Building the State House: Charles Wallace and the Old Senate Chamber

The answer to the question of who built the Maryland State House may be more complicated than you might imagine. While Joseph Horatio Anderson is commonly considered to be the original architect, and provided some of the first floor plans, he did not actually supervise the construction of the building. On June 20, 1771, the Maryland General Assembly contracted a somewhat unexpected individual to undertake the actual construction after Joseph Horatio Anderson had left. Charles Wallace, an Annapolitan, and one-third of the successful eighteenth-century mercantile firm, Wallace, Davidson & Johnson, agreed to take on what would become one of his most famous projects.[1]

Front elevation of the Maryland State House, by Charles Willson Peale, July 1788. Maryland State Archives, MSA SC 1051-2.

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.

Furnished with Mahogany: Shaw in the Old Senate Chamber

Several months ago, we covered the humble beginnings of John Shaw’s life in Annapolis. Upon his death at 83, the Maryland Gazette had called him one of the most respected inhabitants of Annapolis, and declared, “He was gifted by nature with strength, as well as fortitude of mind….his whole conduct remained free from reproach, and he descended into the grave, survived by a fair and unblemished reputation, and in peace with the human family. He was not afraid to die!”[1] But what was it that Shaw had done during his life that had changed his status from a Glasgow cabinetmaker to one of Annapolis’ most famous citizens?

Senate President's Desk, made in John Shaw's shop for the Old Senate Chamber, 1797. The desk is inscribed with "W 1797 T," and was made by one of Shaw's most famous apprentices, William Tuck. Maryland State Archives, MSA SC 1545-0749.

Joseph Clark's Dome

Many tourists enter the Maryland State House, admire the copy of George Washington’s resignation speech in the rotunda, and look above them at the interior of the dome. Unfortunately, there is a common misconception that the dome visitors see today was the very dome that stood when Washington entered the building on December 23, 1783. In fact, the famous dome that crowns the State House is not the first on the building.

Conjectural drawing of the original appearance of the State House dome when the building first opened in 1772. Sketch by Elizabeth Ridout, Maryland State Archives, MSA SC 1444.

Though construction on the State House began in 1772, when Continental Congress arrived in 1783, they found a building still riddled with complications. The building's undertaker, Charles Wallace, left the project in 1779 due to frustration with finances and continual delays to the project from weather and war. Though the rooms were fully completed and furnished in 1783, the roof continually leaked and damaged much of the upstairs rooms. Aesthetically, the original dome that Congress would have seen was considered too small and unimpressive for a building considered the most beautiful in America.

“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 Dove and the Crown: Using Watermarks to Discover the OSC

Undoubtedly, some of the most important resources for learning what sort of furniture and architecture was in the Old Senate Chamber in the eighteenth-century comes from early receipts and state payment records. However, more frequently than you may imagine, these records can be left unsigned or undated - at which point historians have to look at other ways to understand the documents.

This partial watermark of a crown was found on an undated Intendant's memo that has since been narrowed to date between 1783-1786. You may also notice vertical (called chain lines) and horizontal (called laid lines) on the paper, which appear as part of the pre-industrial papermaking process. Maryland State Archives, MSA S1005-14154.

Papermakers in the eighteenth-century would often include subtle images called watermarks in their work. Though their original purpose is unknown, it is commonly thought that they were used as a sort of maker’s mark. To see a watermark, a viewer may sometimes have to look closely, holding the paper up to a light. While paper watermarks have largely disappeared from modern use, you can still see them on paper currency as a means of proving that it is not counterfeit.

A Different Kind of Laborer: Jane Lewis and Betty Simmons

Much like the unsung African American laborers who worked on the early State House, women’s contributions to the running of the State House went largely unrecorded. While we may know more about women of the upper-classes, like Molly Ridout, many working-class women have been long been lost to time. However, research into the Old Senate Chamber frequently comes up with rather unexpected results - and records of two women’s contributions to the running of the State House are among them. There is a lot we don’t know about these women, but what is known is interesting enough to hint at a possibility of many different stories.

Reproduction of the John Shaw flag by CRW Flags, 2009. Maryland State Archives, MSA SC 1545-3348.

Followers of the blog may have seen the name Jane Lewis before, perhaps connected with Annapolis cabinetmaker, John Shaw. On May 13, 1778, the Orphans’ Court proceedings recorded, “The Court binds Jane Lewis, the Daughter of Ann George, an Infant of 9 years of age, as an apprentice to John Shaw of the City of Annapolis, as a Seamstress, the Said John Shaw obliging himself to cause her to be taught to read and write, and to pay her the sum of six pounds currency at the expiration of 16yrs her time of Servitude, in lieu of freedom dues.” Where Jane Lewis came from, who her mother Ann George was, and what happened to Jane after this record remains a mystery for now. However, what we do know from this rather peculiar record provides a considerable amount of information.

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 Resignation: The State House Illuminated

On Christmas Day, 1783, James Tilton was a little disgruntled over his own behavior at a ball that had occurred three days prior. In a letter to fellow Delaware delegate, Gunning Bedford Jr., he bemoaned, “Such was my villainous awkwardness, that I could not venture to dance on this occasion, you must therefore annex to it a cleverer Idea, than is to be expected from such a mortified whelp as I am.”[1]

The particular ball that Tilton referred to was a rather important one, held at the State House on December 22, 1783 in honor of General Washington. After all, Washington’s public appearances in Annapolis in December 1783 were not only confined to the resignation ceremony, but also included several public celebrations held in his honor. Tilton’s letter to Bedford has since become a valuable resource in determining contemporary impressions of the resignation and the celebrations held on the eve of it.

James Tilton, a Delaware delegate in Congress, was present for the resignation. Lithography by Thomas Edwards, 1828. Image courtesy of the National Portrait Gallery, Smithsonian Institution, NPG.78.141.

A Flag for the State House

In autumn of 1783, men like Jubb Fowler and John Shaw were hurriedly preparing for the arrival of Congress to the Maryland State House on November 26, 1783. Actually a cabinetmaker by trade, the State House hired John Shaw for a variety of tasks. Among Shaw’s various projects in late 1783, perhaps the most famous is what is now known as the “John Shaw flag.”

This watercolor painted by Charles Cotton Millbourne c.1794 is the best known image of a depiction of the original "John Shaw flag." View of Annapolis, courtesy of the Hammond Harwood House Association. You may also view their blog here.

On November 12, 1783, the state paid Messrs C. and R. Johnson of Baltimore for purchasing “2 pieces of red bunting, 2 ditto white bunting, 19½ yards blue ditto. The above, to make a pair of colours for the State at the request of the Gov & Council and Ordered of the purchaser in Balto.”[1] Shaw was paid for providing two matching flags - both were nine by twenty-three feet and were of an unusual design. Descriptions of the eighteenth-century Shaw flag have always been vague, but it was certainly built according to the 1777 resolution by Congress that the nation’s flag must have “13 stripes alternating red and white” and “13 stars white on a field of blue representing a constellation.”[2]

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.

OSC Gallery: More Elegant than Required

Image courtesy of Jay Baker, 2009.

On Monday, the present gallery in the Old Senate Chamber will be deconstructed in order to further investigate the space and prepare the room for its ultimate restoration. As mentioned in previous posts, the current gallery was a 1905 reconstruction of what the architect, John Appleton Wilson, believed to be its original 1777 appearance.

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