The British Architect
“I have endeavored all along to form such designs as are capable of receiving good Decorations”
Abraham Swan, London, 1757
Swan continued by comparing bad "Decorations with Superadded Ornaments" to a "clown in a laced Waistcoat." That was written on the second page of his preface to his two volume publication, A Collection of Designsi in Architecture. Swan made it clear that by hiring him, he would be able to "accommodate the Great and Noble with Designs that may be suitable to their taste and fortune."
Rearranging Rooms
“Go down, into the parlour that my arms hang and bring me up a pistol.”
Captain John Macpherson
Researching the historical record pertaining to Mount Pleasant can sometimes cause confusion when specific rooms are being discussed. In earlier posts I have used names for spaces in the main house as they are currently interpreted by the staff of the Philadelphia Museum of Art. Several years ago, after a close reading of Thomas Nevell's account book and John Macpherson's publication, A Pennsylvania Sailor's Letters, the names used to describe rooms in the house were revised to more accurately reflect their eighteenth century designations.
The names in use in 1926 when the house opened to the public were codified by scale drawings produced in 1932 that are now part of the Historic American Buildings Survey (HABS).
The Drawing Room
“This is an important book, the critic assumes, because it deals with war. This is an insignificant book because it deals with the feelings of women in a drawing-room.”
Virginia Woolf
What do we know about the drawing room at Mount Pleasant and how do we know it? What changes to the space have occurred over time? If there have been changes, how might they hamper our ability to understand the maker's intent and the original owner's desires?
Mount Pleasant has been celebrated as an historic site for more than a century. On the heels of the Centennial Exhibition in Philadelphia in 1876, Thompson Westcott presented the outline of Captain John Macpherson and his family's lives in his monumental The Historic Mansions and Buildings of Philadelphia with Some Notice of Their Owners and Occupants, Porter and Coates, Philadelphia, 1877. The contemporary importance of Mount Pleasant is suggested by the use of a detail of the engraving illustrating the chapter on the Macpherson's and their country seat, as part of the design of the elaborate Aesthetic Movement cover.
Mount Pleasant in Plan
“There are few hours in life more agreeable than the hour dedicated to the ceremony known as afternoon tea.”
Henry James, "The Portrait of a Lady"
If your social status were such that you were likely to receive an invitation to visit and take tea with Margaret Macpherson in her drawing room at Mount Pleasant, your journey in the 1760′s would have been much different than one made today.
Sculpting Spaces
“The architect models in space as a sculptor in clay.”
Geoffrey Scott, The Architecture of Humanism
Approaching the main house on her way to the drawing room, a visitor in the 1760's would be struck by the disciplined symmetry of the façade and skillful use of the classical orders. Perhaps the similarity to several buildings in town, whether recently completed or existing only as engraved prints, would be noted.
Paul Goldberger says "we talk about facades in terms of how they look; we talk about spaces in terms of how they feel." The combined depth of the columns and rusticated door frame, the heavily moulded arch and large keystone above and the low height of the door create the sensation of moving through a short, low tunnel. This feeling of compression makes moving from the great expanse of the exterior landscape to the hall beyond the door more dramatic than it would be if you entered through the type of tall door commonly seen in town houses, where a vestibule often served as a transitional space.
Taking the Measure of Mount Pleasant
“Another Chimney-piece, with a very rich frame over it, adorned with a Pediment.”
Abraham Swan, The British Architect.
With an ashlar base beneath thick rubble stone walls covered in stucco, brick quoins on the corners, and cut stone jack arches above the sash windows, the facades of the main house at Mount Pleasant were predominantly the concern of the masons.
But it is the woodwork that describes the interior spaces, creates their variations of hierarchy and provides a language of ornament that could be read by the owners of the house and their visitors.
Lost Voices, Lost Meaning
“I now inform you that I do not imagine I can do with less than the Negro wench Nell, a convenient house, of two rooms on a floor, besides the kitchen, four feather beds, and other necessary furniture, and the sum of One hundred and fifty pounds.”
Margaret Macpherson to Captain John Macpherson
April 25th, 1770
In May, 1769, an electrifying incident took place at Mount Pleasant. Captain John Macpherson’s subsequently published his version of the story of his restraint and imprisonment at Mount Pleasant in A Pennsylvania Sailor’s Letters, Alias the Farmer’s Fall, Philadelphia 1771. This book, along with advertisements relating to Mount Pleasant in the Pennsylvania Gazette, allows several individuals, otherwise undocumented, to attain their place in the historical record.
Read more>>
April 25th, 1770
The Drawing Room, An Overview

Mount Pleasant, plan of second story of the main house
Historic American Building Survey (Library of Congress)
Historic American Building Survey (Library of Congress)
“If a mirror looks into a mirror what does it see?”
Andy Warhol
The drawing room at Mount Pleasant is the “best room” of the house, reached only after a procession through two splendid halls and a grand staircase. Examination of the drawing room conducted prior to the restoration of the chimneypiece carving confirms that the woodwork survives virtually intact excluding the loss of the applied appliqué of the frieze above the fireplace opening. The replacement of the frieze appliqué was the main focus of the chimneypiece carving restoration project that has recently been completed by the Philadelphia Museum of Art. The presentation provides an introduction to what is the most brilliant mid-eighteenth century Philadelphia domestic space to have survived in-situ.













