Curious Curator: The Great Opera Series

In the course of any discussion about Parkwood and its history, Adelaide McLaughlin often comes up. People tend to fixate on her and her background and how she rose to become a leading socialite and hostess of business and social functions afforded by the McLaughlin status and lifestyle. I am often asked how ever did this farm girl born and raised in Brougham, (north Pickering, Ontario) succeed among society and the snobbery that she would have encountered and perhaps, been blocked by, everyday.

Truthfully, I do not know how she endeavoured past the restrictions of a late 19th and early 20th class structure, but I have my guesses. Don't forget that out of the two, between Sam and Adelaide, Adelaide actually had the more paper-based education.  Adelaide left the Kinsale/ Brougham area to attend teachers college in Ottawa prior to meeting Sam McLaughlin. She acquired her teaching certificate and taught in a typical Ontario school house, as many young women did as the nation grew.

She gave up teaching when she married Sam McLaughlin but her teacher self is still evident in the artefacts and archives that we hold. I see her crib notes as she studied many different aspects; from nature, to biblical references, to hiring and running a household staff. I see her scrapbooks where she clips information about the latest medical advances, and political rhetoric of the times, including the role of education inside and outside of the home. She makes notes on the current ( her current) curriculum discussions, highlighting and using quotations and facts in her speeches that she made as president of the Ontario Home and Schools Movement.



ALM signature on flyleaf
Below our accession #
Historic library notation for Parkwood Library bottom left

The Parkwood household library affords many clues on how Adelaide "succeeded", as queried.  I am going to draw your attention to five volumes of books under the series title; The Great Opera Series.  These approximate fifty page volumes, provide the necessary information to assist any novice attending an opera understand and follow the program. Beautifully illustrated drawing one into the story, the book provides a comprehensive discussion of the cast, the history behind the story itself, and the break down of each act. Once the reader is familiar with the story line and authentic history to the opera, the reader is then taken on a journey of the music used throughout the program, encouraging the reader to note the undercurrent and the emotions which the music should evoke at key plot lines of the story.


The short answer to Adelaide's success, she was not a fool, she prepared.

The Great Opera Series books that line the Parkwood Library shelves are: The Meistersingers by Wagner; Lohengrin by Wagner; Cavalleria Rusticana by Mascagni; Carmen by Bizet; Madame Butterfly by Puccini.  All of them are written by J Cuthbert Hadden (1861-1914) who was a prolific writer in his time, including contributing content to many well known volumes of music history.

The rather more interesting aspect is with regards to the illustrations, which are stunning as noted above.  For the longest time, I could not figure out who the illustrator was, as they are unnamed on the volumes. The only clue is on each picture in the books, a small block print with the initials SB. SB turns out to be John Byam Liston Shaw known as pre-Raphaelite- inspired, Byam Shaw 1872-1919). An Indian born, British painter, Shaw is known as a painter, illustrator and design teacher. When his popularity as an artist waned, he turned to teaching, and in 1910 formed the Byam Shaw and Vicat Cole School of Art later renamed simply the "Byam Shaw School of Art"

With the outbreak of WWI, Byam Shaw enlisted in the Artist Rifles", producing was cartoons and memorial commissions, just like many of the Victorian and Raphaelite inspired artists of the day, if you can recall the November blog about Holly Leaves.

Byam Shaw was a casualty of the 1919 influenza epidemic.

Visitor Experience Ambassador Musings

The last 2 months I have spent as a guest experience ambassador have been an incredible experience. I have had the opportunity to work on various projects that involved all staff here and help plan events, work with tours, develop a way to use technology in some Parkwood tours, and much more.

The Victory Garden Party turned out to be a huge success and had a great turn-out! It was great to see everyone take on the 1940s look and learn about the local involvement in WWII. Thanks to everyone who helped and was involved!!!

Recently I’ve been working with Alyssa on some housekeeping duties that are rather not too common such as trekking to the third floor and cleaning the skylights. For those afraid of heights, it may not be the most ideal job! Also, I’ve taken on the task of sorting out our archives and searching for information for Samantha. Having the opportunity to go through the archives was incredible as I was able to look into parts of Parkwood that I have not seen before.

 

Next time you come to visit Parkwood, ask for a garden tour too! One of my projects was integrating tablets in the garden tour, and very soon we will have these tablets with some of the guides to use as a tool to show archival images of the gardens. I'm excited to start hearing feedback about the use of the tablets on tours! Fingers crossed that they are a success!

Although my time with this particular position is almost officially over, I still plan to work on some of my ideas and continue with some of my "projects" for Parkwood.

 

Curatorial Comments: working so closely with Alanna over these last 8 weeks has been a joy. Her enthusiasm for Parkwood, and historic research is inspiring. All too often, one can become complacent about Parkwood, due to maintenance woes, or grant writing. Having keen interns like Alanna and John, who find the treasures in the most interesting places, has invigorated not only myself, but the other "oldies" on staff.

Curious Curator: The Art of the Breakfast Tray

Breakfast in bed. The idea of it evokes relaxation and indulgence. I have never really given the practice much thought and then the other day we were reorganising some of the household china in the servery and we came across the muffin dish and lid or muffiner as some lexicons reference them.
To the casual glance and perhaps unknowingly, these items, leftovers from the Victorian fervour to create utensils and plates for every possible purpose (grape snips, ice cream slices, butter forks, aspic spoons, cake crumbers, bon bon scoops, bacon forks, tomato spoons), one thinks the domed plate alarge butter dish, but that is incorrect.

This is the muffin dish with lid, and it was a must have in any well appointed home where breakfast was had (aka served) in bed. The idea of the presentation was that the muffin, crumpet, scone, would be warmed in the kitchen and the household maid would present the item on the breakfast tray still warm.

Julian Fellows captures the art of the breakfast tray with wonderful wit, candour and subtlety in all his period pieces, and rather than go on about Downton Abbey, yes a favourite of mine, I would like to reference a scene in his earlier country house presentation Gosford Park. Ignore the narrative, just watch the tray presentation. You will get to it at about the :24 mark.

http://www.metacafe.com/watch/an-CepH2b27Jh2nm/gosford_park_2001_morning_trentham/

 

In 1922 Emily Post had a great deal to say about the Breakfast Tray and how it should be presented; please take note of the covered dish,

PREPARING BREAKFAST TRAY   The advantage of having one’s guests choose breakfast upstairs, is that unless there is a separate breakfast room, a long delayed breakfast prevents the dining-room from being put in order or the lunch table set. Trays, on the other hand, stand “all set” in the pantry and interfere much less with the dining-room work. The trays are either of the plain white pantry variety or regular breakfast ones with folding legs. On each is put a tray cloth. It may be plain linen hemstitched or scalloped, or it may be much embroidered and have mosaic or filet lace.	90
Every bedroom has a set of breakfast china to match it. But it is far better to send a complete set of blue china to a rose-colored room than a rose set that has pieces missing. Nothing looks worse than odd crockery. It is like unmatched paper and envelopes, or odd shoes, or a woman’s skirt and waist that do not meet in the back.	91
There is nothing unusual in a tray set, every china and department store carries them, but only in “open” stock patterns can one buy extra dishes or replace broken ones; a fact it is well to remember. There is a tall coffee pot, hot milk pitcher, a cream pitcher and sugar bowl, a cup and saucer, two plates, an egg cup and a covered dish. A cereal is usually put in the covered dish, toast in a napkin on a plate, or eggs and bacon in place of cereal. This with fruit is the most elaborate “tray” breakfast ever provided. Most people who breakfast “in bed” take only coffee or tea, an egg, toast and possibly fruit"

 

Emily was so very adamant about the breakfast tray appearance, she included a picture for the well informed woman to follow. 

Breakfast trays were exclusively a female practice and rarely did men order a breakfast tray unless they were in bed ill or recovering from an injury. Emily Post references who and how the tray arrives in her 1922 etiquette edition,

"Breakfast trays for married women guests are usually carried to the bedroom floor by the butler (some butlers delegate this service to a footman) and are handed to the lady’s maid who takes the tray into the room. In small houses they are carried up by the waitress."  ( Note to reader: single women eat at the Breakfast Table)

 

Anthropologist Kaori O'Connor has looked at the practice of English men not receiving breakfast in bed, and she has this theory, "For the British well-to-do male, this buffet-style meal ( the Parkwood Breakfast Room demonstrates this) was fortification enough for a day of country pursuits, hunting, shooting, or fishing." She continues to look at the emergence of the English Breakfast,  "A breakfast of this size at 9 in the morning allowed men to spend the rest of the day on horseback following hounds, shooting game, or fishing for trout or salmon (the famous trio, hunting, shooting, fishing, pastimes of the country gentleman). All they needed was a picnic.  Dinner became an evening meal."

 



Individual coffee pot
Perfect size for the tray



Back to the Parkwood Muffin dish with lid, because I know I shall be asked.

The pattern is called Shelley Blue Rock and is bone china. The hallmark on the back suggests a production date between 1940 and 1966, so certainly 20th century, and certainly a lovely set to eat ones breakfast from while in bed.

 

 

How does your breakfast tray hold up against Emily Post's requirements of 1922?

 

 

Stromberg-Carlson Radio, Sam McLaughlin and June 6

Stromberg-Carlson Radio, Sam McLaughlin and June 6

While we relish in the beauty of this weekend, seventy one years ago; RSM, family and servants would have been listening to the radio reports, like every other day, but these days were a little different. The reports out of Europe regarding the invasion of the beaches of France by the allied forces would have been worrisome, a cause for anxiety and perhaps a little glimmer of hope would have been offered when listening in real time. The events known to us as D-Day, RSM would have been in the library of Parkwood, listening to the report on his Stromberg-Carlson “art case” radio, outfitted to the disguised speaker located behind his desk. 

BBC Report, 1944

The staff and volunteers of Parkwood NHS will be showcasing our amazing site to the Garden Writers and Bloggers of America this weekend, but we will not lose the opportunity to interpret the significance of radio and radio broadcasts bringing WWII into the homes and hearts of those on the Home Front.

Originally founded in 1894 to manufacture telephones, the Stromberg-Carlson company also produced radio components, and began selling their own complete sets during the early 1920s. By that time, the radio craze had fully absorbed the American public, and radio pioneer RCA was cornering the market after scooping up over 2,000 broadcasting-related patents.

Stromberg-Carlson entered the field by making smaller parts for tube radios. Eventually, the company applied its telephone-audio expertise to develop a successful line of radio headsets. In 1923, the company was licensed to produce the “Neutodyne” radio circuit designed by Dr. L. A. Hazeltine. Stromberg-Carlson’s first set came out in early 1924, and the company steadily grew its radio production, eventually requiring RCA licenses for several products.

In 1926, Stromberg-Carlson became the first manufacturer to merge phonograph and radio technology by incorporating a phonograph jack into its radio chassis. By the end of the decade, Stromberg-Carlson sold sets with fully integrated radio and turntables technologies, and the company’s radio sales surpassed that of its telephones.

The 1930s represented boom years for Stromberg-Carlson’s radio development, as it introduced new modifications like automatic volume control, improved amplifying methods, and an early push-button tuning mechanism. Ads from the late '30s emphasize other innovations, like the unique Stromberg-Carlson “acoustical labyrinth,” a complex baffle design which improved sound quality by guiding audio waves through a series of interlocking chambers, and its “Te-Lek-Tor” series, which included remote-control capabilities. “Let your dealer arrange an audition,” was the brand’s cheeky slogan, emphasizing its reputation for superior sound quality.

Over the next 20 years, Stromberg-Carlson created an array of gorgeous Art Deco inspired designs, from the sleek, ivory-colored 140-K console to the tabletop 225-H with its floral-patterned speaker grill and octagonal dial. After the company’s merger with General Dynamics in 1955, the business was restructured to focus production on telephone products, and its radios were discontinued.

 

Stromberg-Carlson info from Collectors Weekly magazine.

 

 

Visitor Experience Ambassador, Further Thoughts of Alanna

June has finally arrived and I'm super excited for what is to come this summer at Parkwood. For recent visitors, you may have noticed something new across from the Carriage House. Recently we hung up a clothes line by the back entrance to the recreation wing of the mansion with some snazzy swimsuits hanging off of it. Based on archival photos and videos, we figured out there was a small line hung between these pillars for the swimsuits after family and guests used the indoor pool. Hopefully this line contributes to reinforcing the residential image of Parkwood.

 

Alanna introducing our new "summer line"

Also, I've been working on trying to help "modernize" Parkwood through using technology on tours! I've been working with Samantha on putting together archival photos of the grounds onto a tablet to use during guided-garden tours as a reference as well as provide guests with an idea of what the gardens looked like prior to the changes and redesigns. These should be out on garden tours very soon!

I've also been doing lots of research in preparation for our upcoming Victory Garden Party. I feel like Parkwood's self-proclaimed expert on 1940s tattoos and soap. As we approach the warmer weather, we are picking up the pace and are ready for summer! 

(Curatorial notes from Sam: I am enjoying how enthusiastic Alanna is about her historic research and her current proficiency on knowing everything there is to know about tattooing and soap rationing in WW2)

Heritage Preservation Assistant, Paint, John's Thoughts

I am back for my second season as a painter at Parkwood NHS. I am also an interpreter, providing tours, at the Estate,  when not completing paint projects. I have found that my position as a painter has given me an unique insight into the building/structures on the property, as it as forced me to carefully inspect the property, observing and appreciating the fine details of the construction of Parkwood.  As I return to my second summer at the Estate, with a renewed sense of confidence and vigor, I am pleased to be back, meeting with senior staff, mostly, Brian and Samantha,  about paint colour selection and techniques, and Alanna, to select and highlight what her concerns are, as the summer season Guest Experience Ambassador.

Our early focus has been the business office porch, which historically, was the domain and entry of

the house staff, and Curator Sam is anxious to reinstall the clothesline, for interpretation reasons, telling part of the Estate story which has been lost or ignored since 1972.

I have also been busy at the Teahouse Restaurant, as we get ready for the season opening, next week, on June 1.

I'll be checking and posting on a somewhat regular basis, as the projects keep rolling out.

Visitor Experience Ambassador, Alanna's Thoughts

For two months this summer I have been given the opportunity to work with Samantha as a Guest Experience Ambassador. This means I have to try and look at Parkwood from the guest’s perspective rather than the tour guide. Imagine making that switch after working here for just over 5 years! I thought it would be a little tricky to do, but it turns out that by being a tour guide, I have the opportunity to witness the guest experience through giving tours of the property and being in the gift shop. What I have learned from this has helped me to look at ways of improving guest experience and addressing different things to help make Parkwood even better. I love being able to give tours and take people on a walk through history and I also love being given the opportunity to try and develop new programs and approaches to how we run things here too. Ask the staff, I get way too excited for garden tour training and cleaning windows. In the last two weeks alone, I’ve helped plan and organize for our upcoming Victory Garden Party, work on some preventive conservation aka housekeeping with Alyssa, research parts of history that I never really knew much about, fought technology (and won!), and so much more. I find I’m digging deeper into the history of Parkwood, learning more and more about the property that I never knew.

For example, did you all know that the Oshawa Generals hockey team was created by R. S. McLaughlin? The original team was composed of all GM employees! I’ve been telling everyone about that. I’m excited to contribute more ideas to Parkwood and I hope that my experiences help to improve the experiences of others!

My highlight this week: Finding and watching WWII propaganda films that were produced by R.S. McLaughlin (on our YouTube channel). They are simply a delight to watch! Check it out!!

Curious Curator:July 1941 Cap-Chat, Quebec

Cap-Chat, Quebec was RS McLaughlin's private fishing camp along the Gaspe Peninsula, a 39-mile stretch along a "salmon river", which the McLaughlin Family frequented several times a year.

It is documented that Cap-Chat was one of RSM's most favoured locations, and this statement may be accurate, if one takes a look at the murals in the Billiards Room, by Frederick Challener, and how the images that flank the fireplace, capture and tell the Cap Chat story in a prime real estate location.
Several years ago, I was fortunate to make the acquaintance of the Cap Chat Historical Society who had in their possession the "McLaughlin Camp Kills Ledger" from the mid thirties through the sixties, when the family and friends/guests frequented the camp.  Through museum and heritage minded courtship, a copy of the ledger was swiftly provided to Parkwood and what a gem it is!

The ledger not only provides insight into the successes, and failures, of fishing seasons, and skill sets, but also provides a glimpse into the entertaining and friendship stories of the McLaughlin's. The names listed provide another layer of rich commentary upon the images that the photographs in the archives tell us, along with some of the interesting remarks, that are notated on the right side of each page in the ledger.


Today, I am going to share with you four days of the July 1941 page. A little glimpse into how some of my curator days, where and when I have a few hours away from other museum duties, I delve into the names on these pages, and begin to research, analyse and ponder through the information I can gather, the stories of how the hours and characters played out on the banks of the river.

July 5 through July 9, 1941 saw RSM entertaining; RCH Cassels (typed Cassele on the page); J. Lyle and A.E. Dyment during their visit and it appears they have a very successful time in the various pools. Sounds like a great trip! Shall we look at the guests visiting? 

John Lyle, architect- John Lyle was an architect that RSM had hired through the late 20s and 30s to work on the Parkwood Art Gallery space, the Formal Garden and his second bedroom suite. I found it interesting that Lyle was a guest of RSM to Cap Chat during this period.

RCH (Robert Cecil Hamilton) Cassels*- Barrister and President of the Royal Canadian Golf Association  * no photograph found


A.E Dyment- politician, lumber baron, stock broker founding, Dyment, Cassels and Company.  His brief bio, compliments of DBS Heritage Biz website;

"Dyment quickly established himself in the elite of Canadian business circles. By 1915 he was Vice-President, Canadian General Electric Co.; Director, Royal Bank of Canada, Dominion Sugar Co.; Vice-President, Maritime Coal, Railway & Power Co.; President, Dyment Securities, Loan & Savings Co.; and Vice-President, Canadian Theatres, Ltd. In 1925, he became chair of Canadian General Electric, a post he held until 1941. Dyment also went on to become vice-president of the Royal Bank of  
                        Canada. (red highlights indicate the companies RSM sat as a director, also) .Dyment was winner of four Kings Plates
Albert Dyment became a director and ultimately president of the Ontario Jockey Club,  serving in that capacity from 1924 to 1942 and then as honourary president from 1943 to 1944. 
The pinnacle of Dyment’s sporting career came during the Royal Tour of 1939. As President of the Ontario Jockey Club, it was his privilege to escort King George VI and Queen Elizabeth to the royal box for the 80th running of the King’s Plate at Woodbine."  Top Stockbroker in History

Nora Underwood, in her 2001 article on the McLaughlin Foundation, A Driving Force, references that it was at Cap-Chat where RSM developed his idea for the creation of the McLaughlin Foundation in 1951, and I have to wonder how many other ideas saw their fruition at Cap Chat, especially with such an interesting array of minds gathering.

When I delved further in the 1941 pages, I see that after John Lyle leaves the party, another architect, this one located in Montreal joins the group.  This makes me wonder if RSM is thinking projects, perhaps the family mausoleum project at Union Cemetery is on his mind. This project is eventually awarded to John Lyle, but it is a curiosity.

 

 

Curious Curator: Framed Delft Tiles

Most can recognise a delft tile upon looking at one and generally understands its historic link with the Netherlands. That is almost a given with any of the typical blue and white pottery the world has come to identify as Delft. Many will also know that its inception was the Dutch answer to the craze Europeans had for the Chinese porcelain that was arriving on the docks in the 17th century thanks to the rising middle/merchant classes emulating the upper classes and the Dutch East Indian Company.  Essentially, delft is pottery covered in a glaze containing tin oxide which is white, shiny and opaque.
The pottery underneath is usually red or brown earthenware. Delft pottery received its name from the factory which it originated in the 17th century in Delft, Netherlands, however, delft style is also applied to wares of similar nature made in 17th & 18th centuries in London, Bristol, and Liverpool.

 At the estate we have two framed Delft tiles on exhibit. Rarely are these noticed by the casual visitor who is often busy listening to the interpreter, however, there they are, affixed to a wall.  One depicts the Temptation of Adam by Eve, the other the western love of all "orient" exotic, an Arab gentleman sitting on a river bank with a city in the background.    If you look closely at the tiles, you can see some pitting is occurring in the tin glaze, leading to loss in various areas.  In some cases exposing the base earthenware or biscuit, as the tile base is called.

 

What may be further appealing is the notation on the back of the tile, on what looks and feels like a butcher paper used as framing paper applied to the back of the piece, 

"Taken from a house in Middelsburg, Holland. Said to be 250 years old. Given by Mrs Victor Ross to Mrs R.S McLaughlin, Xmas 1939"                                                                 

Noting the interesting claim of provenance, but also the deteriorating backing, I set about to take action on researching the history of these tiles and preserving the written note, in Adelaide McLaughlin's handwriting.   

MY PROCESS:

       

Step 1: The first step was to remove the butcher paper which

scored very high on the acidic level in a pH test

This exposed the grey felt

Step 2: Removal of the felt pad. This came away with ease, as no adhesive had been used,
historically. Pressure mounted, the years of being under the butcher paper had allowed for some of the fibres to adhere themselves to the rough tin glazing of the back, but these came away easily with a natural bristle brush



Step 3: The exposed tile with the opaque tin glazing.
How a biscuit tile is made: the earthenware biscuit is dipped into the tin glazed mixture; baked. Once dry the image is stencilled onto the front of the tile; using charcoal and a dot method. An artist connects the dots and adds any additional elements; baked a second time; polished for market.

 

Step 4: When I removed the butcher paper backing, I reinforced the inscription with pH neutral document repair tape. I opted for this method due to the fact that the inscription was being replaced onto the fresh backing I was creating for the tile/frame. If this had been a stand alone piece, or visible and not for posterity against the wall, I would have used the Japanese tissue and wheat starch method to mend the areas of loss.

Step 5: Acid free and lignin free tissue backing replaced the previous butcher paper. This was applied to the back of the wooden frame that encapsulates the tile with an inert adhesive. The condition of the wood frames are decent, showing no evidence of wood rot or insect damage. The butcher paper inscription is applied, with an interface between the acid free tissue and original butcher paper due to the high levels of acids in the butcher stock.  This is affixed with inert adhesive.



What did I learn about the delft tiles within our collection?  Lets take a look at the inscription once again. 

  "Taken from a house in Middelsburg, Holland. Said to be 250 years old. Given by Mrs Victor Ross to Mrs R.S McLaughlin, Xmas 1939"   

Taken from a house is Middelsburg & said to be 250 years old- the Parkwood delft tiles are not vivid blue and white, but rather purple brown manganese. The use of purple brown manganese for delft came into vogue in the 18th century and was widely used for tiles portraying biblical figures. Purple Brown Manganese delft tiles most often originate in the Bristol factories. Date, 250 years old in 1939- maybe an exaggeration by a few years.(??)
Originating in Middelsburg?- Middelsburg is reknowned for delftware, but actually did not have a huge part in manufacturing the tiles. This is a legend that may stay a legend, as I cannot prove or disprove any further.

Who was Mrs Victor Ross- this was a wonderful curatorial discovery, from my perspective.

Victor Ross, originally from Walkerton, Ontario, went from financial editor of the Globe to becoming the VP of Standard Oil in 1919. In 1922, now living in New Jersey,  Mr. & Mrs. Ross purchased a summer home in Pickering Village, Clarendon Woods, a 18 bedroom English country style manor, originally built and owned by Lord Hyde and Lord Somers.
Readers may recognise the property today, as the Manresa Retreat of the Jesuit Brothers.

When Victor Ross died, he was President of Standard Oil and Vice President of International Petroleum, a likely friend and guest of the McLaughlin Family, and giver of delft tile gifts in 1939.

                                                                                                    

                                                                                                                                                                        

 

      

Parkwood Spring Cleaning aka Preventive Conservation Work Part II

Reflections of Alyssa:

Since the beginning of our annual spring clean, I have had the opportunity to dabble in a few different tasks alongside the volunteers including sheer washing and silver polishing.  Then last week during reading break Samantha asked Mariah & I to come in for ceiling and chandelier cleaning. The scaffolding arrived on Monday and we set out to not only clean but explore a part of the house we never get close enough to. Now I have cleaned quite a few different places in the estate but this was my first scaffolding experience. With that comes my first time up close and personal with all the details so naturally I had questions. And if you know me, you know that is nothing new. Questions are my favourite

 

 
Once the first section of the hallway was done we had created a flow and rotation of the instruments. First we used the longer brush to dust the surface than the smaller brush to get at the detailing in the ceiling. The Q-tips were for cocoons or smaller spaces that we thought needed a bit more attention. The last part of our process was the sponge that picked up dust and dirt from the flat surfaces. We started by the front door of the mansion cleaning all the corners, tops of the door ways and chandeliers ending in the dining room.

Like I said above this was my first scaffolding experience and I would have to say it was an interesting one. Usually when I do things over and over again I begin to feel more comfortable with it, but I found working on that scaffolding a bit more difficult to adjust to. Feeling this way lead to discussing it with my cleaning partners which lead to all sorts of questions, naturally! First off, 80 years ago who would have been doing this job? How would they have reached these high parts of the mansion? Would it have been a man or a women up on, say a ladder? What would they have been wearing? Ladders and dresses sure would not have mixed 80 years ago and would have made the job quite difficult. Although dusting would have been the housekeepers job, something like the chandeliers would have been done by a household valet or maintenance man.

The Integrated Pest Management program is a very important aspect to the preservation of Parkwood. Pest management means putting out phermone traps and keeping track of the insects that may have made their way into the mansion. If insects are found than they are dealt with by our Curator. To be honest this job can be a bit overwhelming sometimes with 15, 000 square feet of heritage to cover. It may not seem like a huge deal to have a few insects hanging around, but in reality certain types can do a lot of damage to the collection of artifacts because they will eat wood, wool, leather and even sizing (ink). Whenever a project like this is happening pests are always on our minds. Prior to the beginning we had discussed the fact that we may come across cocoons or spider webs. I was expecting to find more cocoons in the areas we were cleaning but we only found three. While removing dust from the chandeliers we started to find a few lady bugs and than I realized that they were not all lady bugs but actually a form of beetle which is called “varied carpet beetle”. All the insects were dead, but the larvae stage is when they do the most damage. This raised further concern since we dealt with a carpet beetle issue in the Billiard Room several years ago.

 

One of my favourite things about Parkwood Estate is that there is always something “new” to discover if you just take the time to see it. On a regular basis I find things I have not noticed before and always end up discussing it with my colleagues. What was so great about being up on the scaffolding was that I was able to explore a whole different section of the house. Details that I had not seen before because they were either too small or hidden. My favourite discovery was the detail in the hallway that was hidden in a crevice that connected the front hall to the side hall. The only way I noticed it was when I stuck my head in crevice to do some dusting. It fascinates me that an area not on display would be decorated like the rest of the hallway. So much time and effort went into this section of the hallway that no one really gets to see, now why would anyone do that? Was it originally built that way or did the McLaughlins' add to it as time went by?

Another interesting part of the hallway is the mural, the Enchanted Wood, by Fredrick Challener. If you have been to Parkwood you know exactly what I am talking about. It has a few family members in the main panels but all around the room is nature, animals and LOTS of birds. Well when we were cleaning the tops of the door way leading into the serving galley we noticed birds that live behind the exit sign.  Finding detail like this is what makes these mundane jobs much more fun.

A few more photos show parts of the dining room ceiling that are absolutely beautiful but no one ever gets close enough to really appreciate it. For example, the trim around the room that is attached to the silk damask covering the walls. From a standing position we notice it is a gold colour trim but when you get closer you begin to see the intricate work that was put into the creation of it.

Throughout this whole process I have not only cleaned and dusted but I had the opportunity to explore a new section of my favourite National Historic Site. With this process also comes the responsibility of protecting the artifacts and the estate itself including walls and doors. The moving and positioning of tthe scaffold could we had to be wary not only for our safety, but also  for the safety of the Estate. Being close to the silk damask walls or the mural in the hallway or even the paintings in the dining room means you have to be very careful, it’s not just a quick and easy dusting duties.  

Mariah spending time with RSM

Additional commentary from Samantha: Alyssa has been working at Parkwood NHS for the last few years in a variety of capacities, most recently as a preventive conservation tech or housekeeper in lay terms, although our housekeeping is very different from what one would define as housekeeping. She is able to reflect on some of the general preventive practices that she does routinely, integrated pest management, monitoring relative humidity and lux levels in terms of light and light damage on textiles while working away on the ceiling and chandeliers.  I am able to comment on her statement that she loves asking questions, which is a genuinely superb attribute since she is a sponge absorbing information.



 

 

 

Spring Cleaning aka Preventive Conservation Work at Parkwood

Reflections of Mariah:

This week I was given the task, along with my partner in crime/co-worker Alyssa, to give the upper half of the estate a little TLC. As mundane as that may sound, you may be surprised to learn that the ceilings are just as, if not more, intriguing than the grandeur of the main level. Several feet suspended in the air (via scaffolding) I discovered a whole new world. Parkwood Estate is known for its incredible architectural detail, and this week I was able to confirm it extends literally from floor to ceiling. I was amazed by the intricacy of every carving within the crown moldings and ceiling tiles. Little treasures spied at every corner. Did you know, for example, that the pattern decorating the ceilings of the Dining Room is in fact made of delicate little flowers? 

Next time you find yourself at Parkwood Estate, I suggest look up! A new perspective of our adored mansion awaits you.  

Additional Commentary from Samantha (Curator):
When we set out to do some of our ceiling work, and no coincidence that it paralleled reading week, I asked that the staff involved reflect on what their assigned chores were and write about the experience for me.

I am sharing with you their thoughts and notes this week.

The work on the ceilings involved dry dusting, a mechanical process, to rid the ceilings of surface soils, cobwebs and cocoons.  We used several materials, two kinds of brushes with sable bristles; a special conservation sponge for flat surface cleaning (not a magic eraser); Q-tips(TM) for bugs and cocoons. 

A wet cleaning process is possible, but for that work or paint infills/touch ups a licenced conservator would be hired and is currently not needed or in the budget.