives daily via email and snail mail. Manufacturers, Importers and Artisans send photos of their latest products and projects. Free time is spent perusing my favorite design blogs. I don’t believe that I am jaded because I love and appreciate what I do. Being surrounded by beauty is a blessing, but there are not too many things that elicit a gasp anymore. Living in the country I am also influenced by nature’s splendor, which is tough to surpass. 

Swing Red & Gold Chandelier - Photo courtesy of Ulla Darni

Recently I received an email featuring the artist, Ulla Darni. As you can see from these photographs her work is stunning, and literally took my breath away. In less than a decade Ulla has been established as the modern master of reverse-painting on glass. A century ago, Louis Comfort Tiffany was using glass with impurities to create his unique style of stained glass. Prior to that, painting in glass paint or enamels on colorless glass had been the dominant method of creating stained glass for several hundred years in Europe. Ulla’s talent is so perceptible that she has been hailed as “Today’s Tiffany.” 

Paris Lamp Onion Dome - Photo courtesy of Ulla Darni

When she was a young woman, Ulla started her career in Copenhagen as a porcelain painter. The following excerpts were derived from Ulla’s online biography: “her luck, beauty, and vivacious personality led to a career on stage and screen.” After seven years as an actress, “Ulla moved to New York and began studying painting with renowned artist mentors at New York’s Art Student League and won prizes and recognition for her paintings on canvas.” Eventually, Ulla moved to the Catskill Mountains and began selling antiques from her home, which was also lavished with paintings by Ulla. An antiques dealer that had seen her paintings approached Ulla with a reverse painted lamp that needed repair. He sold the repaired lamp for a large sum which inspired Ulla to consider creating a business. 

Original Chandelier Number FiftyTwo - Photo courtesy of Ulla Darni

In addition to paintings Ulla creates painted glass shades for chandeliers, table lamps, sconces, floor lamps and nightlights. Similar to an authentic Tiffany, Handel or Pairpoint lamp from the Art Nouveau era, Ulla’s fixtures are supported by ornate metal bases. Ulla does the sculpture work for the cast bronze bases and one of her assistants makes the molds. Offsite an artist does the casting, another artist hand forges the iron bases and a third artist hand-blows the glass for the shades. When she collaborates with other artisans, Ulla carefully oversees every detail to ensure the excellence of the entire design. 

Vienna Thin Purple Lantern - Photo courtesy of Ulla Darni

There are several collections available. Each item in the Ulla Originals collection is a one-of-a-kind creation painted by Ulla. The Multiple Originals collection features studio painted versions of original designs by Ulla Darni. Each signed and numbered piece is executed under Ulla’s direction by her talented artists in the Catskill Mountains Studio. Currently there are thirty patterns available. Ulla’s Studio Line  is an affordable gallery of digitally-reproduced, limited edition works from Ulla. Designs have been completed and production is underway. 

Original Floor Lamp Number Twenty Five Ninety Eight - Photo courtesy of Ulla Darni

This past year I have seen two other things that I felt were visually spectacular, the world of Pandora in the Avatar Film and the Dream Garden at the Curtis Center. I was musing about just what makes these things so appealing. They share similar elements or connections, the Avatar; Ulla’s work; Louis Tiffany; the Dream Garden; Art Nouveau; Philadelphia; Maxfield Parrish and the recent film version of Alice in Wonderland. But that’s a topic for another day! 

Researching Family History Leads to the Location of World War I Gravesite

This past Memorial Day I was inspired to research the history of my family members who had served our country. My Great-Uncle, Joseph Brady Collins II lost his life during active duty, in World War I. I spent the day researching him, and after several hours I had an idea of which cemetery in France he might be buried in. To see how I arrived at this conclusion review my previous post.

The St. Mihiel American Cemetery and Memorial is the closest American cemetery to the town where my great uncle passed away. However, I was not certain that this was where he remained. During World War I, the American government had announced, that the bodies of the men who fell in France would be carried back to America after the war. At the end of the war families were given a choice to have the bodies returned home or to have them left resting in France. My Great-Grandmother decided to leave her son resting in France. I wondered if he was still buried near Toul, or if there was a possibility that he had been moved to one of the other American cemeteries. 

When I had a moment to resume the quest I sent an email to the St. Mihiel Cemetery and received a prompt reply. Bobby O. Bell, the superintendent at the St. Mihiel provided me with a link to the American Battle Monuments Commission website with instructions to click on WWI burials, and type in the name of my Great-Uncle. The link was very simple to use, and I found that my Great-Uncle is indeed buried at Saint Mihiel.

I sent Bobby another email to share my discovery and express gratitude for the kind assistance. Bobby was then gracious enough to visit the gravesite, take a few photographs, and forward them to me. It was great to discover that my cousin’s daughter, Sammi is also researching our family history. Whether blogging, or pursuing your family genealogy you never know where the path may lead and who you may meet along the way. I’m glad to have Sammi as a collaborator in family research and, it was a pleasure to cross paths with Bobby O. Bell while uncovering a piece of family history. 

Eric Cohler the Mixmaster

Eric Cohler has been dubbed the “Mix Master” because of his deft ability to blend traditional and contemporary design. Recently, I attended Eric’s presentation at the Marketplace Design Center in Philadelphia. Eric discussed his past, his concepts and his inspirations. Eric said “we all need a past to find the here and now.” I can understand how his experiences have provided a solid foundation for all of the wonderful designs he produces. By sharing Eric’s wisdom, perhaps I can help you fashion a space that suits your lifestyle in the here and now.

Since he was a young man, Eric has come in contact with a myriad of contemporary, traditional, and historic influences. Driven by a passion for design, Eric weaves contrary elements into interesting furnishings and spaces. His work includes fabric collections, carpet design, appliance design and more. 

Eric Cohler's newest fabric designs: The Lodge Collection for Lee Jofa

Eric’s passion for interior design developed at an early age. When he was just a boy of ten, a few decorating episodes on the “I Love Lucy Show” inspired Eric to rearrange the living room. His mother was an interior designer so she was not pleased with her son moving the furniture. However she left the bergeré chairs where Eric had placed them and a design star was born. 

Some contemporary influence came from the home of his great grandparents. George Keck was the architect for “The House of Tomorrow” at the 1933 Chicago World’s Fair. In 1937 Eric’s great grandparents hired Mr. Keck to design and build their Bauhaus style home. His great grandmother had stated one requirement, “I want the house of the day after tomorrow”.

The family business, Kuppenheimer Clothiers imparted a traditional influence. Kuppenheimer was a company known for quality textiles and classic taste. Eric is a trained art historian; he holds a master's degree in historic preservation from the Columbia University School of Architecture and a certificate in design from the Harvard University Graduate School of Design.

Here are some photos that illustrate how Eric Cohler pulls it all together:

The Library, at Eric Cohler’s weekend home in Connecticut. Eric used a striped wall covering horizontally to visually widen a narrow space. The textiles in this space have geometric lines for a contemporary feel, mixed with chair frames in classic 18th Century styles.

 

Bedroom design by Eric Cohler. Black and white, yin and yang, wabi – sabi… Contemporary and traditional are not the only things that Eric contrasts in a design. He likes to create frisson - friction or tension in room. Eric professes that "tension holds things together".

This vignette is from Eric Cohler’s Manhattan home. The frames used are contemporary, but the photographs being framed are both vintage and contemporary. Since childhood Eric has loved the work of David Hicks and he uses one of David’s carpet designs here. 

Hanging the artwork Salon Style is a classic technique, one that Thomas Jefferson employed at Monticello.  There is a photo of the parlor at Monticello showing artwork hung salon style, but after several attempts to obtain permission to use the photo, I have not received a reply. A special thanks to Marc Leepson at Saving Monticello, for helping me track down this photograph and trying to help me obtain permission for use. 

If you would like to see more artwork hung salon style, check out Jennifer Boles post on her blog The Peak of Chic.

As I mentioned in a previous post Eric also discussed "The Power of Passion".

Eric summed up his presentation with what I believe was the most important design concept he shared: 

“Nothing is in good taste unless it suits the way you live”.   Eric Cohler

Nemours Mansion and Gardens

Being a member of the ASID (American Society of Interior Designers) definitely has its perks. My all time favorite thing to do is touring historic homes, and last week my local chapter organized a group trip to Nemours in Delaware. This exquisite Mansion and gardens has recently reopened after undergoing a $38.6 million dollar renovation. 

Alfred I. DuPont built Nemours for his second wife Alicia Bradford Maddox DuPont between 1909 and 1910. The mansion was designed by the prestigious New York architectural firm Carrere and Hastings. The design of Nemours is loosely modeled after Le Petit Trianon, the beloved home and gardens of Queen Marie Antoinette. After Alicia passed away in 1920, Alfred married Jessie Dew Ball. The mansion was furnished over time by Alfred and Jessie. The DuPont’s procured many outstanding antiques, such as; Marie Antoinette’s musical clock, a chandelier that was Lafayette’s, and a leather chair from Independence Hall in Philadelphia. Alongside these fine antiques, there are quality pieces that were purchased at department stores. The eclectic collection of exquisite items throughout Nemours creates the ambience of a tasteful home that was lived in, not a museum of period style. For Architecture and Interior Design aficionados, Nemours is a treasure trove.

Functionality has been incorporated throughout the home. Indoor plumbing was a novelty when Nemours was built; however, the bath suites feature walk in showers as well as soaking tubs. Even the workout room in the basement is equipped with two shower stalls. The bowling alley converts to a home movie theater and is adjacent to the shuffleboard room. Cork flooring was used in the kitchen for the comfort of the staff. Cork flooring was also used in the billiards room in the areas surrounding the tables. Attesting to the durability of cork, the original material is still in the billiards room, the kitchen floor was replaced in 1970 and has served through forty years of tourist traffic.

As a boy, Alfred worked in the powder yard of his family’s gunpowder business. As a young adult, Alfred was running that business, and he invented machinery to accomplish things in a more efficient manner. His hands on training gave him a clear understanding of the processes required to run the mill. His education and skills gave him the ability to mechanize those processes. This passion for mechanics is also apparent in his home. Alfred designed machinery to produce ice, an apparatus for carbonating and bottling water from the springs on the estate, and many other devices. The electricity for the home was provided by a diesel fueled generator. In the furnace room you will also find two large hot water heaters. Alfred was prepared for mechanical problems; if something broke down he had a back up. Alfred’s mechanical spaces are also immaculate; the boiler room is cleaner than the average kitchen. For guests that appreciate ingenuity, there are a lot of interesting things at Nemours. 

Indoor photography is not permitted, but on the balcony and when touring the gardens you may take photos for personal use. From Mrs. DuPont’s suite you can step out onto the balcony and enjoy sweeping views. This photo overlooks the Southern Gardens. The Parterre or Boxwood Garden is the first of three garden rooms that compose the Southern Gardens. 

The servants’ wing is also visible from the balcony.

The conservatory is an interior space, so I was unable to photograph the walls covered in trelliage; however, the treatment was continued on this exterior wall.

Our docent pointed out that the fresh arrangements are created using floral and plant material gathered from the gardens. The hall was graced with a single Magnolia grandiflora bloom that sumptuously perfumed the room. This photo was taken of the magnificent tree from which the bloom had been cut.

When you step out of the mansion’s main entrance and descending into the gardens, you are walking through a series of garden “rooms”. First you see the Vista and the Reflecting Pool at the bottom of the stairs. Beyond the Reflecting Pool you catch a glimpse of the gilded statue, which stands at the center of the Maze Garden. The Colonnade creates a background for the scene. 

The Vista is also known as the Long Walk, each of the urns that line the Long Walk contains a small fountain.

The rowboat that floats in the Reflecting Pool is a reproduction of the 15-foot Whitehall that Mr. DuPont kept there. The Reflecting Pool holds 800,000 gallons of water. The fountain in the center is composed of 157 jets arranged in a 40-foot diameter. 

The Colonnade, built as a memorial to Pierre Samuel DuPont de Nemours and his son Eleuthere Irenee DuPont. The pair of red marble urns are from one of the many palaces of the Austro-Hungarian emperor Franz-Joseph.

After passing through the Colonnade you arrive at the Sunken Garden. The view looking down upon the Sunken Garden, and across the lake to the Temple of Love. The temple is a reference to the gardens of Le Petit Trianon, which also culminate in a small, round temple style garden folly.

The Mansion was closed for a three year period. During that time curators, conservators, and craftsmen were busy with a number of projects. Electric wiring was upgraded; sprinkler systems and climate control were installed. Paint colors were returned to their original brighter colors; window treatments and some of the carpets were reproduced. Fortunately many of the original oriental carpets are still intact and on display throughout the mansion. In the gardens, landscape material has been pruned, removed or replaced to restore them to their original grandeur. 

With the majority of the restoration work completed Nemours literally sparkles as brightly as gold. One of the projects restored the statue “Achievement” by Henri Crenier. Paint has been removed and 23 karat gold leaf applied to restore it to the original splendor.

Restoration work continues, but the mansion and gardens will remain open during the completion of the remaining projects. The greenhouse is slated for repair in the coming year and other out buildings will also receive attention in the future. One of the stipulations in the will of Alfred I. DuPont was that his trustees maintain and preserve Nemours Mansion and Gardens “for the pleasure and benefit of the public”. 

In celebration of the Beatles 50th Anniversary: Century Furniture embraces Beatlemania with unique furniture design

The Beatles at the Indra Club 1960 - More photos at The Beatles Source

It was August of 1960 when a group of extraordinarily talented musicians from Liverpool settled on the name for the band. John Lennon formed the group in 1957 with some school friends, and later that year Paul McCartney and George Harrison joined. The early years were shifting with various band names and band members. The initial name was the Black Jacks, which was quickly changed to the Quarrymen. They recorded a demo and continued to perform as the Quarrymen until early 1959. In 1960 John, Paul and George were joined by bassist Stu Sutcliffe and drummer Pete Best. It was suggested that they change the band name to the “Beetles” as a tribute to Buddy Holly and the Crickets. They became the “Beatals” for a short time and went through a series of name changes that included “Long John and the Beetles”, “Silver Beetles”, “Silver Beats” and the “Silver Beatles”. They finally settled on the “Beatles” that August, and the most famous band in history was born. The Beatles abandoned their jobs and schools in Liverpool and went on to Hamburg. As the Quarrymen they had played at the Casbah Coffee Club and the Cavern Club. The first venue they played as the Beatles was the Indra Club on August 17, 1960. 

To mark this event Century Furniture has designed this seating piece which they describe as follows:

In celebration of the 50th anniversary of one of the most legendary bands in history, Century Furniture embraces Beatlemania this spring. More than simply a band, the Beatles united countries, races and people of all walks of life. Their legacy—the ideals of peace, love and acceptance—resonate just as strongly today as they did during the social and cultural revolution of the sixties.

Paying tribute to their anniversary, Century marries an iconic Beatles tapestry to the graceful and simple lines of their Mendocino settee, itself an eco-friendly sustainable frame with soy based cushions. This marriage embodies the social consciousness that the Beatles embraced and creates a piece of memorabilia that would complete any Beatle maniac’s collection. 

Michael, of Fab 4 art helped me determine which photograph was used to create the tapestry. The photo was taken during the Sergeant Pepper’s Lonely Hearts Club Band photo shoot. There is a very interesting story behind this photo shoot and the process to create the album cover. On the cover, the images of many notorious people create the background crowd. Study those images and you will find May West, Bob Dylan, Marilyn Monroe, Karl Marx, Oscar Wilde, Shirley Temple, Lawrence of Arabia and more. The cover of Sgt. Pepper's was designed by Peter Blake and the photo shoot took place at Chelsea Manor Photographic Studios on March 30, 1967. Both Fab 4 art and The Internet Beatles Album websites provide detailed insight on the album cover.

This unique furniture design tells a story and celebrates history. The most successful home interiors become sanctuary for the family that lives there. Spaces are welcoming when they surround you with things you love, reflect your passions, evoke memories or transport you to another time and place. 

What do you think of this settee? Is there a place in your home or business where you can imagine this?

How was the name "Fonthill" Chosen?

If you follow the Architect Design ™ blog you have probably seen at least one of his excellent posts on Fonthill Museum, Mercer Museum, and the Moravian Pottery and Tileworks. This Spring the traveling architect visited Doylestown in Bucks County, PA and toured all of the Mercer sites. His series of posts are packed with great photography and a wealth of information. In this post dated April 20, 2010 a guest poses a question in the comments section. “How was the name "Fonthill" Chosen? Is there any relationship between the choice of this name to William Beckford's legendary Fonthill Abbey, with it ever evolving towering Spire?” 

In the Entrance Hall at Fonthill Museum there is a display case full of interesting items. There are copies of many original Mercer documents, photographs of Henry at various ages, a page from the guest registry at Fonthill, sketches and pages from Henry’s notebooks. These two pages give us a glimpse into Henry’s ideas for naming his castle. 

I added a red arrow to this document to call your attention to one particular comment “Fonthill abandoned because of similar names in England & America”. Henry Mercer’s castle is located on a hill and natural springs are abundant throughout the grounds. You can see from the list of possible names that hill, water, spring and font are repetitive. Font means spring, choices such as Springhill, Fonthill, Northwell, and Hillwater seemed to keep recurring to Henry as describing the essence of the property. Although it was initially abandoned, in the end he returned to the name “Fonthill”. 

 The Spring House at Henry Mercer's Fonthill 

Construction of Willliam Beckford’s Fonthill Abbey was begun in 1795 near Hindon in Wiltshire, England. In Aberdeen, Scotland there is a bed & breakfast named Fonthill. In Ontario, Canada they have a town called Fonthill. There are also two estates in the United States bearing the name. Robert M. T. Hunter’s estate “Fonthill” was built in 1832 in Essex County, Virginia. He was known for serving as United States Senator, Confederate Secretary of State, and a Confederate States Senator during the Civil War. In the year 1847 Actor Edwin Forrest purchased farmland overlooking the Hudson River, in the Bronx neighborhood of Kingsbridge. He had a castle built for himself and his wife Catherine to reside in. Forrest chose to name the property Fonthill after William Beckford’s Fonthill Abbey. Construction of Henry Mercer’s Fonthill began in 1908.

 The Gazing Pool at Henry Mercer's Fonthill

By the way, the “M” in Robert M. T. Hunter stands for Mercer. Henry Chapman Mercer’s father had family from Maryland and Virginia. I wonder if there is a connection. Does anyone out there know if there is a relationship? Does anyone know of any other estates or castles named Fonthill?

 This stream feeds in to the gazing pool shown above

The water flows out of the pool and intersects with another stream in the woods

One of Henry Mercer's concrete bridges crosses a stream