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Pewter Inkstand
An inkstand was a receptacle for pen, ink, and other writing accessories which would have been needed in the rooms throughout the Capitol where many documents were being created and signed into law. Inkstands were often made of silver, pewter, or ceramic. This is a pewter inkstand which included two inkwells that allowed for both black and red ink to be used on these legal documents. In between the two inkwells was a pewter pounce box. Pounce was a powdered gum that helped fix ink to the paper and was often sprinkled onto the document after it was written to prevent the ink from smudging. There is also a lidded compartment that would allow the user to store writing equipment such as sealing wax, quills, pen knife, and seals.
Mauris aliquet neque quis libero consequat vestibulum. Donec lacinia consequat dolor viverra sagittis. Praesent consequat porttitor risus, eu condimentum nunc. Proin et velit ac sapien luctus efficitur egestas ac augue.
Nunc dictum, augue eget eleifend interdum, quam libero imperdiet lectus, vel scelerisque turpis lectus vel ligula.
Integer eget pulvinar urna, et tincidunt sem. Suspendisse imperdiet tincidunt risus id mollis. Vivamus suscipit dui sit amet tortor pellentesque, ac laoreet tortor finibus. Nulla maximus urna id sagittis ultricies. Suspendisse in mi sit amet nisi rutrum sodales non eu elit. Integer cursus, odio nec efficitur fermentum.
Ut sed mattis ipsum. Curabitur blandit hendrerit nisi ac feugiat.
Wooden Books
This room is a working room and is dominated at one end by a large desk and bookcase, which acted as a kind of workstation for Richard Charlton. A 1779 probate inventory of the estate for Charlton lists a number of books on philosophy, history, and astronomy were in his possession. In order to recreate his desk and bookcase that looked as though Charlton had just set down his books it had to be furnished appropriately. As we did not want to display rare books in this room which can easily be damaged by UV light, we created a versions out of wood working closely with our Historic Trades bookbinders. The spines of the books accurately recreate books listed on Charlton’s probate inventory. They were copied almost exactly from original volumes in Colonial Williamsburg’s Special Collection housed in the John D. Rockefeller library.
Paint Samples
Over 100 paint samples were taken from the surviving 18th-century Coffeehouse fragments in the collection, including window sash, door architraves, and interior moldings. Paint analysts examined the samples and used their findings to inform the paint colors seen on the exterior and interior of the reconstructed building.
Tea Box
We spend a considerable amount of time hiding modern necessities and conveniences to keep our guests, staff, collections, and buildings comfortable and safe. Environmental control is an important part of this. The tea crate seen here is based on one in Colonial Williamsburg’s collections and was recreated and adapted to serve as the return for the environmental control system.
Williamsburg and Coffeehouses
Williamsburg, although important as the capital of the wealthy and populous colony of Virginia, could not support the variety of specialized coffeehouses that thrived in London. In 1775, Williamsburg’s population amounted to about 2,000 (over half of whom were enslaved African Americans), whereas the inhabitants of London numbered 675,000. Historical evidence suggestions that at any one time, there was only a single coffeehouse operating in Williamsburg. Throughout the 18th century, the location and owners of the establishments changed.
The earliest reference to a coffeehouse in Williamsburg dates to 1709, when William Byrd II, a member of the House of Burgess, mentioned one located at the east end of Duke of Gloucester street near the Capitol. He went to the coffeehouse for drinks, meals, meetings, the latest newspapers, and card games. Such activities show the close resemblance to coffeehouses in London. Unfortunately, we know neither the exact location nor the proprietor’s name, but clearly the customers at this Williamsburg coffeehouse were mostly burgesses, councilors, and others who worked at the Capitol.
By the 1740s, another coffeehouse, again noted in the diary of William Byrd II, was in operation in Williamsburg. In 1751, the tenant at what is now Shields Tavern called his business the English Coffee House.
By the 1760s, a new coffeehouse was established by Richard Charlton near the Capitol, in an area called the Exchange, where merchants met to set prices of tobacco and to conduct business.
Cupboard
This cupboard is a copy of a type produced in the James River Valley. The reproduction was made by Colonial Williamsburg’s Historic Trades working with traditional techniques. The inside of the cupboard was painted with Prussian blue paint to highlight the ceramics.
All the objects in the case are based on archaeological fragments of dinner wares and indicate how the room functioned. These include a ceramics indicating high end three-course meals, the drinking of coffee and tea, as well as alcohol like punch. Chinese export porcelain from 1765 came from a British coffeepot, with coffee cups the size of modern espresso cups.
Showglass
Richard Charlton’s 1779 probate inventory indicates he owned a “show glass.” Show glasses were display cases featuring objects and curiosities from around the world. In an enlightenment world seeking new knowledge, the Coffeehouse was a center of its communication. Sometimes tickets would be sold to lectures held in this room. In this display case there are many examples of Virginia wildlife and fossils. These include a Virginia diamond back rattlesnake, and the skulls of an American Black bear and bald eagle. It also includes a copy of an insect in amber, made by our conservators for guests to touch.
Hidden Emergency Lights
While we want to present an accurate 18th century interior, we also want to keep visitors and staff safe. Behind this panel is emergency lighting that will automatically flip open and illuminate the space if power is lost. Highly skilled staff blend elements like these into the surrounding finishes throughout the Historic Area.
LOREM IPSUM DOLOR SIT AMET, CONSECTETUR ADIPISCING ELIT. MAECENAS CONGHE EROS MAGNA.
Proin sit amet pharetra magna. Donec varius eu nisi at facilisis. Vivamus nibh magna, fermentum ac nibh sit amet, euismod efficitur sem. Fusce blandit, purus sed gravida vulputate, justo quam laoreet quam, et dictum mauris arcu vitae justo.
Vivamus euismod condimentum ligula quis feugiat. Cras imperdiet tortor mi, a posuere velit tempus et. Maecenas et scelerisque turpis. Quisque in gravida leo, sed dapibus nibh. Ut at consequat turpis. Curabitur et tempor ex, aliquet interdum quam. Aliquam erat volutpat.
LOREM/
IPSUM
LOREM IPSUM DOLOR SIT AMET, CONSECTETUR ADIPISCING ELIT. MAECENAS CONGHE EROS MAGNA.
Proin sit amet pharetra magna. Donec varius eu nisi at facilisis. Vivamus nibh magna, fermentum ac nibh sit amet, euismod efficitur sem. Fusce blandit, purus sed gravida vulputate, justo quam laoreet quam, et dictum mauris arcu vitae justo.
Vivamus euismod condimentum ligula quis feugiat. Cras imperdiet tortor mi, a posuere velit tempus et. Maecenas et scelerisque turpis. Quisque in gravida leo, sed dapibus nibh. Ut at consequat turpis. Curabitur et tempor ex, aliquet interdum quam. Aliquam erat volutpat.
Mauris aliquet neque quis libero consequat vestibulum. Donec lacinia consequat dolor viverra sagittis. Praesent consequat porttitor risus, eu condimentum nunc. Proin et velit ac sapien luctus efficitur egestas ac augue.
Nunc dictum, augue eget eleifend interdum, quam libero imperdiet lectus, vel scelerisque turpis lectus vel ligula.
Integer eget pulvinar urna, et tincidunt sem. Suspendisse imperdiet tincidunt risus id mollis. Vivamus suscipit dui sit amet tortor pellentesque, ac laoreet tortor finibus. Nulla maximus urna id sagittis ultricies. Suspendisse in mi sit amet nisi rutrum sodales non eu elit. Integer cursus, odio nec efficitur fermentum.
Ut sed mattis ipsum. Curabitur blandit hendrerit nisi ac feugiat.
Speaker's Chair
Few objects better illustrate the profoundly deferential and hierarchical nature of colonial society in the South than ceremonial chairs, forms that literally and figuratively elevated the leaders of governmental, fraternal, and religious organizations above the crowd.
In concept, the chair is a direct descendant of the canopied thrones used by early European monarchs and the covered chairs of British legislative and judicial leaders.
The Speaker's chair was placed on an elevated platform at one end of the Hall of the House of Burgesses, while the representatives sat on built-in wooden benches.
The first reference to a chair for the Speaker of the House of Burgesses dates from 1703 when the Virginia legislature ordered "a large Armed Chair for the Speaker to sit in, and cushion stuft with hair Suitable to it."
Edmund Randolph noted that the chair was formerly adorned with "a frontispiece commemorative of the relation between the mother country and colony," i.e., the royal arms were in or surmounted the pediment. Similar devices were applied to English chairs, and physical evidence on the hood of this one demonstrates that a large device of unknown form had been mounted in that location. Tradition holds that the original coat of arms was removed and destroyed during the Revolution.
LOREM IPSUM
Mauris aliquet neque quis libero consequat vestibulum. Donec lacinia consequat dolor viverra sagittis. Praesent consequat porttitor risus, eu condimentum nunc. Proin et velit ac sapien luctus efficitur egestas ac augue. Nunc dictum, augue eget eleifend interdum, quam libero imperdiet lectus, vel scelerisque turpis lectus vel ligula. Duis a porta sem. Maecenas sollicitudin nunc id risus fringilla, a pharetra orci iaculis. Aliquam turpis ligula, tincidunt sit amet consequat ac, imperdiet non dolor.
CONTACT:
E-mail: Info@loremipsum.com
Web: www.loremipsum.com
Tlf.: +11 111 111 111
Address: line 1
Address line 2
CONTACT
LOREM IPSUM
Mauris aliquet neque quis libero consequat vestibulum. Donec lacinia consequat dolor viverra sagittis. Praesent consequat porttitor risus, eu condimentum nunc. Proin et velit ac sapien luctus efficitur egestas ac augue. Nunc dictum, augue eget eleifend interdum, quam libero imperdiet lectus, vel scelerisque turpis lectus vel ligula. Duis a porta sem. Maecenas sollicitudin nunc id risus fringilla, a pharetra orci iaculis. Aliquam turpis ligula, tincidunt sit amet consequat ac, imperdiet non dolor.
CONTACT:
E-mail: Info@loremipsum.com
Web: www.loremipsum.com
Tlf.: +11 111 111 111
Address: line 1
Address line 2
Coffeehouse
Bricks
After the Coffeehouse was dismantled in the 1880s, a new house was built on the site. The new house sat on 50% of the 1750s foundation, with the remaining portion built using recycled bricks from the Coffeehouse chimney and other areas of the original cellar. In the early phases of the reconstruction, the 1880s foundation was dismantled with each brick being studied for potential evidence of what the original Coffeehouse looked like. The recovered bricks revealed the shape of the chimneys, angles of the flues, the addition of the fireplace in the coffee room, shapes of the fireboxes, hearths, and much more. They even revealed the fingerprints of the 1750s brickmakers.
Speaker's Chair
Few objects better illustrate the profoundly deferential and hierarchical nature of colonial society in the South than ceremonial chairs, forms that literally and figuratively elevated the leaders of governmental, fraternal, and religious organizations above the crowd.
In concept, the chair is a direct descendant of the canopied thrones used by early European monarchs and the covered chairs of British legislative and judicial leaders.
The Speaker's chair was placed on an elevated platform at one end of the Hall of the House of Burgesses, while the representatives sat on built-in wooden benches.
The first reference to a chair for the Speaker of the House of Burgesses dates from 1703 when the Virginia legislature ordered "a large Armed Chair for the Speaker to sit in, and cushion stuft with hair Suitable to it."
Edmund Randolph noted that the chair was formerly adorned with "a frontispiece commemorative of the relation between the mother country and colony," i.e., the royal arms were in or surmounted the pediment. Similar devices were applied to English chairs, and physical evidence on the hood of this one demonstrates that a large device of unknown form had been mounted in that location. Tradition holds that the original coat of arms was removed and destroyed during the Revolution.
Nails
1 & 2 L-Head Brads
Used for finish work the L-Head brad is usually small and slender. These nails were used to secure mitered joints, especially on door and window architraves and backbands, as well as on some of the mantel work. The two sizes are for different applications, as the nail is to be at least 2 ½ times the length of the piece it is passing through. Colonial Williamsburg blacksmiths made approximately 200 of these nails for the Coffeehouse project.
3. Headless Brad
Original nails of this type were found in Coffeehouse floor joists, which were reused in the Armistead house. Architectural fragments indicate that this type of nails was used exclusively for flooring. Colonial Williamsburg blacksmiths made approximately 5,000 of these nails for the Coffeehouse project.
4. T-Head Nail
T-head nails were used when the nail head needed to be driven below the wood surface. These nails will be seen in almost all finish woodwork, with the majority used to attach the sheathing in the southwest room. Colonial Williamsburg blacksmiths made approximately 5,000 of these nails for the Coffeehouse project.
5. Rose Head Nail
Rose head nails are seen throughout the Coffeehouse. These nails are primarily used to attach siding and some framing. Colonial Williamsburg blacksmiths made approximately 5,600 of these nails for the Coffeehouse project.
Account Book
This is a reproduction of an account book of the type Richard Charlton would have used to conduct business. We did not have a surviving account book for Richard Charlton, but we did have the next best thing; an original account book from his brother, wigmaker Edward Charlton. Here we have reproduced two pages from the original. Our talented colleagues from Colonial Williamsburg’s Historic Trades made an exact copy, and traced the writing from the actual book so it looks exactly like the original, even down to using reproduction writing equipment and following the recipe to make authentic iron gall ink.
Pewter Inkstand
An inkstand was a receptacle for pen, ink, and other writing accessories which would have been needed in the rooms throughout the Capitol where many documents were being created and signed into law. Inkstands were often made of silver, pewter, or ceramic. This is a pewter inkstand which included two inkwells that allowed for both black and red ink to be used on these legal documents. In between the two inkwells was a pewter pounce box. Pounce was a powdered gum that helped fix ink to the paper and was often sprinkled onto the document after it was written to prevent the ink from smudging. There is also a lidded compartment that would allow the user to store writing equipment such as sealing wax, quills, pen knife, and seals.
LOREM IPSUM DOLOR SIT AMET, CONSECTETUR ADIPISCING ELIT. MAECENAS CONGUE EROS MAGNA, ID BIBENDUM EROS MALESUADA VITAE.
Address: line 1
Address: line 2
Address: line 3
GPS: xxxxxxxxxx
LOCATION
LOREM IPSUM DOLOR SIT AMET, CONSECTETUR ADIPISCING ELIT. MAECENAS CONGUE EROS MAGNA, ID BIBENDUM EROS MALESUADA VITAE.
Address: line 1
Address: line 2
Address: line 3
GPS: xxxxxxxxxx
Warming Machine
Lord Botetourt, the royal governor of Virginia, ordered this cast-iron stove from London in 1770 to heat the hall of the House of Burgesses at the Capitol in Williamsburg. The device was decorated with fashionable ornament and symbolic imagery appropriate to its use. A notice in a London newspaper described the stove as "one of the most elegant warming machines...that ever was seen in this or any other kingdom."
The stove was taken to Richmond in 1780 when the seat of the new commonwealth's government moved there. It was used in the Richmond Capitol for some years, and was on display there as a historic artifact by the time of the Civil War. With the reconstruction of the colonial capitol in Williamsburg, the stove was placed on long-term loan to the Colonial Williamsburg Foundation in 1933.
King William III
(1650-1702)
William was born in 1650 and inherited the title Duke of Orange. He reigned as King of Great Britain from 1689 to 1702. William and his wife Queen Mary were popular, they gave their name to the College of William and Mary established in 1693, and he gave his name to the city of Williamsburg established in 1699. In 1702, aged 52 William died of pneumonia brought on by a riding accident.
Painting by Willem Wissing
c. 1685
This painting shows William in martial style, with armor and baton of office. Wissing had previously studied under Peter Lely whose portraits of William II and Catherine, hang in Williamsburg’s Governor’s Palace.
Warming Machine
Lord Botetourt, the royal governor of Virginia, ordered this cast-iron stove from London in 1770 to heat the hall of the House of Burgesses at the Capitol in Williamsburg. The device was decorated with fashionable ornament and symbolic imagery appropriate to its use. A notice in a London newspaper described the stove as "one of the most elegant warming machines...that ever was seen in this or any other kingdom."
The stove was taken to Richmond in 1780 when the seat of the new commonwealth's government moved there. It was used in the Richmond Capitol for some years, and was on display there as a historic artifact by the time of the Civil War. With the reconstruction of the colonial capitol in Williamsburg, the stove was placed on long-term loan to the Colonial Williamsburg Foundation in 1933.
King William III
(1650-1702)
William was born in 1650 and inherited the title Duke of Orange. He reigned as King of Great Britain from 1689 to 1702. William and his wife Queen Mary were popular, they gave their name to the College of William and Mary established in 1693, and he gave his name to the city of Williamsburg established in 1699. In 1702, aged 52 William died of pneumonia brought on by a riding accident.
Painting by Willem Wissing
c. 1685
This painting shows William in martial style, with armor and baton of office. Wissing had previously studied under Peter Lely whose portraits of William II and Catherine, hang in Williamsburg’s Governor’s Palace.
Coffeehouse
Bricks
The statue of Governor Lord Botetourt stood on a pedestal in the Capitol building in Williamsburg, and was recorded in a watercolor illustration by Benjamin Latrobe in 1796. That image shows a circular base with a railing around the statue. These are fragments of from that base which indicate it was about 7 and a half inches tall and 11 feet wide. Holes in the stones suggest the placement for the railings. A carved line on the side of the stone delineates where it was buried in the floor of the logia. By using these actual fragments of the stone base, as well as a laser scan of a facsimile of the original statue, and the 1796 illustration, we were able to create a 3D render of how we think the statue looked in the 1776 Capitol. You can experience more of this reconstruction in Colonial Williamburg’s virtual tour of the Capitol with the link below.
Pewter Inkstand
An inkstand was a receptacle for pen, ink, and other writing accessories which would have been needed in the rooms throughout the Capitol where many documents were being created and signed into law. Inkstands were often made of silver, pewter, or ceramic. This is a pewter inkstand which included two inkwells that allowed for both black and red ink to be used on these legal documents. In between the two inkwells was a pewter pounce box. Pounce was a powdered gum that helped fix ink to the paper and was often sprinkled onto the document after it was written to prevent the ink from smudging. There is also a lidded compartment that would allow the user to store writing equipment such as sealing wax, quills, pen knife, and seals.
Queen Anne
(1665-1714)
Anne was born in 1665, and in 1683 she married Prince George of Denmark at the age of 18.
In 1702 Anne came to the throne as Queen of England, Scotland and Ireland. In 1707 she united the three countries in an “Act of Union” entitling them Great Britain. Anne was troubled with illness throughout her life and died at the age of 49 in 1714.
Painting by Michael Dahl - c. 1702
The picture shows Anne with her left hand on the symbols of authority and power, the orb, scepter, and crown.
Queen Anne
(1665-1714)
Anne was born in 1665, and in 1683 she married Prince George of Denmark at the age of 18.
In 1702 Anne came to the throne as Queen of England, Scotland and Ireland. In 1707 she united the three countries in an “Act of Union” entitling them Great Britain. Anne was troubled with illness throughout her life and died at the age of 49 in 1714.
Painting by Michael Dahl
c. 1702
The picture shows Anne with her left hand on the symbols of authority and power, the orb, scepter, and crown.
King William III
(1650-1702)
William was born in 1650 and inherited the title Duke of Orange. He reigned as King of Great Britain from 1689 to 1702. William and his wife Queen Mary were popular, they gave their name to the College of William and Mary established in 1693, and he gave his name to the city of Williamsburg established in 1699. In 1702, aged 52 William died of pneumonia brought on by a riding accident.
Painting by Peter Lely - c. 1677
This painting shows William in martial style, with armor and baton of office. Lely had previously painted Charles II and Catherine, portraits which hang in Williamsburg’s Governor’s Palace.
King William III
(1650-1702)
William was born in 1650 and inherited the title Duke of Orange. He reigned as King of Great Britain from 1689 to 1702. William and his wife Queen Mary were popular, they gave their name to the College of William and Mary established in 1693, and he gave his name to the city of Williamsburg established in 1699. In 1702, aged 52 William died of pneumonia brought on by a riding accident.
Painting by Peter Lely
c. 1677
This painting shows William in martial style, with armor and baton of office. Lely had previously painted Charles II and Catherine, portraits which hang in Williamsburg’s Governor’s Palace.
King William III
(1650-1702)
William was born in 1650 and inherited the title Duke of Orange. He reigned as King of Great Britain from 1689 to 1702. William and his wife Queen Mary were popular, they gave their name to the College of William and Mary established in 1693, and he gave his name to the city of Williamsburg established in 1699. In 1702, aged 52 William died of pneumonia brought on by a riding accident.
Painting by Peter Lely - c. 1677
This painting shows William in martial style, with armor and baton of office. Lely had previously painted Charles II and Catherine, portraits which hang in Williamsburg’s Governor’s Palace.
Governor's Chair - ca.
1750
Upholstered mahogany ceremonial armchair probably made in the 1750s for the royal governor of Virginia to use at the Capitol in Williamsburg. Although it can only be documented to the Richmond Capitol in 1788, the chair's form and long association with the Speaker's chair (See House of Burgesses) leave little doubt about its connection with Virginia's colonial government. Exactly where the chair was used in the colonial Capitol is unclear, but the governor's council chamber is a credible location. After 1776 the chair was used as the "Chair of the Speaker of the Senate," the body that succeeded the royal governor's Council after independence was declared in 1775.
Governor's Chair ca. 1750
Upholstered mahogany ceremonial armchair probably made in the 1750s for the royal governor of Virginia to use at the Capitol in Williamsburg. Although it can only be documented to the Richmond Capitol in 1788, the chair's form and long association with the Speaker's chair (See House of Burgesses) leave little doubt about its connection with Virginia's colonial government. Exactly where the chair was used in the colonial Capitol is unclear, but the governor's council chamber is a credible location. After 1776 the chair was used as the "Chair of the Speaker of the Senate," the body that succeeded the royal governor's Council after independence was declared in 1775.
Nails
1 & 2 L-Head Brads
Used for finish work the L-Head brad is usually small and slender. These nails were used to secure mitered joints, especially on door and window architraves and backbands, as well as on some of the mantel work. The two sizes are for different applications, as the nail is to be at least 2 ½ times the length of the piece it is passing through. Colonial Williamsburg blacksmiths made approximately 200 of these nails for the Coffeehouse project.
3. Headless Brad
Original nails of this type were found in Coffeehouse floor joists, which were reused in the Armistead house. Architectural fragments indicate that this type of nails was used exclusively for flooring. Colonial Williamsburg blacksmiths made approximately 5,000 of these nails for the Coffeehouse project.
4. T-Head Nail
T-head nails were used when the nail head needed to be driven below the wood surface. These nails will be seen in almost all finish woodwork, with the majority used to attach the sheathing in the southwest room. Colonial Williamsburg blacksmiths made approximately 5,000 of these nails for the Coffeehouse project.
5. Rose Head Nail
Rose head nails are seen throughout the Coffeehouse. These nails are primarily used to attach siding and some framing. Colonial Williamsburg blacksmiths made approximately 5,600 of these nails for the Coffeehouse project.
Tea Box
We spend a considerable amount of time hiding modern necessities and conveniences to keep our guests, staff, collections, and buildings comfortable and safe. Environmental control is an important part of this. The tea crate seen here is based on one in Colonial Williamsburg’s collections and was recreated and adapted to serve as the return for the environmental control system.
Account Book
This is a reproduction of an account book of the type Richard Charlton would have used to conduct business. We did not have a surviving account book for Richard Charlton, but we did have the next best thing; an original account book from his brother, wigmaker Edward Charlton. Here we have reproduced two pages from the original. Our talented colleagues from Colonial Williamsburg’s Historic Trades made an exact copy, and traced the writing from the actual book so it looks exactly like the original, even down to using reproduction writing equipment and following the recipe to make authentic iron gall ink.
Showglass
Richard Charlton’s 1779 probate inventory indicates he owned a “show glass.” Show glasses were display cases featuring objects and curiosities from around the world. In an enlightenment world seeking new knowledge, the Coffeehouse was a center of its communication. Sometimes tickets would be sold to lectures held in this room. In this display case there are many examples of Virginia wildlife and fossils. These include a Virginia diamond back rattlesnake, and the skulls of an American Black bear and bald eagle. It also includes a copy of an insect in amber, made by our conservators for guests to touch.
Wooden Books
This room is a working room and is dominated at one end by a large desk and bookcase, which acted as a kind of workstation for Richard Charlton. A 1779 probate inventory of the estate for Charlton lists a number of books on philosophy, history, and astronomy were in his possession. In order to recreate his desk and bookcase that looked as though Charlton had just set down his books it had to be furnished appropriately. As we did not want to display rare books in this room which can easily be damaged by UV light, we created a versions out of wood working closely with our Historic Trades bookbinders. The spines of the books accurately recreate books listed on Charlton’s probate inventory. They were copied almost exactly from original volumes in Colonial Williamsburg’s Special Collection housed in the John D. Rockefeller library.
Hidden Emergency Lights
While we want to present an accurate 18th century interior, we also want to keep visitors and staff safe. Behind this panel is emergency lighting that will automatically flip open and illuminate the space if power is lost. Highly skilled staff blend elements like these into the surrounding finishes throughout the Historic Area.
Williamsburg and Coffeehouses
Williamsburg, although important as the capital of the wealthy and populous colony of Virginia, could not support the variety of specialized coffeehouses that thrived in London. In 1775, Williamsburg’s population amounted to about 2,000 (over half of whom were enslaved African Americans), whereas the inhabitants of London numbered 675,000. Historical evidence suggestions that at any one time, there was only a single coffeehouse operating in Williamsburg. Throughout the 18th century, the location and owners of the establishments changed.
The earliest reference to a coffeehouse in Williamsburg dates to 1709, when William Byrd II, a member of the House of Burgess, mentioned one located at the east end of Duke of Gloucester street near the Capitol. He went to the coffeehouse for drinks, meals, meetings, the latest newspapers, and card games. Such activities show the close resemblance to coffeehouses in London. Unfortunately, we know neither the exact location nor the proprietor’s name, but clearly the customers at this Williamsburg coffeehouse were mostly burgesses, councilors, and others who worked at the Capitol.
By the 1740s, another coffeehouse, again noted in the diary of William Byrd II, was in operation in Williamsburg. In 1751, the tenant at what is now Shields Tavern called his business the English Coffee House.
By the 1760s, a new coffeehouse was established by Richard Charlton near the Capitol, in an area called the Exchange, where merchants met to set prices of tobacco and to conduct business.
Lord Botetourt Statue Render
The statue of Governor Lord Botetourt stood on a pedestal in the Capitol building in Williamsburg, and was recorded in a watercolor illustration by Benjamin Latrobe in 1796. That image shows a circular base with a railing around the statue. These are fragments of from that base which indicate it was about 7 and a half inches tall and 11 feet wide. Holes in the stones suggest the placement for the railings. A carved line on the side of the stone delineates where it was buried in the floor of the logia. By using these actual fragments of the stone base, as well as a laser scan of a facsimile of the original statue, and the 1796 illustration, we were able to create a 3D render of how we think the statue looked in the 1776 Capitol. You can experience more of this reconstruction in Colonial Williamburg’s virtual tour of the Capitol with the link below.
Coffeehouse
Bricks
Text about the Bricks...
Cupboard
This cupboard is a copy of a type produced in the James River Valley. The reproduction was made by Colonial Williamsburg’s Historic Trades working with traditional techniques. The inside of the cupboard was painted with Prussian blue paint to highlight the ceramics.
All the objects in the case are based on archaeological fragments of dinner wares and indicate how the room functioned. These include a ceramics indicating high end three-course meals, the drinking of coffee and tea, as well as alcohol like punch. Chinese export porcelain from 1765 came from a British coffeepot, with coffee cups the size of modern espresso cups.
Queen Charlotte
(1744-1818)
Sophia Charlotte was the youngest daughter of the Duke and Princes of Mecklenburg-Strelitz, a Dutchy of the Holy Roman Empire in modern-day northern Germany. At the age of 17 she married George III in 1761, becoming Queen of Great Britain and Ireland (subsequently queen consort of the United Kingdom of Great Britain and Ireland) until her death at the age of 74 in 1818.
Painting by Allan Ramsay
c. 1770
A full-length portrait showing Queen Charlotte in robes of state, turned slightly to the viewer's right, and standing beside a classical column, her proper left hand resting on her crown which, in turn, rests on a cushion on a draped table. She stands on a slight dais covered in an elaborately figured carpet. Her proper right arm hangs at her side, her fingers loosely clasping the edge of her robe. Her train is spread behind her, resting on a throne to the left. Tasseled drapery fills the upper left corner of the composition.
Queen Charlotte
(1744-1818)
Sophia Charlotte was the youngest daughter of the Duke and Princes of Mecklenburg-Strelitz, a Dutchy of the Holy Roman Empire in modern-day northern Germany. At the age of 17 she married George III in 1761, becoming Queen of Great Britain and Ireland (subsequently queen consort of the United Kingdom of Great Britain and Ireland) until her death at the age of 74 in 1818.
Painting by Allan Ramsay
c. 1770
A full-length portrait showing Queen Charlotte in robes of state, turned slightly to the viewer's right, and standing beside a classical column, her proper left hand resting on her crown which, in turn, rests on a cushion on a draped table. She stands on a slight dais covered in an elaborately figured carpet. Her proper right arm hangs at her side, her fingers loosely clasping the edge of her robe. Her train is spread behind her, resting on a throne to the left. Tasseled drapery fills the upper left corner of the composition.
King George III
(1738-1820)
At the age of 23 George William Frederick became George III King of Great Britain and King of Ireland on 25 October 1760, four days after his father’s death. Forty-one years later, after the union of Ireland and Great Britain, on January 1st, 1801 George III became King of the United Kingdom of Great Britain and Ireland. He remained under this title until his death at the age of 81 on 29th January 1820.
Painting by Allan Ramsay
c. 1770
A full-length portrait showing George III in robes of the Order of the Garter, situated in front of a classical, draped column and standing on a slight dais covered in an elaborately figured carpet. He wears the Order of the Garter and his body is turned in pleasing contrapposto, his proper right hand on his hip, his proper left hand resting on a portion of his robes spread over a table beside him.
King George III
(1738-1820)
At the age of 23 George William Frederick became George III King of Great Britain and King of Ireland on 25 October 1760, four days after his father’s death. Forty-one years later, after the union of Ireland and Great Britain, on January 1st, 1801 George III became King of the United Kingdom of Great Britain and Ireland. He remained under this title until his death at the age of 81 on 29th January 1820.
Painting by Allan Ramsay
c. 1770
A full-length portrait showing George III in robes of the Order of the Garter, situated in front of a classical, draped column and standing on a slight dais covered in an elaborately figured carpet. He wears the Order of the Garter and his body is turned in pleasing contrapposto, his proper right hand on his hip, his proper left hand resting on a portion of his robes spread over a table beside him.
King George II
(1683-1760)
George was born in Hanover (modern day Germany) in 1683. At the age of 22, Prince George Augustus of Hanover married Caroline of Ansbach (in Modern day Germany) in 1705. Two decades later in 1727, George became King of Great Britain, and Ireland, he was 44. During his time on the throne he managed the Jacobite Rebellion and the Seven Years War (French and Indian war in North America). In 1760 George died at the age of 77.
Painting by Charles Jervas - c. 1727
Portrait of King George II, King of Great Britain 1683-1760. The painting is a companion portrait to the one opposite of his wife Queen Caroline. The artist painted George II standing full length in state robes, wearing the collar of the Order of the Garter, holding the scepter, with the orb and crown on a cushion beside him. These elements are all representative of his role as King.
King George II
(1683-1760)
George was born in Hanover (modern day Germany) in 1683. At the age of 22, Prince George Augustus of Hanover married Caroline of Ansbach (in Modern day Germany) in 1705. Two decades later in 1727, George became King of Great Britain, and Ireland, he was 44. During his time on the throne he managed the Jacobite Rebellion and the Seven Years War (French and Indian war in North America). In 1760 George died at the age of 77.
Painting by Charles Jervas
c. 1727
Portrait of King George II, King of Great Britain 1683-1760. The painting is a companion portrait to the one opposite of his wife Queen Caroline. The artist painted George II standing full length in state robes, wearing the collar of the Order of the Garter, holding the scepter, with the orb and crown on a cushion beside him. These elements are all representative of his role as King.
Coffeehouse
Sign
We do not know what the sign at Charlton’s Coffeehouse would have looked like. When we came to design the sign we used a British sign called the “Dish of Coffee Boy” as inspiration. That British sign is dated to 1692 and was made up of 12 delft tiles showing a young male waiter pouring coffee from a coffee pot into a dish. The sign for Williamsburg’s Coffeehouse highlighted the main feature of the British sign, the coffeepot, but reproduced in a less expensive way as paint on wood.
Coffeehouse
Sign
The design on the two-sided sign was based on the design on a 17th-century delft tile sign in London.
Coffeehouse
Beams
Original rafters from the 1750s structure were saved after the structure was demolished in the 1880s. The rafters provided invaluable information for the reconstruction of the Coffeehouse. They not only informed the type of joinery and wood species used, but also told us the slope of the roof, type of sheathing, shingles, and the presence of dormers. Every mark on the rafters helped tell the story of the structure and what it looked like.
Coffeehouse
Beams
Original rafters from the 1750s structure were saved after the structure was demolished in the 1880s. The rafters provided invaluable information for the reconstruction of the Coffeehouse. They not only informed the type of joinery and wood species used, but also told us the slope of the roof, type of sheathing, shingles, and the presence of dormers. Every mark on the rafters helped tell the story of the structure and what it looked like.
Queen Caroline Wilhelmina of Brandenburg-Ansbach
(1683-1760)
Caroline was born in 1683 in Ansbach (modern day Germany), daughter of the Margrave of Brandenburg-Ansbach (the hereditary ruler of the region). In 1705 she married Prince George Augustus of Hanover, who was to later to become King George II of Great Britain. Caroline had 10 children, 7 of whom lived to adulthood. Caroline died at the age of 54 in 1737, at St. James’s Palace London.
Painting by Charles Jervas - 1727
The painting is a companion portrait to the one opposite of her husband George II. The sumptuousness of her dress, gold embroidery and ermine fur, as well as her hand on the crown reinforce her Royal status.
Queen Caroline Wilhelmina of Brandenburg-Ansbach
(1683-1760)
Caroline was born in 1683 in Ansbach (modern day Germany), daughter of the Margrave of Brandenburg-Ansbach (the hereditary ruler of the region). In 1705 she married Prince George Augustus of Hanover, who was to later to become King George II of Great Britain. Caroline had 10 children, 7 of whom lived to adulthood. Caroline died at the age of 54 in 1737, at St. James’s Palace London.
Painting by Charles Jervas
1727
The painting is a companion portrait to the one opposite of her husband George II. The sumptuousness of her dress, gold embroidery and ermine fur, as well as her hand on the crown reinforce her Royal status.
Coffeehouse Sign
We do not know what the sign at Charlton’s Coffeehouse would have looked like. When we came to design the sign we used a British sign called the “Dish of Coffee Boy” as inspiration. That British sign is dated to 1692 and was made up of 12 delft tiles showing a young male waiter pouring coffee from a coffee pot into a dish. The sign for Williamsburg’s Coffeehouse highlighted the main feature of the British sign, the coffeepot, but reproduced in a less expensive way as paint on wood.
Coffeehouse Beams
Original rafters from the 1750s structure were saved after the structure was demolished in the 1880s. The rafters provided invaluable information for the reconstruction of the Coffeehouse. They not only informed the type of joinery and wood species used, but also told us the slope of the roof, type of sheathing, shingles, and the presence of dormers. Every mark on the rafters helped tell the story of the structure and what it looked like.
Coffeehouse Sign
We do not know what the sign at Charlton’s Coffeehouse would have looked like. When we came to design the sign we used a British sign called the “Dish of Coffee Boy” as inspiration. That British sign is dated to 1692 and was made up of 12 delft tiles showing a young male waiter pouring coffee from a coffee pot into a dish. The sign for Williamsburg’s Coffeehouse highlighted the main feature of the British sign, the coffeepot, but reproduced in a less expensive way as paint on wood.
Pewter Inkstand
An inkstand was a receptacle for pen, ink, and other writing accessories which would have been needed in the rooms throughout the Capitol where many documents were being created and signed into law. Inkstands were often made of silver, pewter, or ceramic. This is a pewter inkstand which included two inkwells that allowed for both black and red ink to be used on these legal documents. In between the two inkwells was a pewter pounce box. Pounce was a powdered gum that helped fix ink to the paper and was often sprinkled onto the document after it was written to prevent the ink from smudging. There is also a lidded compartment that would allow the user to store writing equipment such as sealing wax, quills, pen knife, and seals.
Coffeehouse
Door
The doors in the reconstructed Coffeehouse were copied from four original doors in the architectural collection. These were recovered from the 18th-century Coffeehouse, the one in the picture being an exterior door. This door is particularly interesting because it had a complete paint stratigraphy (layers) that was important in determining color of the building and doors. Most of the other surviving architectural elements had only parts of their paint layers intact.
Coffeehouse Beams
Original rafters from the 1750s structure were saved after the structure was demolished in the 1880s. The rafters provided invaluable information for the reconstruction of the Coffeehouse. They not only informed the type of joinery and wood species used, but also told us the slope of the roof, type of sheathing, shingles, and the presence of dormers. Every mark on the rafters helped tell the story of the structure and what it looked like.
Paint Samples
Over 100 paint samples were taken from the surviving 18th-century Coffeehouse fragments in the collection, including window sash, door architraves, and interior moldings. Paint analysts examined the samples and used their findings to inform the paint colors seen on the exterior and interior of the reconstructed building.
Coffeehouse
Bricks
After the Coffeehouse was dismantled in the 1880s, a new house was built on the site. The new house sat on 50% of the 1750s foundation, with the remaining portion built using recycled bricks from the Coffeehouse chimney and other areas of the original cellar. In the early phases of the reconstruction, the 1880s foundation was dismantled with each brick being studied for potential evidence of what the original Coffeehouse looked like. The recovered bricks revealed the shape of the chimneys, angles of the flues, the addition of the fireplace in the coffee room, shapes of the fireboxes, hearths, and much more. They even revealed the fingerprints of the 1750s brickmakers.
Coffeehouse
Door
The doors in the reconstructed Coffeehouse were copied from four original doors in the architectural collection. These were recovered from the 18th-century Coffeehouse, the one in the picture being an exterior door. This door is particularly interesting because it had a complete paint stratigraphy (layers) that was important in determining color of the building and doors. Most of the other surviving architectural elements had only parts of their paint layers intact.
Coffeehouse
Door
The doors in the reconstructed Coffeehouse were copied from four original doors in the architectural collection. These were recovered from the 18th-century Coffeehouse, the one in the picture being an exterior door. This door is particularly interesting because it had a complete paint stratigraphy (layers) that was important in determining color of the building and doors. Most of the other surviving architectural elements had only parts of their paint layers intact.
Coffeehouse
Bricks
After the Coffeehouse was dismantled in the 1880s, a new house was built on the site. The new house sat on 50% of the 1750s foundation, with the remaining portion built using recycled bricks from the Coffeehouse chimney and other areas of the original cellar. In the early phases of the reconstruction, the 1880s foundation was dismantled with each brick being studied for potential evidence of what the original Coffeehouse looked like. The recovered bricks revealed the shape of the chimneys, angles of the flues, the addition of the fireplace in the coffee room, shapes of the fireboxes, hearths, and much more. They even revealed the fingerprints of the 1750s brickmakers.
Coffeehouse
Bricks
Text about the Bricks...
Coffeehouse
Sign
We do not know what the sign at Charlton’s Coffeehouse would have looked like. When we came to design the sign we used a British sign called the “Dish of Coffee Boy” as inspiration. That British sign is dated to 1692 and was made up of 12 delft tiles showing a young male waiter pouring coffee from a coffee pot into a dish. The sign for Williamsburg’s Coffeehouse highlighted the main feature of the British sign, the coffeepot, but reproduced in a less expensive way as paint on wood.
Paint Samples
Over 100 paint samples were taken from the surviving 18th-century Coffeehouse fragments in the collection, including window sash, door architraves, and interior moldings. Paint analysts examined the samples and used their findings to inform the paint colors seen on the exterior and interior of the reconstructed building.
Paint Samples
Over 100 paint samples were taken from the surviving 18th-century Coffeehouse fragments in the collection, including window sash, door architraves, and interior moldings. Paint analysts examined the samples and used their findings to inform the paint colors seen on the exterior and interior of the reconstructed building.
Coffeehouse
Bricks
After the Coffeehouse was dismantled in the 1880s, a new house was built on the site. The new house sat on 50% of the 1750s foundation, with the remaining portion built using recycled bricks from the Coffeehouse chimney and other areas of the original cellar. In the early phases of the reconstruction, the 1880s foundation was dismantled with each brick being studied for potential evidence of what the original Coffeehouse looked like. The recovered bricks revealed the shape of the chimneys, angles of the flues, the addition of the fireplace in the coffee room, shapes of the fireboxes, hearths, and much more. They even revealed the fingerprints of the 1750s brickmakers.
Coffeehouse
Door
The doors in the reconstructed Coffeehouse were copied from four original doors in the architectural collection. These were recovered from the 18th-century Coffeehouse, the one in the picture being an exterior door. This door is particularly interesting because it had a complete paint stratigraphy (layers) that was important in determining color of the building and doors. Most of the other surviving architectural elements had only parts of their paint layers intact.
This tour is dedicated to the memory of Colonial Williamsburg Architectural Historian Edward Chappell.
Producer
Peter Inker
Developers
Rob Cloutier
Peter Inker
Content
Carol Gillam
Tracey Gulden
Dani Jaworski
Amanda Keller
Marianne Martin
Jenna Simpson
Matt Webster
Video
Dani Jaworski
Amanda Keller
Matt Webster
Emily Campbell
Erik Goldstein
Testing
Chad Corman
Darcie Eggleston
Carol Marley
Tanya Morris
Andrew Winfree
Analysis
Sara Paiva
This project was funded in part by a generous grant from the National Endowment for the Humanities.
Welcome to the Architectural Preservation virtual tour from Colonial Williamsburg.
In this tour, we explore two separate locations at the same time. Packet’s Court is the storehouse of Architectural Collections. R. Charlton’s Coffeehouse is an exhibition building on the East end of Duke of Gloucester Street in Williamsburg’s Historic Area.
A selection of 18th-century architectural items are shown. They illustrate the 2008-2009 reconstruction of R. Charlton’s Coffeehouse and the manufacture of some of its furnishings.
There are five special “Connector Items” linking Packet’s Court to the Coffeehouse: Beams, Bricks, Paint Samples, Doors and the Coffeehouse Sign. These items can be used to compare the two locations.
Feel free to explore the movies incorporated into the tour. These are color coded by location. A timeline illustrates the history of the Coffeehouse and of its reconstruction. There are several external links to other Colonial Williamsburg websites and digital projects. Use a computer to get the best results.