THE HISTORIC HUNTSVILLE QUARTERLY - Huntsville History Collection
One Dollar1981F a llTHE HISTORIC HUNTSVILLEQUARTERLYOf Local Architecture & Preservation
THE HISTORIC HUNTSVILLEQUARTERLYof Local Architecture and PreservationVol. VIIIN o. 1F a ll,1981ContentsTHE MARIA HOWARD WEEDEN HOUSE4The Structureby Harvie Jones18The Gardensby Sarah Huff Fisk21The Ownersby Frances C. RobertsTHE HISTORIC HUNTSVILLE QUARTERLYis published four times a year bythe Historic Huntsville Foundation,Inc., P. 0. Box 786, Huntsville,Alabama 35804. Linda Bayer, Editor;Lynn Jones, Associate Editor. Sub scriptions are mailed free to allmembers of the Foundation.
T heM a r ia H o w a r d W e e d e nH o useIn honor o f t h e opening o f t h e Maria Howard Weeden House as a Huntsv i l e museum o f n in eteen th century a r c h it e c t u r e , fu rn ish in g s and h is t o r y ,t h is is s u e o f th e QUARTERLY i s d evoted t o an exam ination o f t h e house,i t s gardens, and i t s occupants.Harv i e Jon es d isc u sse s the ar chitectural significance of theHoward Weeden House, which i s an outstanding example of F ed eral p er io ddomestic building; Sarah F isk Accounts the planting and cultivationof the gar den by Jan e Weeden and her daughters , Howard and K ate;andFrances Roberts traces the history of ownership of the Weeden Houseproperty since 1810 and comments on each owner's role in H u n tsv ille'sh isto r y .The Howar d Weeden House i s open Tuesday through Saturday ( 10 a.m.t o 4 p.m.) and Sunday (7 p.m. to 4 p . m . ) .OPPOSITE: The spectacular curvingstaircase in the entry hall of theWeeden House. COVER: The frontfacade of the Weeden House at ZOOGates Street.3
Rear view of the Weeden House from the southeastThe Structureby H a rv ie JonesBACKGROUNDThe style of American archi tecture termed Federal was gen erally popular during the peri od 1776 to 1835.This stylewas greatly influenced by thelight and elegant designs cre ated by the English architectRobert Adam who practiced inEngland from 1750 to 1780.Adam, in turn, was strongly in fluenced by the newly discover ed interiors of ancient Romanhouses, which were revealed bythe archaeological excavationsat Pompeii and Spalato in themid 1700s. These cities had4been buried by the eruption ofMount Vesuvius in A.D. 79, andtheir excavations illustratedfor the first time that ancientRoman interiors had been deco rated with very light, elegantmotifs such as colonettes, urns,molds, and swags. Adam's work,based on these examples, con trasted strongly with the heavyinterior decorative elements ofthe Georgian period (of thefirst two thirds of the eigh teenth century), which had beenderived from the heavy ornamentof Roman public buildings.
The Weeden House, located at300 Gates Street, is a superbexample of Federal period domes tic architecture as constructedin Huntsville.The house wasrecorded in 1934 as part of theHistoric American BuildingsSurvey and is located in theTwickenham Historic District,a National Register of HistoricPlaces district.carved piece.(These flutesare repeated at a much smallerscale on one of the upstairsmantels— an interesting exampleof design continuity.)Theunderside of the boxed corniceis decorated with a series ofcarved wooden blocks called, inthe Corinthian order, modillions.The roof cornice and frieze on the front facade.WEEDEN HOUSE EXTERIORConstructed in 1819, theWeeden House is a two-story,ell-shaped, brick house havinga gabled roof and a center halllayout.It is called a fivebay house because there arefive windows across the facadeon each level. The roof cor nice and the frieze below thefront roof eave are looselybased on the classical Corin thian order. The frieze fea tures a leaf-patterned, castlead design topped by a bandof small vertical wooden flutes;each of these hundreds offlutes is a separate, hand-A three-room kitchen andservice building at the rear ofthe house was removed duringthe period 1934 to 1950 to makeway for a garage. However,this kitchen-service buildingwas measured and photographedin the 1934 Historic AmericanBuildings Survey, and its foun dations are still intact underthe soil.It is hoped thatthis original service buildingwill be reconstructed.Architectural evidence showsthat the six-room, ell-planWeeden House was built all-ofa-piece, whereas most of Hunts ville's surviving Federal peri od houses started with just5
two rooms. These starterhouses had one room on eachfloor, with sometimes a smallroom in the upper stairhall,and a separate kitchen and ser vice building;various lateradditions increased them totheir present size. Thus theWeeden House must have beenunusually ambitious for Hunts ville in its initial conceptionand was certainly ambitious inthe refinement and extent ofits woodwork. No other surviv ing Federal period Huntsvillehouse has woodwork of the elab oration of the Weeden House.The entry with its semicir cular, leaded glass fanlightand slender, reeded colonettesis particularly beautiful. Theglass sidelights also were lead ed in a pattern of semi-circles,as is evident by the cut-offends of the lead cames that re main lalong the edges of thesidelights.Architectural evidence indi cates that the exterior brickwalls were not painted untilafter the mid nineteenth cen tury. Originally the brickmortar joints were "pencilled,"that is, lined with quarterinch wide white paint stripesto emphasize and visuallystraighten the joints. Thispractice of pencilling jointsbecame widespread after theRevolutionary War, when cheapapprentices were not availableto laboriously tool the jointsin beaded or grapevine shapes.Pencilling was almost universalin Huntsville prior to theCivil War;the author has seenfew houses of the period with out traces of striped joints,which was done as a part of thenew construction rather than asa later touch-up.The brick on the two streetsides of the house is wellformed and laid in Flemish bond6(alternate bricks turned end ways)— a beautiful pattern butexpensive even in 1819.Sincemost people, then and now, be lieve in spending money whereit will show, the sides of thehouse away from the streetsdisplay an irregular and cheap er brick laid in the less ex pensive common bond and execut ed in such a casual manner thatsometimes the courses of brickdo not even meet at the corners.It is endearing, rather thandemeaning, to see evidence thatpeople were people in 1819,just as they are now, with alltheir faults and virtues.Thewriter has seen only two Feder al period houses in the Tennes see Valley that have Flemishbond brickwork on all sides;the vast majority are like theWeeden House.The double-hung windows withtwelve panes (or lights) ineach sash are counterbalancedwith ropes and iron weights;this is an unusual feature be cause most houses of the periodhad sashes that were held openby a wooden turn-latch or ametal friction-catch. Many ofthe window panes are the origi nal, thin (about 1/16 inch)cylinder glass, which containsbeautiful irregularities.Tomake cylinder glass, the glassblower first would blow an elongated bubble, let it cool,cut off the domical ends toform a cylinder, then reheatthe cylinder and slit one sideso that it flattened into asheet. The sheets were thencut into individual panes. Theirregularities in the glass area result of this hand process.The wooden elements of theWeeden House are joined by peg ged mortise and tenon connec tions. To make such a joint,the end of one member is trim med to make a tenon which isslipped into a slot (mortise)
The sidelights of the front entry are flanked by extremely attenuated,reeded columns grouped in pairs. The leaded glass of the sidelights hasbeen replaced.7
cut into the other member. Apeg— called a treenail, laterslurred into trunnel— is in serted through both to holdthem in place.The windowsashes in the Weeden House havepegged corners as do all theblinds, mantels, and doors andthe concealed connections ofthe door frames, rafters, andjoists.The ends of the tenonscan be seen at the edges of theblinds and doors. A machinefor making concealed tenons wasnot invented until later in thenineteenth century.The Weeden House has flatarches of brick over its win dows, whereas many of the Fed eral period brick houses havelintels of heavy eight inchdeep cedar. The Weeden windowsills are of wood, which wasthe normal practice; the writerhas seen no brick sills on Fed-A typical Weeden House window with twelve panes in each sash, lintels ofbrick, sills of wood, and wooden blinds.8
eral period houses. The windowjambs (vertical wooden sides ofa window) are semicircular onthe outward edges— a frequentand elegant touch in Federalperiod architecture.The design of the woodenfoundation vents is common forhouses of this period but is,nevertheless, very elegant forso prosaic a device. The vert ical bars of the vents areA foundation vent illustrating the diagonally placed bars and the threequarter round mold framing the opening. Notice the Flemish bond of thesurrounding brickwork.twisted forty-five degrees soThe Weeden House has blinds,not shutters. Blinds havethat their vertical corners,blades with openings betweenrather than their flat faces,them, whereas shutters areface outward.This producessolid-paneled to exclude lighta rhythm of angular adjoiningand air when closed.In fact,faces in lieu of a dull row ofthese blinds are referred to asflat bars. Another refinementcan be seen at the corners of"Venetian blinds" in writingsand contracts of the earlythe frames where a three-quar nineteenth century.Solid shut ter round mold is used toters apparently were used onlycreate a decorative bead, whichon commercial buildings foradds greatly to the appearanceof these vents.security purposes because thisis where the few survivors areThe Weeden House chimneyfound. Venetian blinds func tops now curve inward towardstioned to block the summer sunthe roof, as they do in mostwithout blocking the coolingold houses.The explanation isbreezes and to discourage thethat rain-wetted lime mortarentry of insects, for insectslowly forms a chemical com screen wire was not inventedpound that swells the mortaruntil the late 1800s. Blindsjoints, thereby expanding thealso provided security to awall vertically.Since thehouse with open windows.9
outer face of a chimney receivesmore moisture from its increasedexposure to rain, it swellsmore, resulting in a curve overthe house.The Weeden House was builton unstable soil and has beensettling, like the Pisa Cathe dral in Italy, ever since. Aclose look at the brick wallsreveals that none are level orplumb. The dining room is sev eral inches lower in the south west corner than in the north east corner.In the late 1970s,many tons of cement were in jected at high pressure intothe soil beneath the house inan effort to stabilize it.WEEDEN HOUSE INTERIORThe glory of the WeedenHouse interior is its entry,which*is brilliantly lighted bythe large leaded-glass fanlight,the sidelights, and the windowover the gracefully spirallingstair.(In 1970 this entrywas found to be rather darkand gloomy because the highrear window had been blockedby a bathroom addition.)Therear wall of the entry iscurved in a cylindrical shapeto follow the spiral of thestair. Thus three major curvedelements— fanlight, stair andrear wall--are present in theentry, a reflection of theAdamesque influence. More am bitious houses of this periodhad entire rooms in the shapeof ellipses or circles--suchas the Octagon House in Wash ington, D.C.--in imitation ofthe English designs of RobertAdam.The pine flooring in the en try is fairly narrow, less thanthree inches wide, and hastight joints, whereas flooringfive to six inches wide withopen joints is usual for theperiod and is found in theother Weeden House rooms.Itwas first thought that laterflooring had been laid over theoriginal wide flooring in theThe leaded-glass fanlight of the front entry as seen from the inside.10
The front entry of the Weeden House11
entry, but investigation provedthat the tightly laid, narrowflooring is original. Furtherresearch has revealed otherFederal period houses exhibit ing this same variation betweenthe entry and the other rooms.The probable explanation isthat many Federal period woodenfloors were covered by some ma terial such as wall-to-wallcarpeting (three foot widestrips sewn together), wovenstraw matting, or even canvas,a custom documented by contem porary drawings and paintings.Probably the entrance floor wasnot meant to be covered; there fore, the builder took specialcare in cutting and installingthe narrow boards to get tightjoints and vertical grain.A careful examination of thefloor near the baseboard in thenorthwest parlor reveals hund reds of carpet-tack holes-proof that the Weeden House didhave wall-to-wall carpeting atsome date.The oriental rugsin the house today are repre sentative of post-Civil Warfashion when oriental rugs be came both popular and lesscostly.Illustrations from theFederal period more frequentlyshow small "Turkey rugs" (asoriental rugs were often called)being used as parlor tablecoverings; perhaps they weretoo expensive for most peopleto walk on.Although the Weeden Housefloors have traces of varnishon them, varnish is anotherpost-Civil War fashion.Priorto the Civil War, wooden floorswere periodically scrubbed(sometimes using sand andbricks) to keep them a lightbleached color. A look underthe rugs still reveals thisbleached finish, for the latervarnish was applied only aroundthe edges of the rooms.12The dense pine flooring isvery thick (about 1 1/8 inches)and is laid directly on thefloor joists without a subfloor.The floor boards have tongueand-groove joints, but shrink age has opened many cracks,which explains the reputationfor draftiness of early nine teenth century houses. Recent ly, insulation has been addedunder the Weeden House floors.The flooring was mechanical ly sawn by water-powered sashsaws, as was all of the woodexcept for the large members,such as floor joists, whichwere ax-hewn and pit-sawn (handsawn). The local sawmills in1819 probably consisted ofwater-powered sash saws (upand-down saws). Some areas ofthe country had steam-poweredsash saws as early as the late1700s, but none are known tohave been in operation herethat early. Mechanically pow ered circular saws also existedin the late 1700s but were notused much until the 1830s. Theearliest circular-sawn lumberfound in Huntsville thus far isin the 1860 Huntsville depotand in parts of the 1860 FirstPresbyterian Church.The factthat this church has only alittle circular-sawn lumbercombined with the sash-sawnlumber indicates that the cir cular saw must have been a newand novel item in 1860 and itsproduct not available in largequantities.One interesting detail ofthe Weeden entry stair is themanner in which the scroll pat tern on the stair edge compres ses, yet holds its design,where the stair steepens at thestart of the spiral. Anotheris that several of the balus ters are not of wood but ofiron— a clever and unobtrusivestructural device, which stif
fens the rail and probablyforms a truss to support thecantilevered edge of the stairs.The two-paneled door beneaththe entry stair is Greek Reviv al in design, perhaps datingfrom the 1850s, rather thanFederal.The six-paneled doorsin the remainder of the houseare of Federal design and rep resent the most common config uration for doors of this peri od, although occasionally fourpaneled doors were used.Themissing Federal door from therear of the entry hall wascurved to fit the curve of thewall, an elegant and unusualbut not unique feature;an ex amination of the door framehead from the back porch con firms this design detail.The stair rail is roughlycircular in cross section tofit the hand and is the mostfrequent shape used during thisperiod.The stair balustersare small and rectangular incross section, a feature thatis universal in surviving housesof the period in Huntsville.No turned Federal period balus The first floor layout ofthe Weeden House as it istoday. The small buildingoutlined at the top righthas been demolished;it originally con tained the earlierkitchens.13
This detail of the stair scrolls shows how the pattern compresses as thestairway begins to curve.ters have been observed by thiswriter, either here or else where, although there must besome exceptions.A small ivory button is cen tered in the bottom end-spiralof the stair rail.The tradi tion is that this signifiespayment of all debt on thehouse.The mantels in the two frontrooms of the first floor areGreek Revival, perhaps datingfrom an 1850s remodeling.Thechange in scale from Federal toGreek Revival is most notice able;the Greek Revival formsare heavy and simple— evenblocky— and contrast greatlywith the delicate Adamesquemolding found on all the origi nal woodwork.The two GreekRevival mantels and the entryhall rear door are the only14later elements in the WeedenHouse, making it a rare exampleof basically unaltered Federalperiod construction.However,these later features representpart of the history of thehouse and are to be kept inplace. They were in the houseduring the life of Maria HowardWeeden and so are importanthistorical elements.The interior doors are verythin, just 1 1/8 inches.Thisis considerably thinner than amodern house door (1 3/8 inches)but is typical of the Federalperiod.The locks are repro ductions of the original "Car penter" brand rimlocks thatwere in the house, one of whichsurvived on the dining roomdoor.The interior woodwork of theWeeden House is the most elab-
orate in Madison County and isintact except for a missingchair rail in the northwestparlor and the above mentionedmantels and door. Because thedesign of the chair rail is notknown, the rail has not beenreplaced.Delicate reeding andfluting are extensively used asa decorative motif, particular ly in the panels surroundingthe windows. Rep and chevronpatterns also appear in thesepanels and in the northwestparlor:these were made bygluing hundreds of pre-cutsticks into a gouged channelin the baseboard or windowsill.is a replication of the origi nal finish and, moreover, isthe most frequent color foundon Federal and Greek Revivalmantels, a conclusion that isbased on the results of scrap ing numerous mantels. Theblack color contrasts handsome ly with the strong Adamesquecolors, such as the deep pinkfound in the dining room. OnThe dining room containsone of the three original Adamesque mantels still in theWeeden House (the other two be ing on the unrestored secondfloor). The dramatic differ ence in scale and design be tween the Federal and the GreekRevival is readily apparentwhen comparing this mantel withthose in the front parlors.The wall and mantel colorspresent in the Weeden Houserooms today are the early nine teenth century colors used inthe house. Behind the door ineach room and under the entrystair is an unrestored rectan gle of plaster that retainsall the various paint colorsof the house's history.Thebrown-painted woodwork was ac tually grained, that is, paint ed in streaked patterns to imi tate various woods. An unres tored example of graining canbe seen at the top of the doorframe between the northwestparlor and the dining room.It is hoped that the grainingwill be replicated when finan ces allow and a skilled graineris available.The black paint covered withshiny varnish on the mantelsThis mantel, located on the unrestor ed second floor of the Weeden House,displays the delicate reeding andfluting that Here typical of Federalperiod decoration.the lower right side of themantel in the northeast parloris an unrestored bit of theoriginal black paint.The rear stair enters di rectly into the room above thedining room with no separation,which is a fairly common fea ture of Federal period houses15
This window in the northeast parlor of the Weeden House is elaboratelyornamented with a variety of decorative motifs.16
in this area. An unusual andattractive detail is the heartcut out design in the endscrolls of this stair.In the northeast parlor,bull's-eye corner blocks appearat the top of the door and win dow frames;decorative cornerblocks are unusual in Federalperiod houses although otherexamples do exist. However,the backbanded window and doortrim found in the other roomsis quite typical for the peri od .The Weeden House rooms haveno crown molding at the top ofthe walls, nor does any knownFederal period house in thisarea. Some owners have recent ly added small modern crownmoldings to Federal periodrooms in the mistaken beliefthat it "ought to be there,"but it should not.Occasion ally however these rooms didhave wide wallpaper borders atthe top of the walls.In theWeeden dining room, the rosepink wall paint stops short ofthe ceiling by about eighteeninches, indicating that a wall paper border once deocrated theupper walls of this room.The nails used in the Weed en House are square cut nailsof various sizes made by ma chine. By the late 1700s mostcut nails were made by eitherwater or steam powered machines.Only a few nails of specialshape (such as large-headed)were handwrought in the earlynineteenth century, which was,after all, the age of the In dustrial Revolution.The baseboards in the WeedenHouse have no small shoe moldsat the floor since shoe moldswere a later device. Duringthe Federal period, the base board bottoms were scribed tofit any irregularities in thefloor plane, creating a muchneater detail than tacked-onshoe molding.The first floor ceilings aretwelve feet five inches high,while those on the second floorare eleven feet one inch high.The house may appear to be com pletely symmetrical on thefront, but it is not: the roomon the left of the entry is twofeet wider than the room on theright (21' 10" versus 19' 10").In fact, very few of these oldhouses that appear to be mathe matically symmetrical reallyare— our eyes deceive us intothinking they are because thatis what we expect.WEEDEN HOUSE SITEThe original kitchen was aseparate structure located about thirty feet from the reardoor. This separation keptkitchen heat and smells out ofthe house in the summer andlessened the risk of fire.However some Federal periodhouses in Huntsville did havecooking fireplaces in the mainhouse, normally in a half-sunk en ground floor.An 1861 map of Huntsvilleshows that there were severaloutbuildings with the WeedenHouse;an 1871 "Bird's-EyeView" map shows how thesebuildings were shaped. Theiruses are not known, but onemust have housed horses andconveyances and another wouldhave been the "necessary."The Weeden House is said tohave had an iron fence at thetime of the Civil War, butprobably the original fence wasof wooden pickets, a more com mon type of fencing in 1819.The 1819 Maria Howard WeedenHouse is a fine and almost un 17
altered example of Federal pe riod domestic architecture. Bystudying it, we can gain gener al insights about Huntsvillelifestyles in 1819 and specificinsights about the life and artof Maria Howard Weeden in theThe GardensPassers-by along GatesStreet on a summer day in thelate .nineteenth century mustoften have paused to gaze indelight at the colorful gardenthat transformed the east lawnof Weeden House into a sweetscented realm of beauty.Jane Eliza Brooks Urguhart,wife of Dr. William Weeden andcreator of this charming spot,might have given her Englishand Scotch ancestry credit forher special way with flowers. 1But her ideas were by no meansconfined to clipped hedges andformal plantings.Instead shechose old-fashioned flowers,such as heliotrope, peonies,lemon verbena, pinks, and holly hocks. Roses were her speciallove, and she planted sturdystock that continued to flour ish for many years to come.When Dr. Weeden bought thehouse in 1845, the grounds werequite extensive, reaching fromGates to Williams with a half block frontage on each street. 2There was plenty of room forflowers as well as the indis pensable vegetable garden.Funds were ample, servantsavailable, and the project musthave been an inviting one to a18late nineteenth century.Butmore importantly, we can learnto understand our own times-for historic architecture helpsus to evaluate our own timeswithin the greater historicalcontext to which we all belong.by Sarah H u ff F is kgardening enthusiast.However, tragedy came sud denly in late 1846 when Dr.Weeden died while on a trip toNew Orleans. 3His widow,though well provided for, wasleft to nurture their youngfamily, which eventually in cluded Maria Howard, born sixmonths after her father's death.In this time of sadness andresponsibility, the planningand care of a garden must haveoffered much needed solace.Exactly when the firstplants were set out is notknown, but surely there weremany treasured roses, cuttings,roots, and seeds transplantedby the family from their formerhome on Weeden Mountain, south west of Huntsville.How theseflourished or in what stagesthe garden progressed can only1 James E. Saunders, Early Settlersof Alabama (New Orleans: 1899), pp.454, 455.2 Deed Book EE, p. 520, Probate Of fice, Madison County Courthouse,Huntsville, Alabama.3 Probate Record XII, p .27 2, ProbateOffice, Madison County Courthouse,Huntsville, Alabama.
be imagined now.It must havefaced near extinction when theUnion forces took over thehouse during the Civil War,forcing the family to fleesouth. 4Upon their return, Mrs.Weeden and her family facedmany problems in the devasta ting aftermath of the war. Inthe face of lost fortunes, wan ing strength, and scarce help,the revival of the garden musthave been both a challenge anda joy.Howard, the unmarried daughterswho lived beside it all theirlives. They mourned togetherwhen in 1890 hard times forcedthem to sell the eastern partof the plot.Yet the remain ing portion was all the sisterscould hope to maintain.It was mostly Kate, hardyand energetic, who planned andplanted, continuing her mother'swork.But it was Howard, frailin health, ever talented, whoso memorialized the gardenthrough her poems and paintingsThis drawing of the Weeden House property— taken from the 1871 Bird's-EyeView map of Huntsville— shows the outbuildings and their locations in thatyear when the lot still extended through to Williams Street.But finally the infirmitiesof old age crept upon Mrs.Weeden and she passed away in1881, leaving the blossoms fromher treasured spot to wafttheir fragrance upon the sum mer air for many years to come."Mother's Garden" was alwaysa cherished spot to Kate and4 Mrs. William D. Chadick, "CivilWar Days in Huntsville, Alabama,"Huntsville Times, September 11-15,1955.5 Deed. Book SSS, p . 542, Probate Of fice, Madison County Courthouse,Huntsville, Alabama.19
that its memory persisted evenhalf a century later whenscarcely a sprig of it survived.Always a seeker of beauty,Howard Weeden possessed therare ability to record its es sence for others to enjoy. Thepaintings and poems that fillthe pages of her four publishedbooks bear plentiful evidenceof this talent. 6Not onlywas she able to picture thebeauty of the daintiest wildflower or the most lusciousrose, but to an even surpassingdegree her pen and brush couldcapture and distill beauty ofcharacter in the portrait ofan individual.Very personal glimpses ofMiss-Weeden's response to na ture's beauty are revealed inher correspondence with herclose friend and devoted spon sor, Miss Elizabeth Price ofNashville.In October, 1894,she wrote :The world is so beautiful justnow. One feels like leaving pictures:and paints and living like a gypsytill the winter.A friend took me out to the ChaseNursery yesterday to see the last ofthe roses, and it was hard to tellwhich was loveliest— the acres ofroses, or the woodsides full of wildbeauties like golden rod and asterswhich we saw going and coming. I sawout there, too, the Handsomest grayhound I ever met with— a princely'Romeo' by name.6 Books by Howard Weeden: Shadowson the Wall (New York: privatelyprinted, 1898); Bandanna Ballads(New York:Doubleday & McClure Co.,1899); Songs of the Old South (NewYork: Doubleday, Page s Company,1900); Old Voices (New York: Double day, Page & Company, 1904).Also see: Frances C. Roberts andSarah Huff Fisk, Shadows on the Wall:The Life and Works of Howard Weeden(Colonial Press, 1962).20On April 22, 1896, the art ist's letter to Miss Price,who was then studying music inBerlin, mentions a recent re arrangement of the downstairsrooms and follows closely withthe latest garden news— oneclearly as important as theother:Our little garden is already abower of roses and wisteria and every where we can see your seed of lastsummer shining— one great bunch ofcandy-tuft is white as snow withbloom— and we say there's Elizabeth.Mrs. Green, who comes in every springfrom her country greenhouse withflowers has them this year at Mrs.Dentlers, near enough to tempt u s .But this year. Sister says we mustonly buy Tomatoe plants and sick mecan't indulge in blooms.On March 5, 1897, Miss Weedenagain mentions the garden toher far distant friend:Sister (Kate) is outdoors thismorning working in the garden.Shehas had the fence taken down betweenthe yard and garden, and comes inevery now and then to tell me howthings look.'Elizabeth Bed' shesays (we always called the one nearthe bench that, where you admired thered verbena) is going to be lovelywith roses and fresh sown flowerseeds.I can see it from my window,for since you were here we have takenthe old parlor for our bedroom (frontroom to east) and that looks out onthe garden now that the fence is away.And then in the summer of1904, the final year of HowardWeeden's life, when her deli cate health was failing fast,Elizabeth Price visited her inthe Weeden garden and latertold of her visit through thepages of the Nashville American:Miss Howard Weeden is always charm ing, but most so when in the settingof her own quiet parlor at WeedenPlace or in the sweet old-fashionedgarden, where one wanders with her
and her sister, who is also a womanof delightful conversation and sym pathy. In my visits we strolledabout, gathering a pink rose here,a red verbena there, a splendid yel low canna bloom almost as rare as anorchid, a
THE HISTORIC HUNTSVILLE QUARTERLY of Local Architecture and Preservation Vol. VIIINo. 1 Fall, 1981 Contents THE MARIA HOWARD WEEDEN HOUSE 4 The Structure by Harvie Jones 18 The Gardens by Sarah Huff Fisk 21 The Owners by Frances C. Roberts THE HISTORIC HUNTSVILLE QUARTERLY is published four times a year by the Historic Huntsville Foundation .
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