Receipts, Letters, and the News: How Archival Documents Crafted the Restored Old Senate Chamber

When most people think of an archives, the first thing to come to mind is often how the documents can be used as genealogical and legal resources. People rarely consider how these centuries of valuable documents can all be applied to restorations. While research within the Maryland State Archives, such as the Legacy of Slavery in Maryland, Maryland 400, and Brookeville projects, all use resources in the institution’s holdings to attempt to piece together the histories of people, the Old Senate Chamber restoration has similarly been using the same documents for years to piece together the history of a single room.

1825 header depicting the State House on the Maryland Gazette, one of the first published American newspapers. Many original editions of the paper are in the collection of the Maryland State Archives. Maryland Gazette, 21 April 1825, MSA SC 378-42.

With a room as old and historic as the Old Senate Chamber, shadows of architectural remains and photographs of the room in later periods do not suffice to explain all aspects of the room's original appearance. Instead, more unusual resources need to be used to flesh out the narrative. In the past, we have used probate and watermark analysis on documents to verify information and craft the lives of the key players in the Old Senate Chamber’s history.

“That Most Illustrious Character:” Peale’s Washington, Lafayette, & Tilghman

Anyone who has visited the Maryland State House in the years past doubtless left with an impression of Charles Willson Peale’s Washington, Lafayette, & Tilghman at Yorktown. One of the largest paintings decorating the building’s walls, Peale’s work has been in the Maryland state art collection since its completion in 1784. All the while, the famous Washington, Lafayette, & Tilghman has had a long historical relationship with both the Old Senate Chamber and Old House of Delegates Chamber.

Charles Willson Peale's Washington, Lafayette, & Tilghman at Yorktown, completed in 1784. Maryland State Archives, MSA SC 1545-1120.

In 1781, the patriot cause saw great reason to celebrate with the American victory at Yorktown and subsequent surrender of British General Charles Cornwallis. The Maryland General Assembly sought to mark the occasion by unanimously voting “to write to Mr. Peale, of Philadelphia, to procure, as soon as may be, the portrait of his Excellency general Washington, at full length, to be placed in the house of delegates, in grateful remembrance of that most illustrious character.”[1] A Maryland native who had already earned the respect of the Maryland General Assembly with his portrait of William Pitt hanging in the Old Senate Chamber, Peale was an obvious choice for the painting’s commission. A year earlier, Peale’s painting of Washington in Princeton had garnered enough popularity, that he made several copies of the piece. However, Peale was not satisfied with the idea of presenting his native state with a copy. He sought to paint something new, and a rendition of Washington from life. Ultimately, Washington, Lafayette, & Tilghman took three years to complete.

The Mysterious Life of John Shaw

On March 5, 1829, both the Maryland Gazette and the Maryland Republican ran an identical article of remarkable length for an obituary of that day. The obituary described the deceased, an Annapolis cabinetmaker called John Shaw, in glowing terms: “He was not afraid to die! … He was a good man, who lived sincerely beloved by his family, and deservedly esteemed by his fellow-citizens; and has, we trust, passed from this world of care, to partake of the joys promised to the righteous.”[1]

Doubtless, followers of this blog have noticed the recurrence of John Shaw’s name in various capacities throughout the construction and operation of the eighteenth-century Maryland State House. Today, the cabinetmaker has played a critical role in research for the renovation of the Old Senate Chamber. Recent research into John Shaw’s life has uncovered new and exciting details, perhaps sometimes raising more questions than answers. All the same, in gaining a better grasp on the biographical details of Shaw, we are better able to understand how and when he would have furnished the Old Senate Chamber.

Signature of John Shaw on a receipt for candles to illuminate the State House for Washington's ball, December 1783. Maryland State Archives, Scharf Collection, MSA S 1005-83-117.

In this entry, we will focus specifically on recent research that uncovered details on his early life, fostering the man who would become one of the greatest contributors to the interior appearance of the Maryland State House.

The State House At War

The Maryland State House has been the setting for dramatic turns in the history of Maryland and the nation. Over the years, all of the nation’s wars have in some way impacted the building and the politics that take place within it. During the War of 1812, the State House dome was even used as a lookout while the British fleet raided the Chesapeake Bay. Situated at the center of Annapolis, which is home to the United States Naval Academy as well as Maryland’s capital, it would be difficult for the Maryland State House to not play a prominent role in the home front.

Photograph of procession on Maryland Avenue, with the State House in the background, dated 1859-1906. Copy by Marion E. Warren, Marion E. Warren Collection, Maryland State Archives, MSA SC 1890-02-3244.

In honor of Veteran’s Day, we will take a moment to reflect on the State House and its consequential role in the Revolutionary War effort.

John Shaw and the State House, 1783

John Shaw (1745-1829) is widely considered to be the premier cabinetmaker of Annapolis during the late eighteenth and early nineteenth centuries. He owned the largest furniture-making shop in Annapolis which produced furniture for private and public patrons, including many commissions for work at the State House. Much of Shaw’s furniture, including objects made for the State House, was stylistically distinctive and frequently identified by labels. Between the 1770s and 1819, Shaw, more than any other Annapolis artisan, played the most extensive role in shaping the appearance of the State House, its furnishings, and in particular, the Old Senate Chamber. 

Shaw and Chisholm Label, c. 1783-4; found on MSA SC 1545-0814