Upper Darby, Pennsylvania - sellershall.orgsellershall.org/Milner Sellers Hall Final Report (low-res).pdf · led by John Milner, FAIA, Adjunct Professor of Architecture for the University

Sellers HallUpper Darby, Pennsylvania

Architectural ArcheologyGraduate Program in Historic PreservationUniversity of Pennsylvania Spring 2010

A Report on

Archival Research and Architectural Investigations

Sellers Hall

Upper Darby, Pennsylvania

Prepared by

Architectural Archeology Class

Graduate Program in Historic Preservation

School of Design

University of Pennsylvania

April 28, 2010

Architectural Archeology • Sellers Hall, Upper Darby, Pennsylvania • Spring 2010

Project Leader

John Milner

Project Team

Henry Bernberg, Kim Broadbent, Meaghan Colahan, Cassie Glinkowski, Sol Jung,

Natalie Karas, Aysem Kilinc, Charles Lawrence, Kevin McMahon, Olivia Mitchell,

Betty Prime, Sara Rogers, Janelle Sahutski, Alanna Stewart, Lauren Vollono,

Jacqueline Wiese, Rie Yamakawa

Acknowledgements

The Archdiocese of Philadelphia

St. Alice’s Parish

Father Quinn

Bill McDevitt, Barbara Marinelli and Mortimer “Tim” Sellers at the

Friends of Sellers Hall

Upper Darby Historical Society

The Delaware County Historical Society and Archives

The American Philosophical Society

John Hanson and Hanson General Contracting Inc.

Chris Carter, John Milner Architects



Table of ContentsIntroduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1Historical Narrative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2Evolution of the Landscape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7History of the Sellers Family in Upper Darby . . . . . . . . . . . . . . . . . 16Building Evolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Existing Conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29Framing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Wood Interior Partitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Fireplaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Windows and Doors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Finishes Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62Plaster Chronology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Nail Chronology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68Recommendations for Further Research . . . . . . . . . . . . . . . . . . . . .68Appendices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Appendix A: DrawingsAppendix B: Finishes AnalysisAppendix C: Plaster AnalysisAppendix D: Nail Chronology

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IntroductionThis Preliminary Historic Structure Report is the product of the class on Archeological Architecture

led by John Milner, FAIA, Adjunct Professor of Architecture for the University of Pennsylvania Graduate Program in Historic Preservation. This project focuses on the structural progression of the first permanent residence in Upper Darby known as Sellers Hall. Currently a property of the St. Alice Parish, Sellers Hall was the residence built and established by Samuel Sellers, an English immigrant to Philadelphia. The report is compiled by the students in this class, and presents an analysis of the evidence from on-site architectural investigations and archival research.

The main objective of this research was the documentation of the original appearance of the building and site, in addition to the chronological mapping of construction and modifications based on the evidence of construction campaigns evident the structural components of the hall.

Several methodologies were involved in fulfilling this objective. • On-site investigation involved a systematic approach to analyzing possible sources of information on

building chronology based on a fundamental knowledge of architectural construction. Extant walls, floors and ceilings were examined to find evidence of previous interior partitions, exterior masonry, windows, doorways, roof lines, fireplaces and stairways.

• Material analysis of paint, plaster, mortar, and nail samples were gathered during over the course of the semester was also incorporated. These samples were catalogued and examined through strati-graphic and chemical laboratory analyses. These findings were then correlated to the structural ele-ments of the building mentioned.

• Archival references such as diaries, photographs, deed descriptions, tax records, surveys and maps were consulted for the refinement of theories on the building chronology.

• On-site visits to building sites in the surrounding region representing a range of historic periods and variety of architectural function gave the team a valuable opportunity to see floor plans, elevations and interior spatial configurations that could have been incorporated at Sellers Hall.

As a result of this interdisciplinary approach to the investigation, this report provides an in-depth under-standing of the structural provenance of Sellers Hall. The history of the site and its buildings as well as of the Sellers Family provides the reader context of the architectural and social history for the existing site. Physical descriptions of the site are supplemented by a discussion of the major building campaigns with emphasis on the framing system, stairs, wood interior partitions, windows and doors, and original fireplaces. The report is concluded with a summary of our findings and a set of recommendations that will help to further elucidate the value of Sellers Hall as an architectural site worthy of preservation and historic recognition.

This report is a preliminary step towards creating and maintaining a base of knowledge on vernacular ar-chitecture in the Philadelphia region for further research in the fields of architectural, cultural and economic history. Through this report, we hope to provide the information on essential findings on-site that correlate to and further illustrate the prominence of the Sellers family during the Industrial Revolution and their importance in Philadelphia’s history, and assist in the goal of the Friends of Sellers Hall to preserve unique example of an early domestic building.

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Historical NarrativeSellers Hall was the first residence of one of the most industrious, historic families of Upper Darby,

Pennsylvania. Construction on the house began in 1682, while the brothers reportedly lived in a cave near what is now Garrett Road in Delaware County.1

Samuel Sellers lived in the home from its construction to 1714, when he passed the property down to his son, Samuel Jr. It is Samuel Jr. (1696-1773), who is credited with first enlarging the building, although the extent to which he enlarged the site is undocumented.2 He owned the property until 1752, when it was inherited by John Sellers. A noted inventor, mill operator and entrepreneur, John Sellers expanded the Sellers family properties in homes and mills operations throughout Upper Darby. Upon his death in 1804, John left the home to his son George, who did not obtain the rights to the property until his marriage in 1808. George was the last Sellers family member to oversee the property, as his children later sold the farm to Thomas Powers after his death.

By 1798, it is documented in the US Federal Tax, also known as the Glass Tax, that Sellers Hall was a two story stone building, which included a bake house, kitchen, spring house and lumber house within the property. The family was by this point very prominent in the Upper Darby community, as the Sellers had served many civic leadership roles, as well as playing an important role in the industrial development of the region.

George Sellers, the last of the Sellers family to live in Sellers Hall, was a dedicated farmer, who valued the estate as his ancestral homestead and as his place of harvest. He had once written:

“Long may I toil mid these beloved fields,And emulate the virtues of my sires,For toil respected independence yields,The state to which each generous mind aspires.”3

While credited with expanding the property through decisive land purchases, he is also credited with the “el” addition on the north side of the building in the early 19th century.4

In 1862, Thomas Powers purchased the estate and created Elim Farm.5 The home had an exposed ran-dom rubble stone façade with a wrap-around porch extending on the west and south façade, with a lime-wash treatment on the first level of the exterior under the porch. Shed roof dormers were located on the north, east, south and west roof slopes, and some of the first and second floor windows were shuttered.

1 http://sellershall.org/history.html[Accessed24February2010].Thisregionwouldlaterbereferredtoas“cavefield.”ExactlocationnotedinStephanSalisbury,“A17th-centurysurvivorisimperiled,”Philadelphia Inquirer (29March2009).2 DiFilippo,11.3 Sellers Tricentennial: 1681-1981,10.4 Handwrittennotes(possiblybyDifilippo),theSellersHallfolder,UpperDarbyHistoricalSociety.5 Unknown,notesinSellersFamilyHomesandEstates,UpperDarbyHistoricalSociety.

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Figure 1: West facade of Seller’s Hall, late 19th c. (Upper Darby Historical Society)

In Samuel Fitch Hotchson’s Rural Pennsylvania in the Vicinity of Philadelphia (1897), Seller’s Hall is documented as one of the most significant structures in the region.6 The description states:

“The general plan of the house is in the form of an “L,” with semi-detached out-buildings, forming in all a picturesque group. The oldest portion faces the south, and from this front the lawn slopes to a terrace wall that separates the higher ground of the garden from the meadow land through which flows “Naylor’s Run.”7

The house was fully described in 1916 by David and Mary Pennock Sellers in their personal correspon-dence, which was published by their descendants in 1928. It states:

6 HoraceSellers,“SellersHall,”Rural Pennsylvania in the Vicinity of Philadelphia,ed.SamuelFitchHotchkin.Philadelphia:GeorgeW.Jacobs&Co.,1897,315.7 Idem,316.

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“Sellers Hall at present stands with south wall facing the meadow, with a detached kitchen to the east separated from the main building by a brick passageway resembling the passageway at Valley Forge. At the west end of the homestead, with one window south and one north, and with doorway to the west, was a small building with two solid stone walls between it and the main building. This small building consisted of two rooms on the ground floor, two rooms above that, and an attic over all. The double stone wall was never broken through until after Thomas Powers had bought the homestead in the sixties, and then when a doorway was made the double wall measured forty inches…Some of the family claim that the detached kitchen was the original building, but this idea is, I think, an erroneous one.”8

8 Excerptfrom David Sellers and Mary Pennock Sellers,1928,OwnedbytheUpperDarbyTownshipandSellersMemorialFreePublicLibrary.

Figure 2: West facade of Seller’s Hall, late 19th c. (Upper Darby Historical Society)

Figure 3: Washington’s headquarters at Valley Forge, as referenced in the above quotation. (http://www.reversespins.com/washhdqtrs.jpg)

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These details provide a much fuller picture of the relationship between the home and the detached kitchen, which although it is currently believed that it was a later addition to the property, would have been constructed as an early portion of the estate campus.

The letter goes on to document what is believed to be the first portion of the building:

“In 1902 I accompanied my Uncle Samuel Sellers and Benjamin Hoffman to Sellers Hall, and went over the building with them. They examined the walls and came to the conclusion that the far end of the building from the kitchen was the oldest portion. Between this portion and the main house was a double stone wall 40 inches thick, and from the lapping of the stones, they said it was evident this part had been erected before the rest of the homestead. Another proof in favor of the small building separated by the double stone wall being the original house was that it was nearer to the spring than the detached house.”9

The early stone wall continues to be a source of evi-dence for dating the building, as its construction and depth represent a significant period in the building’s development and evolution.

While the property was divided and sold into com-partmentalized lots, St. Alice’s Parish bought the plots of land containing Seller’s Hall in 1922. The building

once held the chapel and was used as the rectory for the first pastor, Rev. William L. Hayward, and was then

used as a parish library and bookstore before being left abandoned.10 Photo documentation of the building during St. Alice’s use of the building reflect a series of major build-

ing campaigns to the building. When the church first acquired the building in 1922, the structure still contained its wrap-around porch and surrounding fencing. (Fig. 4) By 1934, the fence and porch had been removed, sets of double dormers were installed on the south and east facades, the façade was treated to look

9 Excerptfrom David Sellers and Mary Pennock Sellers,1928,OwnedbytheUpperDarbyTownshipandSellersMemorialFreePublicLibrary.10 LindaReilly,“SavingSellers:Parish,communitylinkforcestosaveapieceofhistoryinUpperDarby,”Delaware County Daily Times(10January2005).

Figure 4: Changes in Sellers Hall during St. Alice’s occupation. (Upper Darby Historical Society)

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Figure 5: Photograph of Sellers Hall during St. Alice’s occupation, sometime between the 1922 acquisition and the changes visible in 1936. Visible exposed stone is highlighted on the second story. (Upper Darby Historical Society)

uniform and brick passageway with an arched window was constructed between the main house and the semi-detached kitchen structure. An undated photograph of the home and detached kitchen seems to reflect a period in the middle of these changes. (Fig. 5) The structure has had its porch removed, but double dor-mer windows have not been added, and the east façade still contains traces of its varied façade, as the second story of the building is exposed stone. The passageway way between the main house and detached kitchen is two stories, with horizontal wood siding.

By 2005, the house had been left vacant by St. Alice Roman Catholic Church and faced prospects of demolition. Interviewed on the subject, Deacon Charles Amen said, “Sellers Hall has deteriorated almost to the point of no return.”11 Sellers Hall, now standing for a little over three centuries, stands as just a glimpse of what it once was during the heyday of the Seller’s family success in Upper Darby. Many of the windows are boarded up, as the building sits vacant on the grounds of St. Alice Church. Having expressed the desire to demolish the building from the site, St. Alice Church met many obstacles from a gathered group of advo-cates for the site, later incorporated as the Friends of Sellers Hall non-profit.

11 LindaReilly,“SavingSellers:Parish,communitylinkforcestosaveapieceofhistoryinUpperDarby,”Delaware County Daily Times(10January2005).

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Evolution of the LandscapeProperty Surrounding Sellers Hall

Passing west at Cobb’s Creek, the West Chester Road passes for the distance of about a mile through what was for two centuries the property of the Sellers Family. The original tract of land was rented by the Sellers from William Penn for a penny an acre.12 This land included two small farms of fifty acres each upon which George and Samuel Sellers settled after their arrival to the Province in 1682.13 The property was of-ficially transferred from William Penn to Samuel Sellers on March 3, 1689:

“…Know ye, that by virtue of the commission aforesaid we have given, granted and confirmed and by these presents for the said William Penn his heirs and successors we do give, grant and confirm to the said Samuel Seller his heirs and assigns forever the said one hundred acres of land. To have hold and enjoy the said land to the only use and behoofe of the said Samuel Seller his heirs and assigns forever…”14

The property was purchased for five pounds current money of the province, which was payable part in

12 N.Sellers,P.&L.Sellers,W.&N.Sellers,Sellers Tricentennial: 1681-1981.AdaptedfromthewrittenaccountbyHoraceWellsSellers.Privatelypublished,1981,1.[UpperDarbyHistoricalSociety].13 HoraceSellers,“SellersHall,”Rural Pennsylvania in the Vicinity of Philadelphia,ed.SamuelFitchHotchkin.Philadelphia:GeorgeW.Jacobs&Co.,1897,315.14 “Penn’sDeedtoSamuelSellers,”Transcription.UpperDarbyHistoricalSociety.

Figure 6: Deacon Charles Amen pointing to water damage in the ceiling of the hall. Caption in the newspaper article reads: “The original tin ceiling in the third floor room collapsed.” (Linda Reilly, “Saving Sellers: Parish, community link forces to save a piece of history in Upper Darby,” Delaware County Daily Times, 10 January 2005)

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silver and part in wheat. In the following year, Samuel acquired 75 ½ acres to the north from Ann Bunting, of which comprised a large portion of the Sellers Hall farm, bordering on both sides of the West Chester road and on Cobbs, then called Mill Creek.15 Within the meadow of this land was Naylor’s Run, currently an underground stream that flows into Cobbs Creek. (Fig. 2) Seller’s Hall was built on a hill overlooking the bridge where Cobbs Creek was crossed by the main road

between Philadelphia and the inland town of West Chester. This geographic position certainly added to the recognizable nature of the Sellers name and homestead, which featured prominently in early trips into and out of the City of Philadelphia.16

Subsequent generations are credited with expanding the original building. During his lifetime, Samuel transferred the title of the property to his son, Samuel Jr., who is noted for “enlarging the property,” the ex-tent of which is not documented.17 The property, along with the vast number of mills associated with it, was then passed onto Samuel Jr.’s son, John Sellers. He extended the estate further through the purchase of land and enlarged the system of mill races and dams to operate his various industries.18

An understanding of the home’s context in the late 18th century can be informed by early federal tax records. On July 14, 1798, the newly formed United States of America passed the US Direct Tax, more commonly known as the Glass Tax. As a revenue raising tactic, the government imposed a tax on glass, which at the time was practically the most expensive article in any house.19 In many cases, homeowners cut down their own trees to erect homesteads, but because of the wealth of forested wilderness regions wood was a very inexpensive commodity. Instead, glass was a particularly hard material is produce in the 19th century, as it was hand blown and dangerous for craftsmen to produce because of the toll on their lungs and general health. Thus each pane of glass was highly expensive and its inclusion in the construction of a home

15 Sellers Tricentennial: 1681-1981,4.16 DomenicVitiello,Engineering the Metropolis: The Sellers Family and Industrial Philadelphia,Dissertation.UniversityofPennsylvania,2004,24.17 HandwrittennotesintheSellersHallfolderattheUpperDarbyHistoricalSociety.18 Rural Pennsylvania,317.19 http://www.motherbedford.com/GlassTax.htm

Figure 1: Maps of the Sellers Estate, Upper Darby, 1681-1750. (Given by Chester F. Baker, Upper Darby Historical Society)

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increased the overall value of the home-stead structure. In 1798, Sellers Hall was listed under the ownership of John Sellers in the 1798 Glass tax. The docu-ment outlines the property, of which the homestead is noted as 2 acres, with 12 windows and 142 panes listed. The property details outhouses, of which in-clude a kitchen, wash room attached by bake-house, lumber house, and a spring house. A spring house was a small building used for refrigeration, usually a one-room building constructed over the source of a spring. At the time of the 1798 Glass Tax, the homestead had expanded to include a campus of build-ings to support the daily operations of the family estate.20

The original entrance to the farm of Sellers Hall was from Marshall Road, and later an entrance was made from West Chester Pike when it was first opened. It is said that George Sellers gave right of way from Long Lane, and from it an entrance to Sellers Hall was made.21

George Sellers is said to have given Sellers Hall its name, naming it as the official homestead of the industrious family. He is also credited with enlarging the property greatly through the purchase of John Marshall’s estate.22 By 1897, it is noted in Rural Pennsylvania that George Sellers’ expansion of the land south of the West Chester Road, had since been disposed of by his descendants. The principal tract of land that still remained within the family was on the north side of the West Chester road, included in the “Millbourne” estate.23 Already, the huge estate of the prosperous family dwindled in size as pressures for development increased and more family members moved

20 NationalArchives,MicrofilmReel.21 “TwoHundredandFiftiethAnniversaryoftheFirstSettlementinStonehurst,DelawareCounty,PA:1683-1933),”originallyfiledintheUpperDarbyFreePublicLibrary.UpperDarbyHistoricalSociety.22 “TwoHundredandFiftiethAnniversaryoftheFirstSettlementinStonehurst,DelawareCounty,PA:1683-1933),”originallyfiledintheUpperDarbyFreePublicLibrary.UpperDarbyHistoricalSociety.23 Rural Pennsylvania,317-318.

Figure 2: Naylor’s Run, September, 1906. (A. Sellers. Upper Darby Historical Society)

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out of the region.At the peak of the Sellers family’s

success in Upper Darby, there were over twenty homes associated with the family within the vicinity of Upper Darby township, with businesses and warehouses active in both the immedi-ate region and Center City of Philadel-phia. During this time period, Anna Sellers made a drawing of the Sellers Hall property circa 1860. In it, she draws the home in the distance with an attached building to the east, display-ing three trees prominently to the south of the building’s main façade. Posi-tioned across from the homestead was a major barn with extensive fencing for life-stock, which are shown pasturing

Figure 3: View of Sellers Hall, c. 1860. Shown with Long Lane in the forefront. (Upper Darby Historical Society)

Figure 4: Drawing of Seller’s Hall by Anna Sellers (1824-1905), c. 1860. (Upper Darby Historical Society)

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throughout the huge meadowland in the center of the drawing. While the purpose of the rest of the buildings shown is less apparent, the drawing gives the estate an almost village-like appearance. The primary road leading up towards the house is lined by trees, and surrounding by luscious, open fields.

In 1862, Thomas Powers had pur-chased the land containing and surround-ing Sellers Hall, creating “Elim Farm.” This period of the property’s ownership contains the fullest documentation, in the form of maps, photography and written description. A 1909 map reveals a full outline of the mansion, with its corre-sponding outbuildings. Sellers Hall was

centrally located, with a dense array of outbuildings permeating around it and large farming acreage almost served as a further islanding effect. This aspect of the site’s history is further contextualized by the scrap-book of Jesse Fullerton, who was a tenant farmer who worked on the property around this time. (see Ap-pendix- Farm Life).24 Sellers Hall was recognized as a historic building during this time period, as noted in a newspaper article from 1908:

“The house which Samuel built with his own hand, and where he and his family for four genera-tions lived so plainly and happily may be visited today. The house was somewhat enlarged from time to time, but the part originally built for a home, and later used as a kitchen, remains about as it was a century or two ago.”25

During this period, it was common family rumor that the attached kitchen

24 UpperDarbyHistoricalSociety.25 “Historical‘Sellers’Hall’,”MillbourneObserver(14July1908).UpperDarbyHistoricalSociety.

Figure 5. Detail of Elim Farm, c. 1909. (A.H. Mueller. Delaware County Archives)

Figure 6. Caption read: “The famous old mansion known as “Sellers Hall” situated within a mile of Millbourne, now known as Jone’s Dairy,” July, 1908. (Millbourne Observer, Upper Darby Historical Society)

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was the original building. Thomas Powers reportedly paid five hundred dollars an acre for the Sellers tract of land, which was known as the one of the most fertile farming lots in the entire State of Pennsylvania. Since his purchase, the land rose to a value of ten thousand dollars an acre, and it was “doubtless within a few years a thriving suburban village will mark the site of the present fruitful fields and magnificent groves of patriarchal trees.”26

While little is known in regards to the botanical history regarding the landscape of Sellers Hall, there is mention in the early 20th century of a massive oak tree, located to the east of the attached kitchen. Across its heaviest branch, a massive anchor chain was laid and over time it became embedded within the trunk of the tree. This tree was reportedly the site of a buried Sellers fortune, and surrounding residents would frequently unearth the land surrounding the tree in aspirations of finding hidden gold.27

Sellers Hall was given a historic designation by the Pennsylvania Historical and Museum Commission in 1985. The established sign reads:

“Sellers Hall: First permanent home in Upper Darby, built about 1684 by Samuel Sellers who oc-cupied it with his bride, Anna Gibbons. Their son, Samuel Sellers, Jr., was the first of many fam-ily members active in mechanical and scientific pursuits. Birthplace of John Sellers, a founder of the American Philosophical Society. In 1769, he served on a select committee that observed the planet Venus in its passage across the sun.”28

Despite this recognition of value surrounding the building’s three hundred year anniversary, the struc-ture was on its way to a state of deterioration and abandonment. It could not sufficiently support the needs

of St. Alice’s parish, while its encroaching de-velopment threatened to obscure the historic building into oblivion.

The purchase of the Sellers Hall property by St. Alice’s Parish coincided with increased development within the surrounding region at the same time. With the development of urban areas after the rapid industrializa-tion of Philadelphia, Upper Darby started to become more connected to the Center City. Philadelphia Rapid Transit Company recog-nized the potential for growth and extended the elevated line to 69th Street in 1907. The

26 “Historical‘Sellers’Hall’,”MillbourneObserver(14July1908).UpperDarbyHistoricalSociety.27 Ibid.28 LindaReilly,“SavingSellers:Parish,communitylinkforcestosaveapieceofhistoryinUpperDarby,”Delaware County Daily Times(10January2005).

Figure 7. Bird’s eye view of Seller’s Hall, within the complex of St. Alice’s Parish in Upper Darby, c. 2010. (Bing Maps)

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shopping district of the 69th Street developed in 1920s and became one of the busiest shopping areas in the region. After 1970s, Upper Darby experienced a major population increase that includes various ethnic groups moving into, including African-American, Asian, and Hispanic families. Today, the area that in-cludes Sellers Hall has a major transportation hub that connects Philadelphia to western suburbs. The shop-ping district of 69th Street preserves its commercial character with changes in business profile. Surrounding streets are heavily occupied by rowhouses and it is impossible to see former farm lands that were once housed buildings like Sellers Hall.

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1stPHASE

2ndPHASE

3rdPHASE

4thPHASE

5thPHASE

6thPHASE

Samuel Sellers (1684 - 1714)

Samuel Sellers, Jr. (1714 - 1752)

John Sellers (1752-1804)

George Sellers (1808-1853)

Thomas Powers(1863-1920)

Parish of St. Alice(1922-Present)

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View of Sellers Hall, c. 1830-1900Drawing by Anna Sellers

Depictions of Farm LifeImages from the family scrapbook of tenant farmer, Jesse Fullerton, late 19th c.

View of Sellers Hall, c. 1830-1900Drawing by Anna Sellers

Depictions of Farm LifeImages from the family scrapbook of tenant farmer, Jesse Fullerton, late 19th c.

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HISTORY OF THE SELLERS FAMILY IN UPPER DARBY, PASellers Hall was built in 1682 by Quaker immigrants George and Samuel Sellers, the first registered

residents in Upper Darby. After leaving their home in Derbyshire, England, George and Samuel established their estate on 100 acres of land in the eastern section of the township.1 Their parents, Thomas Sellers and Elizabeth Lombe Sellers, were the first members of the family to become Quaker, converting around 1670.2 When George and Samuel set sail from London on October 24, 1681, they embarked on a five month journey to America. Being men of means, they traveled with a substantial quantity of personal belongings, including pieces of furniture, a warming pan, pewter mugs and dishes, a wagon, as well as the money to purchase land.3 Settling in the region before William Penn, as noted on the 1681 Holmes Map, the broth-ers lived in a cave near present day 69th Street terminal while they built the family’s first homestead. Before the home’s completion, George was killed from a fall from his horse, leaving Samuel to inherit the rest of the property. The story of George’s death is retold in an early family letter:

“He went for one day for a bundle of shingles and did not return. He was missing for several days and at last was found in the following extraordinary manner. He owned a favorite cow that pastured with his brother’s cows in what since was grandfather’s (the first John Seller’s) far field near to Steel’s spring house. One afternoon that said cow took into her head that she would not return as usual with the other cows but keep running back towards the spring bawling continually. At last it was thought best to follow her and see what was the matter; she led them into a thicket where they discovered the remains of George Sellers, who had fallen from his horse with the shingles on top of him.”4

For more than 300 years, the Sellers name was associated with sawing, cotton and machining mills, along with the production of wire screening, paper, flour and locomotives. The long dynasty of mill owners, engineers, inventors and social activists were essential in the initial development of Upper Darby Township, the Philadelphia Area and the Middle Atlantic States.5 Generations of Sellers family members contributed to the civic life, technical innovations, financial support and growth of the industrial base that propelled the continued growth of the region into the 20th century. “Not only were the Sellers one of the families whose history in this country precedes the founding of our Nation, but they were & still are very prominent in society. They have made many contributions locally as well as nationally, which are recorded in our history.”6

1 Salisbury,Stephan.“A17th-centurysurvivorinperil,”Philadelphia Inquirer(March29,2009).AndThomasDiFilippo,The History and Development of Upper Darby Township, 1609-1987.StephanSalisburyandThomasDiFilippo,1988.2 N.Sellers,P.&L.Sellers,W.&N.Sellers,Sellers TriCentennial: 1681-1981.AdaptedfromthewrittenaccountbyHoraceWellsSellers.Privatelypublished,1981,1.[UpperDarbyHistoricalSociety].3 Sellers TriCentennial: 1681-1981,2.4 Ibid.5 “HistoricalNarrative:SellersHall,”CoursematerialforHSPV742:ArchitecturalArcheology.Spring,2010.6 LoriClark.Friends of Sellers Hall.2005.http://sellershall.org/

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On August 13, 1684, Samuel married Anna Gibbons and the original Sellers Hall was finished within weeks. The two were active and respected members of the Quaker community group, the Society of Friends. Samuel served as constable, juryman and fence viewer in Darby and Anna was an overseer of Women’s Meeting in Darby.7 Noted by historian Dr. George Smith, Samuel was “upright and just in his dealings; as a friend, he was attentive to his religious duties, and submissive to the discipline of the Society, even yielding his judgment to that of the meeting in private affairs.”8 Samuel and Anna had four children; Sarah, Mary, Anna and Samuel, Jr., as well as two others who died at a young age. Having established themselves as hard-working, caring community members, in 1714, Samuel conveyed his entire plantation to his son, Samuel Jr. (1696-1773).

At various times throughout the generations, the Sellers owned and operated a grist mill, cocoonery (a building meant to house silkworms), sawmills, tilt mills, tanning mill, cotton and machining mills.9 Samuel Jr. is considered to be the first American wire weaver and is noted for his charity to the poor. He improved highways and canals in the area and was active in local government, filling the position as constable after his father’s death. Samuel Jr. and wife Sarah Smith, who wed in 1712, had seven children, including John, born at “Sellers Hall” in 1728. John became a mechanician, and developed water power systems to run mills and create wire screens for sieves for grain and paper production. He would serve as one of the charter members of the Franklin Institute and American Philosophical Society, where his papers are presently archived.10 Three years after marrying Anna Gibson, John inherited the original 134 acres of the estate in 1752. Shortly after, he expanded the estate to 250 when he purchased the adjacent property.

John, along with his sons Nathan and David, were supporters of the revolutionary cause in the late 18th century. During the revolution, he acted as deputy to the “Boston Port Bill” convention that met in Philadel-phia during July of 1774. “His participation in these affairs led to his disownment by the Society of Friends; the testimony against him at Darby Monthly Meeting stated also that he had signed paper currency issued for carrying on war, and that he has sawed stuff for military service.” 11His son Nathan served as Ensign in Colonel Paschal’s battalion at the outbreak of the war. By act of Congress, Nathan was recalled to manufac-ture wire molds used to make paper and print money, as these items had been imported from England where there was currently an embargo.12 After the war, John had a new courthouse and prison built in Chester county was part of a plan to construct a canal to connect the Schuylkill and Susquehanna rivers, as well as the Market Street bridge. John was the first appointed Senator from the newly established Delaware County, which he represented at the Constitutional Convention in 1790. 13 John Sellers died at Sellers Hall in 1804.

7 JohnW.Jordan.Colonial and Revolutionary Families of Pennsylvania.(Baltimore,Maryland:GenealogicalPublishingCo.,Inc.1978),p.1413.8 Dr.GeorgeSmith,History of Delaware County,quotedinSellers TriCentennial,5.9 DiFilippo,11.10 AmericanPhilosophicalSociety.JohnSellersrecords,1783-1852.13.0Volume(s)Mss.B.P31.31-35http://www.amphilsoc.org/mole/view?docId=ead/Mss.B.P31.31-35-ead.xml;query=;brand=default#contactinfo11 Jordan,1414.12 DiFilippo,11.13 Jordan,1414.

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At the end of the 18th century, Nathan Sellers continued the mould making business in Philadelphia while living at 533 High Street (Market), which his son Coleman later took over. Coleman moved the busi-ness to 10 N. 6th Street, which he expanded to build fire engines at 16th and Market Street. Coleman mar-ried Sophonisba Peale, a daughter of the famous portraitist Charles Wilson Peale.

Coleman’s nephew, William Sellers (1824-1905), was a prominent mechanical engineer, manufacturer and inventor. As acting president of the Franklin Institute, William convinced his colleagues in the Promo-tion of the Mechanic Arts to lobby city, state and federal officials for a national celebration in Philadelphia.14 The fair was held on land donated by the newly organized Fairmount Park Commission, of which William was a charter member and pushed the display of technical innovations in the exhibits of Machinery Hall.

Along with the family’s immense contributions to modern science and industry, their social activism was perhaps just as valuable to the region. As staunch abolitionists, the family used Sellers Hall and many of their other homes as stations for the Underground Railroad.15

As the Sellers’ family grew, so did the mansions, country homes, mills and factories associated with them throughout Upper Darby and Center City Philadelphia. Hoodland, originally built in 1824, was destroyed by fire in 1877 and rebuilt in 1878, is now the David and Mary Sellers Memorial Library. Upon Mary Seller’s death, she deeded it along with a bequest of $150,000 to be operated as a library for the Township.16 Along with Sellers Hall, the family owned Wild Orchard, Millbank, Hoodland, Springton, Milbourne, Oak Hill, Way Side, Eei Hill, Thornfield, Edgefield, Brookfield and Bywood.17 There was often inter-marriage with the Pennock, Garrett and Cadwalader families.

14 DomenicVitiello,“EngineeringtheMetropolis:WilliamsSellers,JosephM.Wilson,andIndustrialPhiladelphia,”The Pennsylvania Magazine of History and Biography,Vol.126,No.2(April,2002):273-303.15 Salisbury,(29March2009).16 DiFilippo,12.17 Ibid.

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Sellers Family Tree,as relevant to the study of Sellers Hall

George Sellers (d. 1683)

Sarah MaryAnna

Joseph

Samuel, III.

Elizabeth

Mary

Hannah

Nathan

David

John, Jr.

Elizabeth Coleman

Rachel Coleman

Mary Coleman

George Sellers (1768 - 1853)

Ann Evans Ash

Samuel Sellers, Jr. (1696 - 1773)

Samuel Sellers (1655 - 1732)

Anna Gibbons(d. 1742)

Sarah Smith

John Sellers (1728 - 1804)

Ann Gibson

Coleman(1781-1834)

Sophonisba pealegranddaughter of c.w. peale

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Building Evolution

Stage 4

The eastern end of the building is extended, removing any evidence of what could have been an original eastern chimney. On the extended portion of the easternmost wall, a new chimney is built to accommodate a new parlor fireplace. A northern wing is added on to the original structure at the east end as well. This addition and the eastern extension were likely constructed during the early 19th century. The construction of the north wing also includes a new chimney on the northernmost wall of the new northern addition.

Stage 1

This model shows the building’s original stage circa 1681. It is a 20’x30’ 2.5 story building. There is a fireplace at both the west and east ends of the building. The fireplace on the west end is a cooking fireplace during this time period.

Stage 2

In the early 18th century, the original cooking fireplace on the west end is removed and pushed to the exterior of the building. This creates the exterior chimney which accommodates the parlor fireplace.

Stage 3

Also sometime in the early 18th century, an addition on the west end of the building is constructed. (It is not confirmed in what stages this addition was built, if not in its entirety all at once.) This western addition surrounds the exterior west chimney. It is also not confirmed if the east fireplace still exists during this time period.

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Sellers Hall, Then & Now • First Floor, Rm 101, East

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Sellers Hall, Then & Now • Third Floor Garrett, Northwest

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Sellers Hall, Then & Now • First Floor, Rm 103, Northwest

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Sellers Hall, Then & Now • Third Floor Garrett, Southeast

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Sellers Hall, Then & Now • Second Floor, West

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Sellers Hall, Then & Now • Second Floor, Southeast

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Sellers Hall, Then & Now • First Floor, Rm 101, South

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Sellers Hall, Then & Now • First Floor, Rm 101, West

Historical photos courtesy of the Upper Darby Historical Society and are dated 1906.

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Existing ConditionsExterior

General Information

Sellers Hall is two-and-a-half story structure that sits on a stone basement foundation. The walls are stone masonry covered with course aggregate, cementitious stucco on the exterior. The footprint is roughly L-shaped with two wings intersect-ing at the northeast corner of the building. The roof is gabled with a steep pitch and a hip at the intersection of the two wings. The wooden eaves have a very wide over-hang on all portions of the building except for the two gable ends, where there is no projection. The roof is currently sheathed with a temporary protective covering (obscuring the roofing material) to prevent water from entering the structure.

South Elevation

The south elevation, facing southeast onto Walnut Street, is five bays across. The fenestration is irregular and consists of vari-ous window shapes and sizes un-evenly-spaced. All of the open-ings on the first floor (including five windows and one door) are covered with plywood. The first floor contains five six-over-six double hung sash windows and

a glazed French door. The second floor windows are casement windows. All except for the far west window have eight panes in each casement. The far west window has six panes in each casement. All windows have simple, wooden window surrounds and sills. The roof contains three large shed dormers. The two on the east side have two window openings each while the smaller dormer on the west has only one. A water table projects slightly across the façade, about one-and-a-half feet from the ground. A brick chimney rises from the eastern end of the roof. A double-leaf bulkhead door leads to a below-grade basement.

Figure 1: View from southeast, 2010.

Figure 2: South elevation, 2010.

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East Elevation

The east elevation is four bays across, also with irregular fenestration. A glazed door opens in the south end of the façade at ground level. The three double-hung sash windows on the first floor are covered with plywood and the second floor contains one sixteen-pane casement window and one six-over-six double-hung sash window. Four shed dormers project from the roof, all with single windows except the farthest north, which has two. A brick chimney divides the surface of the façade.

North Elevation

The north elevation encompasses the intersection of the two wings of the building (the south and east wings). The gable end of the east wing contains an unusual six-over-four double-hung sash window in the attic level and three others, which are covered with plywood. The eaves are flush with the walls and a brick chimney rises from the gable. Also included in the north elevation is the rear of the north wing. At the intersection of the two wings stands a small, shed-like structure with a sloping shed room, oriented to the west. The rear of the south wing contains four windows and one shed dormer in the roof with a single opening.

Figure 3: East elevation, 2010.

Figure 4: North elevation, 2010.

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West ElevationThe west elevation consists of the rear of

the east wing’s intersection with the gable end of the south wing, joined by the small shed-like addition. The gable end contains an unusually short, paneled door with a wooden, pedimented overhang that projects from the wall surface several feet. The roof of this overhang is covered with asphalt shingles. The fenestration includes one window on the first floor and a small two-over-two double hung sash window in the attic level. The original fenestration of the rear of the east wing is mostly obscured by the shed-like structure. This structure is covered with the same stucco as the rest of the building and has two large openings which are covered with boards, as well as a central door, also boarded, that has a pedimented overhang very similar to the one in the gable end. Two single-window shed dormers project from the roof.

Existing ConditionsInterior

General Information

The interior shows signs of various alterations made throughout the house’s history, including reconfigura-tions in the floor plan through addition and removal of partition walls, additions to the building, and updating the building with new materials and support systems. At some point in the house’s history, the floor level in the first floor was lowered. Evidence of this change is most apparent in the elevated level of the windows and fireplaces on the first floor.

First Floor

Throughout the first floor, the walls are covered with thin strip vertical beaded board wainscot which

Figure 4: West elevation, 2010.

Figure 5: First floor plan, 2010.

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rises about 4 feet 3 inches above the floor and is topped with a simple wooden molding. With the exception of the far west room, the floors on the first floor are covered with strip flooring.

101: The room in the southeast corner of the first floor is entered from the exterior by a door in its east wall. Because of the lowered floor level, a two foot platform with three steps down provides access to the floor level. There is a fireplace in the east wall with a brick hearth built in front of an earlier wooden mantle. The room has two six-over-six double-hung sash windows with simple wooden sills and surrounds in the north wall.

Wooden pocket doors divide the room from the next room to the west. The ceiling height in this room is 8 feet 10 inches.

102: The central room on the first floor contains a closet in the southeast corner which conceals the location of the door opening that is expressed on the exterior of the south elevation. The south wall has two six-over-six double-hung sash windows. The north wall contains one six-over-six double-hung sash window and built-in shelving. The west wall has the remnants of a fireplace that has been converted into storage for a safe. The ceiling height in this room is 8 feet 10 inches.

103: The far west room is accessed by ascending three steps. Apparently, when the floors were lowered, the floor level in this room was left unaltered and, as a consequence, is about two feet higher than the rest of the first floor. The east wall has an interesting curvi-linear wall that curves in toward the eastern portion of the house and slopes slightly upward toward the ceiling. This very small room has one six-over-six double hung sash window in the south wall and built-in shelving in the west wall. The floor is made of linoleum tile. The room opens into a small bathroom in the north end. The ceiling height in this room is 8 feet 7 inches.

Figure 6: Room 101, southeast entry, 2010.

Figure 7: Room 102 showing safe-filled fireplace and stairs into Room 103, 2010.

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106: The room that currently houses the library oc-cupies the northeast wing of the house. It is entered from the hallway through a wooden pocket door. There is a fireplace in the north wall with a brick hearth and wood-en mantle similar to that in room 101. There are two six-over-six double-hung sash windows in the north wall as well as three similar windows in both the west wall and two in the east. A paneled wainscot ledge extends along all four walls of the room, protruding about one foot on the east and west walls and one half foot on the north and south walls, and 2 feet 7 inches in height. The ceiling height in this room is 8 feet 10 inches.

Second Floor

The second floor contains five rooms and two bath-rooms. Strip flooring covers all of the floors. Most doors on the second floor have raised panels set in stiles and rails that are joined with mortise and tenon joints and appear to date to the early nineteenth century. Rooms 201 and 202 have simple baseboards about six inches in height and chair rails two-and-a-half feet above the floor.

201: The southeast room on the second floor is roughly rectangular with evidence of change because of remaining studs that appear to have formerly framed a doorway. The north wall has two casement windows with eight panes in each casement. The west wall has a casement window as well as a stone fireplace with a wooden mantle. The windows in this room have paneled interior shutters. The ceiling height is an unusu-ally low 6 feet 8 inches.

202: The south central room on the second floor has two casement windows with eight panes in each casement, as well as one casement window in the south wall. The east wall has two identical closets. The west wall has a fireplace with a wood-en mantle, but the firebox has been filled in. The ceiling height is 6 feet 8 inches.

203: The far west room is very small with a curvilinear wall similar to room 103 directly below it. It has a casement window in the south wall with six panes in each casement. A bathroom opens from the south side of the room. The ceiling height is 6 feet 4 inches and slopes down towards the west.

Figure 8: Second floor plan, 2010.

Figure 9: Room 201, southeast corner, 2010.

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206a: The small room in the center of the second floor opens directly off of the stairway and serves as the connection between the south and north portions of the house. It has one six-over-six double-hung sash window in the west wall and a very simple chair rail 2 feet 3 inches above the floor. A bathroom opens off of the hallway that connects this room to room 201. The ceiling height is 6 feet and 6 inches.

206 b and c: The north side of the second floor is broken up into two sections divided by a thin parti-tion wall. There is a fireplace with a wooden mantle in the south wall, as

well as one six-over-six double-hung sash window and a closet. There is one four-over-four double-hung sash window in the east wall. There is one six-over-six double-hung sash window in each side of the partition in the west wall. The east wall contains the remains of two framed, walk-in closets. The ceiling height is six feet eight inches.

Third Floor

The floor garret is finished and functioned as additional bedrooms. All rooms have sloping upper walls, exhibiting the slope of the roof. Most of the doors are similar to those on the second floor.

301: The southeast room in the attic level has dormer windows in west wall and a closet in the east wall. The ceiling is made of a floral-patterned pressed metal with an egg and dart border. The floors covered with strip flooring like the rest of the house. The ceiling height is 6 feet 4 inches.

302: The central room has dormer windows in the north and south walls and a closet in the west wall. It has shelves built into the north wall. Like room 301, it has a pressed metal ceiling and strip

Figure 10: Room 202, southwest corner, 2010.

Figure 11: Third floor plan, 2010.

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flooring. The ceiling height is 6 feet 4 inches.303: The west room has a dormer in the south wall and a double- hung sash window in the west wall.

There is a very small closet in the west wall. The ceiling is plastered and the floor is covered in strip flooring. The ceiling height is 6 feet 2 inches.

306 a: The central room at the junction of the two wings is a large, open room that leads a the hallway to rooms 301, 302, and 303. It is divided into open space and a large, modern bathroom in the southeast corner.

306 b: The north end of the attic consists of one large room in with extensive quantities of the plaster missing from the walls, revealing the framing members. There is a fireplace in the north wall with a very small, simple mantle, as well as a four-over-four double-hung sash window and a small, shallow closet with a board and batten door. The east wall has a dormer window with one window opening and the west wall has a dormer with two window openings. The floor is made of wide random-width floorboards that appear to be original.

Figure 12: Room 306 b, north wall, 2010.

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FramingFirst Floor

The first floor framing at Seller’s Hall was com-pletely altered after St. Alice’s Parish acquired the property in 1922. The floor framing was lowered ap-proximately two feet from its original height. This is not immediately evident upon entering Seller’s Hall until one notices the unusual height of the windows and fireplaces. The floor framing was not lowered, however, in the western portion of the house. His-toric interior photos of the first floor show the origi-nal height of the floor. The underside of the first floor framing is visible from the basement, with the size and shape of the beams indicating 20th century construction. It is likely that all original flooring and joists were removed and subsequently replaced with new framing at lower level than the original, which is evident from the newer floor framing visible in the basement. Due to this total loss of historic fabric and any construction chronology that may have been available through its study, it was decided that the first floor framing would not be documented through architectural drawings.

Second Floor

The second floor framing was first revealed in room 106, following the removal of a section of the water damaged modern tile ceiling. A framed open-ing in the configuration above this room has floor joists running east to west that are interrupted at 90 degree angles by shorter members reaching north to south. The location and size of this framed open-ing, coupled with evidence discovered in the plaster behind the wainscoting on the wall directly below, indicate that a staircase once rose through the open-ing from the first to the second floor. When this

Figure 1: Red line indicates original floor height, 2010.

Figure 2: Original height of floor. This photo shows the same fireplace and doorway dipicted above. (Delaware County Historical Society, 1906)

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staircase was removed, short infill beams were cut and placed to fill the opening.Exploration of the second floor framing at Seller’s Hall necessitated the tedious process of removing

modern wood strip flooring. This strip flooring was face nailed to the older tongue and groove flooring system in all rooms on the second and third floors. Removal began in room 202 on the second floor, near the northern wall, revealing the previous system. Some of the worn tongue and groove floor boards displayed faded paint and hand wrought nails.

The decision to look under these particular floor boards came following a group discussion on the first floor, in which the class noticed a “soffit” running the width of the building below the plaster and lathe ceil-ing. Several tongue and groove boards were subsequently removed in the room directly above, revealing a miraculous discovery—a hand hewn chimney girt measuring approximately 7 by 12 inches. The chimney girt runs north to south, its ends resting within pockets in the masonry walls. The joists on the western side of the girt, directly in front of the present day fireplace, are dropped into notches cut in the top of the beam. Originally the cooking fireplace and the enclosed staircase would have been directly west of the chimney girt. When the fireplace and staircase were removed, however, new beams were dropped into place to fill the space between the new fireplace and the existing chimney girt.

On the east side, however, the floor joists are mortised into the chimney girt. This method of joinery is possible only at the time of construction, because it is not possible to mortise joists into place after the erec-tion of the beams and girts. Given the size of the chimney girt, the hand-hewn nature of its surface, and its location within the presumed original section of the house, it is likely that this beam dates to 1684.

The discovery of the chimney girt in the central section of the proposed original house necessitated further investigation of the remaining second floor framing. The existence of the chimney girt suggests a common framing configuration of girt beams on either side of a large, central support beam called a sum-

Figure 3: Framed opening in room 106, 2010. Figure 4: Removal of modern strip flooring in room 202, 2010.

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mer beam. Also visible in the first floor ceiling, approximately 10 feet east of the chimney girt, is another soffit running the width of the build-ing. A layer of plaster and lathe was removed to reveal a summer beam measuring 12 1/2 inches by 14 inches. On the bottom western edge of the summer beam, is a decorative chamfered edge that runs the length of the beam, terminat-ing on both ends with a lamb’s tongue detail. This detailing indicates that the bottom portion of the beam was originally exposed to the first floor below. On the eastern edge of the beam, however, there is no chamfer. It is likely that a partition wall was nailed to the flat edge of the beam, which would make a decorative chamfer unnecessary.

A section of boards was removed on the sec-ond floor in room 201 to reveal the top of the summer beam. The floor joists on the western face of summer beam span a distance of 10 feet and mortise into the eastern side of the chim-ney girt. These floor joists are original because they mortise into the chimney girt and sum-mer beam on either end. On the eastern side of summer beam, however, there are replacement floor joists rest on nailer blocks, not within the original joist pockets. On the northern end of the summer beam there is a section of wood cut out that indicates the existence of a previ-ous staircase. An original stair riser, with visible nicks and scratches from years of use, is still in place. This suggests that the staircase is not original to the house because it required cutting into the original framing.

The framing in the western portion of the house was only revealed through a small opening in the ceil-ing of room 203. This allowed for only one measurement between joists. The size and spacing of these joists was projected through the remainder of western portion of the house.

Figure 5: Chimney girt in room 202, 2010.

Figure 6: Summer beam in room 201, 2010.

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Third Floor

The removal of the wood strip flooring in rooms 301 and 302 revealed additional tongue and groove floor boards. It quickly became apparent that these floor boards, in contrast to the second floor, run east to west. A large section of flooring was first removed in room 302 to reveal floor joists spanning the width of the building from north to south. These beams are approximately 5 inches wide and 7 1/2 inches deep and are hand hewn and hand sawn (pit sawn). Several shorter members of irregular shapes and sizes are cut into the floor joists adjacent to the east side of the fireplace, indicating that the original framing was rearranged following the removal of the cooking fireplace.

Additional framing was revealed in room 301. The configuration and nature of the framing in this room indicates a series of alterations that changed the exterior and interior spaces. Outriggers along the

Figure 7: Original stair riser on summer beam in room 201, 2010.

Figure 8: Removal of floor boards in room 302, 2010. Figure 9: Floor Joists running north/south in room 302, 2010.

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eastern face project through the exterior wall to support the exterior cornice. Two small beams laid directly next to each other span east to west in the opposite direction of the principal floor joists. These particular beams run underneath the small wall that separates the bedroom from the angular hall way. The boards that comprise the floor in the small hallway connecting rooms 301 and 302 are actually wall partition boards, likely reused from another part of the house. Underneath this improvisational flooring is a framed opening. This framed opening is directly above the stair riser on the second floor summer beam. This indicates that the aforementioned staircase started on the first floor, cut through the extant summer beam, and continued up into the third floor. When this staircase was removed, the framed opening was filled with random sized beams and then covered with spare partition boards.

Attic

Examination of the attic framing first began in room 306b on the third floor. The modern ceiling and wall coverings had been removed prior to the start of our investigations, providing an unobstructed view of the framing. The remainder of the attic framing was accessed by a ladder placed in an opening cut into the ceiling in room 303. The gabled roof has a continuous steep pitch and is interrupted on all four facades with dormer windows. The roof trusses do not have a ridge pole at the apex, but connect with mortise and tenon joints that are tied together with large wooden pegs. Measurement of the roof rafters revealed inconsistent spacing and the irregular placement of rafters of various widths and depths. Directly above the proposed original portion of the house are several hand hewn rafters.

A massive floor board was pulled from the attic space revealing a long, thin shingle nailed to its under-

Figure 10: Attic rafters, 2010. Figure 11: Shingle, 2010.

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side. This suggests that at some point the roof was redone and all the wood shingles were removed. Instead of discarding these shingles, they were reused as shims beneath the attic floor.

Wood Finishing

Wood finishing has experienced numerous advancements since the first houses were built in America. Hand felled, the timber was originally hand hewn. To make the round trees into rectangular members the axe man stripped the log of its bark then stood on top of it to cut a series of slashes with a felling axe. Then a broad axe was used to slice off the wood between the scored cuts, creating partially flattened sides. This rough cut lumber cut by a single man was used in Seller’s Hall as evidenced in the chimney girt, summer beam, and third floor joists. (Figure 12) In addition, one roof rafter has a single side that bears the marks of hand hewing. In the late 17th and early 18th century, open pit sawing was the method of choice though it required additional labor. A pit was created and the log placed over it with the sawyer upon the log, pushing down and guiding the cut, and the pitman below, who worked to keep the blade plumb. Each held one end of a saw that had teeth pointed downward to rip into the length of the timber with each stoke. The less restrict-ing whip saw was preferred to that of the framed pit saw based on ease of use. This system was valued over the hand hewn method for its cutting precision and the finish quality of the surfaces. Flooring members in the proposed original house as well as the rafters along that length are pit sawn. This method leaves semi-regular marks that approach parallel, though seem to sometimes be strewn about. (Figure 13) Eventually the sawmill replaced human labor, but the system configu-ration changes were barely perceptible; the log was still supported as if over a pit while a system of cranks and pulleys replaced the men. The undershot wheel which served as the driving force for the sawmill operated a pitman which drove the saw frame up and down. The carriage advance which moves the timber has to be overseen by the sawyer, keeping him an integral part of the process. Lumber produced at the sawmill has

Figure 12: Hand hewn joist room 302, 2010.

Figure 13: Pit saw marks, 2010.

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consistently parallel vertical marks and is used extensively in Seller’s Hall in both the floor and roof framing dating from the early 19th century. (Figure 14) The next genera-tion of wood finishing came by way of the water-powered circular saw, similar to the aforementioned method. The circular saw is chosen for its relatively straight and accu-rate cuts as well as good surface finish. The marks of this saw appear as parallel curves and are evident on Seller’s Hall lumber. The wide array of wood finishing techniques used in the framing of Seller’s Hall indicate that the building was constructed in phases that spanned numerous innovations in the field.

Framing Members

Designing proper framing is the most important measure to take when construct-ing a building. The framing serves as the rigid skeleton of the structure and supports the live and dead loads of the building. The largest and heaviest member within the frame is the summer beam, one of which was found in Seller’s Hall. Likely from the old English “sumpter,” meaning a pack horse or mule that carried heavy loads, the sum-mer beam is a weight-bearing member. The joists that comprise the rest of the system are tenoned into the mortises of the summer beam. Mortise and tenon is the most com-mon joinery method for large timber fram-ing. Creating this connection required skill

Figure 14: Vertical sawmill marks, 2010.

Figure 15: Sellers Hall mortise and tenon configuration (minus the peg hole and pegs), 2010.

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and patience, for it was an exacting method that used various scribing tools, augers, and chisels. Each part was carefully cut to ensure that the mortise fit perfectly into the tenon creating a permanent bond. Some-times pegs are used to pull the tenon into the mortise and then left to ensure that the pieces don’t separate over time. To prevent weakening of the wood, the width of each mortise slot and its tenon is approximately between one-third and one-half the width of the timber. The tenons of Seller’s Hall are unique in that the upper edge is slanted in a way that gives it more mass, leaving the bottom edge perpendicular to the shoul-der. (Figure 15) This detail requires less material to be removed from both the mortise and tenon, aiding in increased stability. If a joist meets a wooden member on both ends then it contains two mortises. However, if the joist runs to the exterior masonry wall then it is set into a pocket or continues through the wall to serve as an outlooker supporting an exterior eave. A pocket for a floor beam is evident in the south wall near the massive chimney. Plaster was removed from the wall revealing a pocket in the stone where an original floor beam would have rested.

Roof Framing

Also resting on the masonry wall is the structural roof framing. (Figure 16) Roof framing was first dry fitted on the ground to ensure member compatibility, numbered, and then disassembled. Once the rafters were raised into place the numbers guaranteed that the proper members were joined, for each mortise is crafted specifically to fit its tenon. The apex of select rafters in Seller’s Hall are additionally joined with a round wooden peg. Laterally, the rafters of the roof are tied together with collar ties to add structural sup-port. The collar ties are joined to the rafters with half-lapped dovetail joints. (Figure 17) The rafters project beyond the exterior wall to create an exterior overhang while the third floor framing projects through the wall to become the soffit of the overhang. Wood lath strips, approximately 1” x 3”, are nailed directly to the rafters to create a nailer for the wood shingles. If the rafter was bowed, a notch would be cut to ensure that the lath strip could lay flush with across the rafters. The lath strips were often laid twelve to fourteen inches apart and as a rule of thumb the shingles were three times that length. Wooden shingles are comprised of the upper feather edge, middle section where nailing occurred, and the lower weather face which is Figure 16: Roofing system- rafters and collar ties, room 301, 2010.

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the only exposed section. The shingles are supported by and nailed to the lath strips creating a water tight roof system.

Determining Evolution

Both floor and roof framing serve as valuable tools in determining the evolution and age of a structure and have served us well at Seller’s Hall. The height of win-dows, doors, and fireplaces on the first floor seem odd and the modern floors are obviously not from the 17th century. The hypothesis of the floor being lowered is confirmed by the pocket found in the south masonry wall. This pocket supported the original flooring, ap-proximately two feet higher than the extant floor. This height coincides with the current entrance height and that of the western addition. Examination of the second floor reveals a mix of original and newer methods. The summer beam is original to the house and is dated based on its hand hewn nature. Joists that tenon into the sum-mer beam’s mortises are also original, for the nature of their design precludes placement after erection. How-

ever, the joists running west from the beam are set on top of nailer blocks meaning they were not part of the original design. The saw marks of these replacement beams, however, are representative of early finishing methods and are predicted to be part of an early 19th century remodel. The floor boards that are nailed atop the structural floor framing can also be dated. Approximately an inch in thickness and of random width, floor boards were often laid as tongue and groove or splined. (Figure 18) The floors were fit snuggly by drilling holes in the joists and using a treenail and wedge to pound the floors together. These holes are evident in the joists of Seller’s Hall. Once fit, the boards were nailed, with T-head nails running in the direction of the grain to partially mask them. Using nails to date flooring is common. Also, nailing patterns on the framing can be analyzed to discover various nailing cam-

Figure 17: Half-lapped dovetail joint, room 301, 2010.

Figure 18: Tongue and groove flooring, 2010.

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paigns and therefore determine whether the current flooring is original. The same methods are used for roof framing. Analyzing various wood finishing tech-niques of the roof members has been the most helpful in establishing the evolu-tion of the building. Identifying the ex-act age if a material is almost impossible, but research as to evolving methodology is helpful for comparing components within the system and establishing a relative timeline of age.

Figure 19: Various framing campaigns in room 303. Closer examination reveals the nailing pattern, 2010.

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Floor plan

Comparison to Varnum’s Quarters

Varnum’s Quarters is located in Valley Forge National Historical Park. It was built in approxi-mately 1711 and has experienced few if any ad-ditions or alterations since it was first built. The square footage and floor plan of this early Pennsyl-vania stone house is nearly identical to the sup-posed original floor plan of Seller’s Hall, 30 feet by 20 feet, as indicated by the Glass Tax of 1798 and the evidence provided in the exterior cornice. All evidence also suggests that the original floor plan of Seller’s Hall was similar to Varnum’s Quarters, with the exception of the original enclosed staircase which was probably north of the no longer extant cooking fireplace.

Figure 1: Varnum’s Quarters first floor plan.

Sellers Hall

FloorplanComparison to Varnum’s Quarters Varnum’sQuartersislocatedinValleyForgeNationalHistoricalPark.Itwasbuiltinapproxi-mately1711andhasexperiencedfewifanyadditionsoralterationssinceitwasfirstbuilt.ThesquarefootageandfloorplanofthisearlyPennsylvaniastonehouseisnearlyidenticaltothesupposedoriginalfloorplanofSeller’sHall,30feetby20feet,asindicatedbytheGlassTaxof1798andtheevidencepro-videdintheexteriorcornice.AllevidencealsosuggeststhattheoriginalfloorplanofSeller’sHallwassimilartoVarnum’sQuarters,withtheexceptionoftheoriginalenclosedstaircasewhichwasprobablynorthofthenolongerextantcookingfireplace.

Figure x: Varnum’s Quarter’s first floor plan. (2010)

Figure x: First floor plan of Seller’s Hall with red overlay indicating original 20 x 30 square footage. (Karas, 2010)

Figure 2: Original 20x30 foot floorplan of Seller’s Hall.

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FramingStairs: Room 106 (Library) Stair Investigations (Phase 3: 1808)

Rm 106 is located on the first floor, in the northern addition to the building. Most recently, it was used as the library. The east and south walls are covered by a wainscoting treatment, and the rest of the wall is plastered. The west wall is covered completely by tall book cases and could not be observed, but windows onto the porch are visible from both the interior and exterior of the room from the porch. The ceiling tile was incredibly deteriorated, with some of the tiles missing and the rest suffering from heavy water damage and staining.

In one area of the ceiling loss, a portion of a mortised header was visible on the center-east portion of the room. This finding spurred an investigation for a framed opening. Each ceiling tile was carefully removed, and the backing support to the ceiling joists was discarded to reveal framing for the ceiling. The header keyed into three joists, supporting a space that measure approximately 36” x 74”.1 One non-mortised header stretched across the entire opening and was an obvious later addition to the framing. The original header was right next to it, and presented curious results. The header’s northern end was mortised into a ceiling joist, tied into the two preceding joists, appeared to have been cut in the space of the next joist and the remaining section of the header was mortised into the subsequent joist. The cut was made with a handsaw and appeared to be very early after the framing construction. It was hypothesized that the header was placed in full at the framing’s initial construction in order to support the rest of the flooring system throughout the addition. Once the walls were set into place, the header was cut to make an opening for a stair. This would have originally resulted in an L-shaped frame which would have extended from the first floor into the attic in this portion of the addition.

1 ClassNotes,FirstphaseoftheinvestigationwasconductedonFebruary13,2010.

Figure 1: Framing of Rm 106; before, during and after ceiling removal, 2010.

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With the assistance of Hanson General Contract-ing, Inc., the wainscoting in Rm 106 was removed and further details of the staircase were revealed.2 The original keys for the stair treads were visible on the masonry wall, along with a corresponding plaster line, which correlated to the evidence found on the second floor stairs. With access behind the projecting wood-work, the original floor joists were also visible, allowing the measurement of the original floor level. Also, the stone pointing to the north of the discovered stair re-vealed that there was once a doorway from the addition to the exterior where there is now a window opening. This contextualizes the space, as one could imagine wood partition boards along the south extent of the stair, separating the entrance from the staircase.

The conjectural staircase is designed with the help of the evidence mentioned above. The L-shaped open-ing and the plaster found on the second floor revealed the direction, total width (2’10”) and tread depth (9”) of the staircase. Floor to floor height of 8-foot revealed 12 risers each one with the height of 7 inches plus one inch tread. This staircase is thought to be pivoted around a 4”x4” wooden winder post.

Evidence found on the second floor stair, directly above the framed opening on the first floor, confirmed that there would have been a staircase that crossed all three floors. Behind the current staircase leading from the second floor into the attic, there is a diagonal out-line of an earlier stair in historic plaster (This sample was plastered and analyzed in the Mortar Analysis component of this report). Along with the plaster line, there are two wooden rods visible on which the inclined board of the stairs was originally nailed. The former staircase would have existed in the same loca-tion at this portion of the current stairs, but further evidence concludes that the slope and stair tread size of the original winder stair has been altered over time.

2 ClassNotes,March3,2010.

Figure 2: Interior elevation of east wall, exhibiting staircase evidence. Original doorway outline noted with red line.

Figure 3: Interior elevation of east wall, exhibiting staircase evidence, 2010.

Figure 4: Conjectural 3D model of the original stair, based on framing and wall elevation evidence.

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Three original stair treads and risers were located at the very top of the stair case on the attic level, with much smaller dimensions and a higher slope to the stairs. This section of the board was buried in the plaster showing us that it is an earlier construction. As the staircase begins to wind, the slope is markedly differ-ent as it becomes lower and the stairs wrap with larger stair treads and a platform to allow for a comfort-able transition between the floors. Evidence suggests that the stair would have had a much tighter wind and would not have included a platform. When we follow these steps, board and plaster line right above the floor level, we were able to design the original stairs that consisted of eleven risers and ten treads.

Room 105 Stair Investigations (Phase 2: 1714-1752)

Rm 105 is located on the first floor, adjacent to the northern addition. Today, it is a space that measures approximately 4’x21’ that leads to current staircase, porch and the library. It is partially covered by partition walls on sides. The discovery of the summer beam running over Rm 101 and 105 revealed a significant clue about another early staircase in the building which was going from the first to the third floor. After remov-ing the floor boards of Rm 206a, an original riser board that is attached to the summer beam was found. This board was 32 inches wide and 7 inches high. This top step was cut into the top of the summer beam.

Figure 5: Three original staps at the top of the stairs on the third floor, 2010.

Figure 6: Plaster outline below the the current stairs on the third floor, 2010.

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Another major clue was found on the first floor, right below the ceiling of Rm 105. After removing the plaster and laths under the summer beam, it is seen that the edge of the beam was partially chamfered to make room for people climbing the first steps of the stairs. The chamfered beam and the original riser revealed the position and direction of the stairs are brought to light. The dimensions for the each step were found by measur-ing the original riser board and summer beam. The chamfered section was 32 inches long, going through the new partition wall, and it starts 36 inches away from the stone wall, which gives us 32” for width, and 4”x4” for the wooden winder post around staircase was pivoted. Riser height of 7” plus 1” for tread thickness resulted in 12 risers in total to reach the sec-ond floor (original floor to floor height was 8-foot). The staircase consisted of twelve risers and eleven treads. There were not any clues about the tread depth, so it was assumed 9” and the staircase using these dimensions.Figure 7: Chamfered section of the

summer beam, 2010.

Figure 9: Conjectural 3D model of the original stair, based on framing and wall elevation evidence.

Figure 8: Riser board attached to the summer beam, view fom second floor, 2010.

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Wood Interior PartitionsOpening the closets on the western side of the second floor revealed that the rear wall of the closet was

composed of vertical beaded boards, each about ten inches wide, with a bead on the edge of each board. Ini-tially thought to be connected with a spline joint, where each opposing board accepts a thin sliver of wood called a spline, upon further inspection from the third floor, it was determined that they were tongue and groove. In a tongue and groove joint, one board has a tongue, which is accepted into the groove in the adja-cent board. Over the years, the western side of the board partition has remained exposed, and as a result, has experienced many different paint campaigns, which made it difficult to ascertain the materials and finish. Once the board partition was discovered in the rear of the closet, the decision was made to begin removal of the plaster on a small portion of the eastern side of the partition to further explore its condition and materi-ality. Initial plaster removal revealed a plaster light in color, mixed with blond and ginger colored horsehair which is a sign of a very early (possibly 18th century) plaster application. Upon removal of the plaster, it was discovered that it was applied to hand split lath, more evidence of an early alteration. Taking off the lath revealed an unpainted, hand planed, white oak board partition, which would indicate a 17th century construction. Similar wood board partitions are found in the Barns Brinton House (1713) in Chadds Ford, PA, and the Abiah Taylor House (1724) in West Chester, PA. The Thomas Massey House (1696) in Marple

Township, PA has board partitions which are square-edged rather that beaded. The John Chad House (1725), in Chadds Ford, PA also has similar wood board partitions but with feathered edges rather than beaded. At Sellers Hall, the wall runs north to south, beginning at the front façade and extending towards the rear. Originally, this wall would have connected to both the front facade and rear elevation, and most likely included a single doorway—as in the John Chad House. At both the John Chad House and the Massey House, the wood board partition acts as a division between two primary rooms of the house. At Sellers Hall, this partition would have created the division on the second floor space. Unfortunately, because of the number of subsequent alterations on the second floor interior at Sellers Hall, the wall only extends 8 feet 4 inches from the south facade. However, the section that is still extant is exemplary of very early wood board partitions, and a very good indicator of the house’s true age. Figure 1: Wood Board Partitions from the East, 2010.

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Wood Partitions - Comparables

John Milner at the John Chad House, 2010. Abiah Taylor House. (John Milner)

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FireplacesAn important aspect of the 17th

and early 18th century Delaware Valley layout is the presence of a large cook-ing fireplace in one of the two rooms. Often composed of a wide (6’-0 to 8’-0 or more) firebox opening spanned at the top by a single wood lintel (mea-suring 8’x10’ or larger), these early fireplaces were typically placed on one of the gable-end walls of the house so that the large chimney could penetrate the roof at the ridge. As the large wood lintel supported the masonry above the fireplace, and would pocket into the front or back wall at one end and rest on a pier or “jamb wall” at the other end, these early cooking fireplaces were usually adjacent to one of the front or back exterior walls of the house that were perpendicular to the gable-end wall. Fireplaces such as this can be found at the John Chad House, the Caleb Pusey House, the Thomas Massey House, Varnum’s Headquarters, and the Barns Brinton House (pictured on right). Large enough to walk into, some of these fireplaces contained a window and were flanked by a winding staircase (leading to the basement and second floor), as in the John Chad House, Varnum’s Headquarters and the Barns Brinton House.

At Sellers Hall, a large cooking fireplace was located in the southwest corner of the west room on the first floor, with a winding staircase located to the north of the fireplace (figure 4). The stairway is evidenced by the lack of joist pockets on the north wall in the northwest corner of the room. The first indication that the west wall had been the location of the cooking fireplace was the discovery of a wide pathway of black, greasy soot in the attic on the western side of the chimney (figure 5). The soot’s position on the outside of the exist-ing chimney indicated that an additional flue or chimney mass had originally extended east from the chim-ney’s current location into the floor space of the western rooms on the first and second floor. Concurrently, the width of the soot pathway alluded to a very large flue, indicative of the type that would typically service a large cooking fireplace.

The possibility of a cooking fireplace on the western wall is also evidenced by a “bump out” on the wall’s exterior. This “bump out” contains pointing on all three floors, which indicates that it was once on the building’s exterior. Unlike early homes in Virginia that had exterior chimneys, such as the Adam Thorough-good House c. 1636 or Bacon’s Castle c. 1665, early chimneys in the Delaware Valley were typically insu-lated by the exterior wall such as at the Caleb Pusey House, or Barns Brinton House. As a result, the “bump

Figure 1: Barns Brinton House cooking fireplace, 2010.

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out,” and by extension the current chim-ney, were most likely later additions to the original structure. Viewing the chimney from the attic above room 303 it becomes clear that the current chimney was a later western addition to the extant gabled wall, as the stone of the existing chimney does not key into the wall and is buffered by a skirt of brick.

As the Sellers became more es-tablished, and their standard of living changed, it is possible that they wanted more formal space in the house. By removing the cooking fireplace and replacing it with a parlor fireplace (per-haps similar to the one at the John Chad

House, pictured above), they were gaining more square footage both on the first and second floors, and a more formal ground floor arrangement better suited to the Sellers position within the community. It is likely that the removal of the cooking fireplace from the western wall took place in the early 18th century, as the plaster surrounding the existing fireplace on the western wall was found to contain a considerable amount of horsehair. Concurrently, the lath underneath the plaster was hand split, and attached with hand wrought nails. In addition, the 1798 glass tax records references a separate kitchen building on the property—indicating that the cooking fireplace removal occurred prior. Later pho-tographic evidence shows an outbuilding located to the east of the main structure, which is possibly the kitchen building referenced in the glass tax.

The removal of a 20th century mantelpiece from the existing fireplace on the western wall revealed a largely intact arched-top firebox, that based

Figure 2: John Chad House, parlor fireplace. (Milner Carr Conservation)

Figure 3: Sellers Hall West fireplace room #102, 2010.

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on its configuration and details, including coved and plastered jambs, is consistent with an early to mid 18th century parlor fireplace, similar to those found at the John Chad House. As mentioned previously, the “bump out” on the former exterior of the western wall is a result of the construction of the 18th century parlor fireplace. In order to preserve their newly re-claimed floorspace, they recessed the new firebox into the west gable-end wall and built the “bump out” to accommodate it. The same procedure most likely took place on the second floor as well, where a similar recessed firebox is extant.

Figure 4: Conjectural plan of cooking fireplace and stairs.

Figure 5: Cooking fireplace soot, looking up from the 3rd floor, 2010.

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Figure 6: Rebuilt south wall in room 103, 2010.

Figure 7: Exposed chimney girt, room 103. This beam needs to be further exposed to determine how the cooking fireplace interacted with it, 2010.

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Windows and DoorsSellers Hall contains a wide variety of window types

and sizes, ranging in time period from the early-eighteenth century to the mid-twentieth century. Many of the incon-sistencies encountered in the building’s windows and doors are due to the several stages of construction that the house has undergone in its nearly 350-year old history. Very few of the windows that remain are original, but those that do provide us with a wealth of clues about how early windows were constructed and what Sellers Hall may have looked three centuries ago.

SOUTH ELEVATION

All windows on the ground floor of the south façade ex-cept for S1-A are the same size and are replacements that were

probably installed in the early-nineteenth century (Figure 1). It is likely that casement windows ex-isted in these openings in the original center section before this period, although this is difficult to confirm without a closer examination of the stone walls, which would require the removal of a significant amount of stucco. The size of glass used in these double-hung sash examples is 8” x 10”, highly typical of such examples in the late-eighteenth and early-nineteenth centuries.

The south façade of the first period of building contained the first floor windows S1-C and S1-E with second floor windows S2-C and S2-D matching exactly in size and vertical alignment. The main en-trance still exists as opening S1-D (Figure 2). The remainder of the windows on the south façade were added during subsequent additions and expansions of the main house. Windows S1-B and S2-B were likely installed when the fireplace and chimney on the west side of the house were moved several feet more to the west. This would have provided space on south façade for more windows. Windows S1-A and S2-A were then added when the 11’ x 11’ room was constructed as an addition to the west side of the house. Windows S1-F and S2-E, the eastern most

Figure 1: Window S1-B present-day, typical ground-floor window on south elevation, 2010.

Figure 2: Door S1-D, present-day. This was the original front door opening of the building, 2010.

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windows of the south façade, were installed only when the house was expanded seven feet to the east some-time in the early-nineteenth century. All of the windows on the second floor of the south façade are twenti-eth-century replacement sash windows in metal.

EAST ELEVATION

The placement of windows on both the first and second stories of the east façade is erratic and suggests that these examples are not original to the library addition constructed sometime in the early-nineteenth century. None of the windows on this side match those on the north and west facades of this portion of the buildings. These are a standard double-hung sash type, again with 8” x 10” glass and prob-ably original.

NORTH ELEVATION

On the north façade of the main house, the door N1-E and window N1-C and are aligned exactly with door S1-D and window S1-C on the south, as these walls were part of the original 1682 house. They also match in size, although the windows on the north were also replaced probably in the twentieth century. The other windows on the north façade, S1-D and S2-D, were added with later additions, although these two examples are the oldest surviving in the entire structure.

WEST ELEVATION

The west façade of the main house contains only three openings. On the ground floor is a door that provided access to the 11’ x 11’ addition and a window that matches S1-A in size. That these two windows match suggests that W1-A may have faced S1-A on the north side of this small addition and was moved to the west side of the addition when more space was added to the north. Window W1-E presents an interest-ing opportunity to see how an opening that was originally a door was then converted into a window (Figure 3). We know that window W1-E was originally a door because it matches a

Figures 3: Window W1-E, present-day. This window is now located in an enclosed porch, but would have originally been an exterior door to an outside sitting area. Bottom: shows how the jamb was cut off and a bottom sill was added, 2010.

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door to the left, because it is located on a wall that once was an exterior wall (before a porch was added), and because it is clear that the bottom of the window was cut off in order to convert the door to a window.

WINDOWS S1-A and N1-D: Early casement windows?

A close examination of windows S1-A and N1-D has re-vealed that they were originally casement windows of the early-to-mid eighteenth century. The size of glass used in later double-hung sash windows – 8” x 10” – does not work with the opening sizes of these windows. Conjectural views of the casement windows that may have existed in these openings is provided in drawings A-12.

WINDOW S1-A

As it exists today, S1-A is a double-hung six-over-six sash window that was probably installed in the twentieth century due to its large glass size (Figure 4). It is constructed with an ap-proximately four inch-wide frame without decorative moulding, which is similar to the rest of the ground floor windows on the south façade.

WINDOW N1-D

The window frame of N1-D, on the first floor of the north-west corner of the building, appears to be the oldest remaining frame in Sellers Hall, and dates to the early 1720s (Figure 5). The original window was a casement window with 4 by 6 inch panes of glass. We know that the original window was a case-ment because of pintle holes found on the top of both jambs (Figure 6). Pintle holes were not found on the bottom of the jambs, because the window sill was replaced due to rotted wood and at that time approximately three inches were removed from the bottom of the frame (Figure 7). We determined this change by measuring the window frame (N2-D) directly above win-dow N1-D. Window N1-D is blocked off on the interior, which Figure 5: Window N1-D, 2010.

Figure 4: Window S1-A, 2010.

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is most likely the reason why the frame survived and was not replaced at the time when all other window frames were replaced throughout the house around 1800. Red iron oxide primer is noticeable under other layers of paint, which was common for this time period. It should also be noted that this window frame may have been moved from its original location. Since the southwest portion of Sellers Hall was added before this northwest section, there is the possibility that this frame originally was found on the southwest addition, and moved when the building was expanded.

Figure 6: Window N1-D, top left of frame showing pintle hole and red iron oxide primer, 2010.

Figure 7: Bottom left corner showing replacement sill and cutoff jamb, 2010.

Window Molding Analysis

Just as the windows in exterior elevations tell a story of evolution and alteration, the interior details of these windows emphasize various buildings changes as well. As drawings Appendix A (A13-A15) show, there are a variety of window molding profiles found throughout Sellers Hall, ranging from the early 1800’s to the 20th century. Throughout the building 15 variations of window molding profiles were found and docu-mented. In the western-most addition, no window trim was documented, because the original molding is not accessible or it has been removed.

Earlier molding profiles (Appendix A14) are mostly simple in detail and made up of a single piece of wood. Almost all of these earlier profiles are found in windows on the second floor. Variations between very simple and more decorated early profiles are evidence of what functions rooms served. More decorated profiles in the central second floor room versus simple profiles found in back rooms or hallways suggest that the central second floor room was used more communally.

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Profiles of Federal styles are found on the first floor in what is expected to be the original part of Sellers Hall. These moldings are connected to separate pieces of wood with mitered corners. However, these mold-ing profiles are in a room that has seen many alterations. Original window trim was most likely removed with the room was redone in the early 19th century.

Greek Revival styles are found in the latest addition of the first floor on the west wall. Interestingly, the two end windows profiles are the same while the central west window profile is smaller. This is believed to be because these end windows were originally doors.

Common 20th century window profiles are found on the east wall of this later building addition. These details include Og-curves and S-curves. The variations between window profiles can differ even in the same room, for instance in this room, four of the seven profiles are variations of different styles. While the win-dow molding profiles are minimal details throughout Sellers Hall, the many types highlight changes to the building’s interior that are also reflected in paint and nail analysis. While some paint samples have been taken on window trim on the south wall of the first floor, further research may include further analysis throughout all rooms. Trim may also be removed to examine wood under the molding profiles and to com-pare nail types.

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Finishes AnalysisMethodology

The goal of paint analysis at Seller’s Hall was to develop a timeline of finishes throughout the house. Analyzing every room was impossible due to the time allocated for the completion of this report, so specific areas were chosen as focal points. In addition, the analysis of unrelated individual features was carried out in such cases where the significance of the feature required it.

Samples, usually less than one square centimeter, were removed from the site for laboratory analysis. The samples were then embedded, sliced, and polished in preparation for slide mounting. Once the slides were complete, they were analyzed under a polarized microscope and photographed. Following analysis, cratered exposures were conducted on-site to verify the stratigraphy of the slides and to further investigate any puz-zling features. Where it was deemed necessary, additional samples were removed for laboratory analysis.

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Finishes Analysis ConclusionsFirst Floor

Because most of the early first floor finishes have been concealed by later alterations, such as drywall, beaded board wainscoting, and paneling, the first floor finishes were not examined extensively. Historic photographs from the early twen-tieth century reveal that most of the rooms on the first floor were wallpapered, as well as the ceiling in room 202. However, in room 101, it was possible to take a sample of the early plaster that had been revealed by the removal of drywall in the south-west corner of the room. The stratigraphy from this area shows the first color as a dark green over a very thick white primer coat. The second scheme is a neutral beige, followed by a deep red, dark peach, then pink. The condition of the plaster made it difficult to determine whether there were any more layers that may have not been included in the analysis. A sample was also analyzed from a window in room 102. The sample was from the Federal style trim of the west window in the south wall. The stratigraphy reveals only six layers, all of which are off whites and creams with the excep-tion of the second layer, which is dark yellow orange. Also from room 102, a sample was taken from the

closet that conceals the door in the south wall. The sample was from the door jamb and reveals six layers of white and cream colored paint that are similar to those in the window of the same room but cannot be correlated to them exactly.

Second Floor

Paint analysis was performed on rooms 201, 202, and 203 on the second floor. While the study pri-marily focused on the wooden elements in the room, a sample of plaster was obtained from the north wall in room 201. The cross section reveals the earliest colors as neutral beiges, followed by a salmon pink

Figure 1: Sample from plaster on first floor, 2010.

Figure 2: Sample from plaster on second floor, 2010.

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and then the current blue green that covers the walls today. Generally, the various elements of the win-dows on the second floor contain various shades of beige, off white, and cream. The first layer of paint on the interior shutters of the east wall in room 201 contains peach as its original color.

Generally, the window elements contain 5-6 lay-ers of paint. However, the windows in room 201 rest on sills that contain 12 layers of paint, and the chair rail directly below the sill contains 12 layers as well, that roughly correspond to those on the sills. This suggests that the sills and chair rail could be older than the window sashes and frames themselves. The doors in the south part of the house are raised panel doors that are typical of the early 19th century. Analysis from the doors reveal a total of about 9 layers, with the earliest being a peachy orange that matches that of the chair rail.

Third Floor

The third floor was examined extensively in room 306b and to a lesser extent in rooms 302 and 303. Historic photos from the early 20th century reveal that the bedrooms on the south side of the third floor were wallpapered, but no traces of that wallpaper were revealed in the study. It was found that the plas-ter in the south part of the house contained a total of 7 layers, the earliest being off whites and creams. The early colors are similar to those of the plaster found on the second floor, but vary greatly from the older plaster that was revealed on the first floor. The pan-eled doors were analyzed to reveal stratigraphies that are similar to those on the second floor, with peachy orange as the first color.

Room 306B

The paint history of the walls seems fairly straightforward. All samples contained a thick white primary layer that is likely the finish coat of plaster. It comprises a large amount of mica particles that are visible to

Figure 3: Sample from window sill, room 201, 2010.

Figure 4: Sample from door panel on third floor, 2010.

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the naked eye in areas where the paint has flaked off, and can be revealed manually with little effort. The ceiling was lowered upon the installation of the pressed tin ceiling sometime in the early 20th century, and a sample from above that ceiling line (# 13; see Appendix) is helpful for approximately dating the campaigns.

Sample 13 shows several layers of white paint interrupted midway by a thick layer of reddish brown. Above the white, there is a layer of yellow with a dirt layer in the middle. Sample 7 was taken from the wall below Sample 13. It shows the same thick layers of white, but without the interruption of reddish brown. Above that is the same dark yellow, though without a dirt layer. A thin, dark, translucent layer follows, then a layer of pink with distinctive multicolored pigments. White, gray, and mint green follow respectively, then several modern layers of different shades of pink.

Samples taken from the walls surrounding the room’s windows show a similar stratigraphy. The double gable on the eastern wall was added between 1922 and 1934. The original color of this section was white. Later layers show the same progression from white to mint green to pink as the wall stratigraphy. A sample taken from one walls surrounding the original windows to the left of the fireplace shows that it was painted in the same series of campaigns as the rest of the walls; there is, however, a sizable dirt layer following the yellow paint campaign.

The trim is slightly more complicated to decipher than the walls. All of the samples removed are of a wood substrate with a jagged profile. The first layer is a thick, gray layer with a large amount of dark particles present. It is difficult to determine the nature of this layer: at first blush, it appears to be simple a layer of gray paint. It is easily manually exposed. Nevertheless, it is granular to the point of being sandy, very differ-ent from the textures of any other paints identified. It seems too thick and too intentional to be a dirt layer, although this is what it most resembles. Another possibility is that it was a plaster layer applied to the wood-work after it had been stripped in preparation of painting. Regardless, the progressive paint layers are very

much consistent throughout the room. A sample taken from the baseboard, which is likely origi-nal to the room, shows a series of whites and off-whites. The stratig-raphy of the window trim, includ-ing sills, muntins, and frames, shows that it has always been painted white.

There is an original closet built next to the fireplace. The trim above the door was partially covered when the ceiling was lowered. The interior was painted consistent with the walls, and the Figure 5: Sample from closet in 306b, 2010.

66


shelves and pegboard inside are similar to the trim stratig-raphy. Here, too, the mysterious gray layer is present. Above this, in samples taken from the door frame and the molding separating it from the wall, is a thin, dark layer that possibly represents a glaze. The shelves and pegboard were painted in shades of white, cream, and pink. The door stratigraphy shows various shades of white; the handle, while similar, also displays a thin, dark layer similar to that found on the door frame and its adjacent molding.

The floor, originally unpainted, has a few layers of paint in various shades of dark, reddish, brown. Similar paint cov-ers the door. There is a large area in the center of the floor, though, that seems to have escaped painting altogether; the reason is not entirely clear. After investigating the hearth, which is brick laid in dirt, it is concluded that the fireplace, in all likelihood, is original. It is made of brick topped with plaster, but the date of the trompe l’oeil painting within the fireplace is unknown.

Exterior

Exterior finish studies were limited to a select few doors and windows that were suspected to be the oldest. Analysis of the windows on the western portion of the north façade revealed eight layers on the second floor window frame, the earliest a being gray scheme and a later dark green color as the third campaign. A similar stra-tigraphy was found on a first-floor window on the same facade. Analysis of the door on the west façade contains the exact same stratigraphy as that of the north windows, suggesting that they are the same age.

Figure 6: Crater above ceiling line, 2010.

Figure 7: Sample from exterior window on north facade, 2010.

67


Plaster ChronologyThe relative chronology of the plaster samples taken follows the construction timeline of the house.

Variations in plaster formulations found throughout the house indicate areas that were plastered at different times.

Plaster samples from the west wall and ceiling of room 102 are grouped as the same, showing that the whole west section of the room was replastered at the same time. The same plaster is also found directly above, on the west wall of room 202 (figs. C5 & C6). This plaster campaign relates to the pushing back of the fireplace out of the main room.

Another campaign shows that the back of the fireplace was plastered at one time, but that the second and third floor were redone, probably when the brick flue was added. The plaster at the east end of room 103 and in the closet in room 204, taken from the layer showing the outline of the stairs, are the same plaster. This is different from the plaster group found on the back of the chimney in rooms 203 and 303 (figs. C6 & C7).

Plaster samples taken on the East side of the second floor shows the same plaster in rooms 201 and 206c, suggesting that the entire east end of the house was replastered at the same time that the house was expanded to the north (fig. C6).

As more plaster samples are processed the grouping will become more precise and can be used for a bet-ter chronology of room renovations.

Nail ChronologyThroughout our investigation at Sellers Hall, we collected nails from almost every section of the house.

Nails provide valuable evidence as to the date of construction of a building. Our goal was to collect as many nails from as many different locations and elements as possible; floor boards, lathe, joists, etc. A careful ex-amination was performed in order to date the wooden elements placed in the different areas of the house.

A helpful tool used to classify the different nails found at Sellers Hall was Nail Chronology by Lee H. Nelson of the National Park Service. Nelson classifies nails according to their shape, size and head attach-ment. Even though this is not a precise technique, it gives reliable and valuable information that helps verify other dating techniques such as mortar and plaster analysis, wood shaping analysis, and paint analysis.

Sellers Hall has gone through numerous modifications and additions, particularly on the first and second floors. Nails served as evidence of the changes, particularly since most of the older nails were found on the third floor, although a wide range of nails from different periods were found throughout the house. Hand-wrought nails, which date to the 17th and 18th centuries were found in the first, second and third floors.

68


ConclusionsOur investigation, based on archival research and on-site physical examination, revealed that the con-

struction of Sellers Hall can be divided into four phases each linked to the ownership of the hall by a par-ticular male member of the Sellers family.

The first phrase of construction and the original building configuration (two stories measuring 20’ x 30’) is linked to Samuel Sellers who sailed to America in 1681 (b. 1655, d.1732). A number of the second and attic floor framing members, as well as the roof rafters, in the original building are hand-hewn and pit-sawn which indicates that they could date from the late seventeenth century or the early eighteenth century. Samuel Sellers Jr. (1714-1752) then apparently made two separate improvements to the original building, both in the early part of the eighteenth century:

• Removal of the original cooking fireplace and staircase located on interior of the west gable end wall; and construction of a new smaller fireplace with the firebox and chimney projecting to the west of the original gable end wall. It is possible that a new kitchen building was constructed on the site (as is referenced in the 1798 glass tax) to the east of the original building.

• Construction of a new addition to the west of the original building, incorporating the projecting firebox and chimney feature.

The fourth major phase on construction, involving expanding the original building to the east and constructing the north wing, occurred in the early nineteenth century (1800-1820), under the ownership of either John Sellers or George Sellers. The evidence that supports this early nineteenth century date includes characteristics of the floor and roof framing, woodwork details and molding profiles, plaster and paint analy-sis and classification of nails used in the construction (nails used to secure woodwork and plaster lath are typical of the period of transition from hand wrought to machine made nails at the turn of the nineteenth century. It is most likely that many of the windows were replaced during this fourth phase of construction.

In the third quarter of the nineteenth century, Sellers Hall left the Sellers family. Thomas Powers pur-chased the property in 1863 and named it Elim Farm. In 1922, the property was sold to St. Alice’s Parish to be used as their rectory.

Recommendations for Further ResearchWhile the current floor elevation, interior style and room configuration are not linked to the Sellers fam-

ily and the historical, social and cultural context of their domestic activities and lifestyle, it is evident that the hall has structurally evolved from the late 17th century to 20th century, correlating to a variety of historic time frames. Therefore, in terms of the interpretative potential of the house and site, there is no one historic phase that should be emphasized over another for the first four phases. However, while we have been able to illustrate a rough progression of spatial expansion based upon the construction of additional wings attached to the original floor plan of Sellers Hall, there is still much to be investigated in terms of the interior spatial configuration as evidenced by staircases, wall partitions and fenestration. For the future class, we would like to make the following recommendations:

69


• We were unable to determine the construction details of the cornice of the original 20’ x 30’ build-ing and how those details relate to the cornices of the eastern and western additions to the original building. By taking the cornice apart on the south wall in the locations of the eastern and western expansions it may be possible to expose the original eave framing and gain more information about the phasing of the early construction. The crown molding of the cornice of the central “original” 20’ x 30’ section may date from the late 17th century, so it will be important to retrieve paint and nail samples to confirm this.

• Currently the first floor chimney girt near the west wall of the of the original 20’ x 30’ building contains no mortises on its west side for earlier joist. Further investigation of the west side of the chimney girt may reveal evidence of the missing original fireplace and stair.

• The removal of stucco on the exterior walls may help to reveal the size and location of the original fenestration, door openings, as well as holes related to a pent roof for the original 20’ x 30’ build-ing. It is possible that the original building and its early 18th century western addition had casement windows under Samuel Sellers Jr.’s ownership. By removing the stucco and seeing if there is a filling around the current double-hung windows on the original wing of the building, we will be able to confirm that originally casement windows were used but removed when George Sellers added the northeast wing.

• If possible, the help of an archaeologist should be recruited to find the building foundations of the kitchen quarters that used to stand to the east of Sellers Hall.

• Analysis of mortar, (pointing and back-up mortar used for masonry) should be conducted. In partic-ular comparison of the pointing of the original western exterior wall, the secondary western exterior wall, and the current exterior wall covered by stucco, will help to provide stronger evidence for the proposed four phases of construction.

• The widths of the beaded boards in the partition found in the second floor closets, and it’s remnants found on the third floor (attic) underneath the floor boards should be compared. Additionally, by looking at the nail patterns on the side of the summer beam on the first floor and on the side of the floor joists of the second floor should help to determine the location of the partition door and its frame.

• On the western gable end wall of the original 20’ x 30’ building, investigations should be conducted to determine if there is evidence of an original pent roof or gable end cornice that extended across the western wall as seen at the John Chad House.

• The framing of the building should be further exposed by deconstructing the ceiling to see the plas-ter campaigns, rather than taking apart the 18th century floorboards

• Any beams or joists with bark or a waney edge, allows us to confirm the sprouting point and felling point of the given tree. By taking a cross section sample or a core-boring sample, the wood can be compared to extant growth and weather models of trees in the Philadelphia region. This will provide solid material evidence of construction phases through dendrochronology.

70


• The deconstruction of the eastern wall will help to understand the presence of two door openings flanking the staircase that was removed.

• The arch behind the current staircase leading from the ground floor to the first floor requires further analysis. If possible, the staircase should be removed and replaced with a temporary substitute. Plas-ter and pointing samples should be taken to help determine whether the arch was built into the wall or cut into it afterward. We suggest that further investigation take place with the nails, especially in sections of the house that we were unable to study. For example, when the cornice is removed next spring, nail samples will need to be taken in order to further date different construction periods of Sellers Hall.

• While some paint samples have been taken on window trim on the south wall of the first floor, further research may include further analysis throughout all rooms. Trim may also be removed to examine wood under the molding profiles and to compare nail types.

Investigations that focus on detailing the interior elements of the floor plans will further support our initial theories on the major alterations to the house’s layout but also unfold the possibility of further under-standing the functional reason behind structural elements of a domestic dwelling in the Upper Darby and the wider Philadelphia region. By building upon this Preliminary Historic Structure Report, we hope that the architectural importance of Sellers Hall can be proved and recognized and aid in the future expansion of knowledge on the culture and history of Philadelphia.

71


AppendicesThe Appendices are divided in the following manner:

Appendix A: Drawings

Appendix B: Analysis of Painted Finishes

Appendix C: Analysis of Mortar and Plaster

Appendix D: Analysis of Nail Chronology

A11

A12

A13

9

A14

9

A15

S5

S6

Appendix B


Appendix B: Finishes analysisFirst Floor

Sample #: SH-101-43

Sample Location: south wall, southwest corner of room

Room: 101 Element: early plaster previously obscured by sheetrock installation

Date Sampled: March 17, 2010

Microscope Type: Olympus CX31

Date Analyzed: April 14, 2010

Illumination: quartz halogen

Analyzed by: Sara Rogers

Magnification: 40x

Substrate: plaster

Camera: Nikon Ds-Fi 1

Scheme Color 5 light pink 4 tan 3 red 2 beige 1 dark green

2

1

3

4

5

Sample #: SH-101-43

Sample Location: south wall, southwest corner of room

Room: 101 Element: early plaster previously obscured by sheetrock installation






Magnification: 40x

Substrate: plaster


Scheme Color 5 light pink 4 tan 3 red 2 beige 1 dark green

2

1

3

4

5

Appendix B


Sample #: SH-102-45

Sample Location: west window, south wall

Room: 102 Element: Federal style window trim






Magnification: 100x

Substrate: wood


Scheme Color

6 cream 5 white 4 off white 3 off white 2 yellow orange 1 off white

2

1

3

4

5

6

Appendix B


Sample #: SH-102-42

Sample Location: inside south closet

Room: 102 Element: door jamb of earlier front door, now concealed by closet






Magnification: 100x

Substrate: wood


Scheme Color 6 white 5 peach 4 beige 3 off white 2 beige 1 peach

2 1

3 4

5

6

Sample #: SH-102-42

Sample Location: inside south closet

Room: 102 Element: door jamb of earlier front door, now concealed by closet






Magnification: 100x

Substrate: wood


Scheme Color 6 white 5 peach 4 beige 3 off white 2 beige 1 peach

2 1

3 4

5

6

Appendix B


second floor

Sample #: SH-201-1

Sample Location: mantle on east wall

Room: 201 Element: top band of molding

Date Sampled: February 17, 2010


Date Analyzed: April 13, 2010 Illumination: quartz halogen


Magnification: 200x

Substrate: wood


Scheme Color 5 off white 4 white 3 off white 2 off white 1 brown

1

2

3

4

5

Sample #: SH-201-1

Sample Location: mantle on east wall

Room: 201 Element: top band of molding





Magnification: 200x

Substrate: wood


Scheme Color 5 off white 4 white 3 off white 2 off white 1 brown

1

2

3

4

5

Appendix B


Sample #: SH-201-7

Sample Location: window in east wall

Room: 201 Element: right interior shutter





Magnification: 100x

Substrate: wood


Scheme Color 5 white 4 off white 3 off white 2 white 1 peach

1

2

3 4

5

Sample #: SH-201-7

Sample Location: window in east wall

Room: 201 Element: right interior shutter





Magnification: 100x

Substrate: wood


Scheme Color 5 white 4 off white 3 off white 2 white 1 peach

1

2

3 4

5

Appendix B


Sample #: SH-201-11

Sample Location: window in south wall

Room: 201 Element: window frame





Magnification: 100x

Substrate: wood


Scheme Color 6 white

white 5 off white 4 light beige 3 beige 2 off white 1 beige

1

2

3 4

5

6

Sample #: SH-201-11

Sample Location: window in south wall

Room: 201 Element: window frame





Magnification: 100x

Substrate: wood


Scheme Color 6 white

white 5 off white 4 light beige 3 beige 2 off white 1 beige

1

2

3 4

5

6

Appendix B


Sample #: SH-201-12

Sample Location: eastern window, south wall

Room: 201 Element: small band below window sill





Magnification: 40x

Substrate: wood


Scheme Color Scheme Color 12 white 6 off white 11 white 5 off white 10 off white 4 off white 9 off white 3 off white 8 white 2 white

dirt layer/fracture 7 white/off white 1 white

1

2

3 4 5

6

7

8

9

10 11

12

Sample #: SH-201-12

Sample Location: eastern window, south wall

Room: 201 Element: small band below window sill





Magnification: 40x

Substrate: wood


Scheme Color Scheme Color 12 white 6 off white 11 white 5 off white 10 off white 4 off white 9 off white 3 off white 8 white 2 white

dirt layer/fracture 7 white/off white 1 white

1

2

3 4 5

6

7

8

9

10 11

12

Appendix B


Sample #: SH-201-15

Sample Location: supporting post in western end of room

Room: 201 Element: face of post, about midway from floor





Magnification: 100x

Substrate: wood


Scheme Color 5 white 4 off white 3 off white 2 off white 1 off white

1 2 3

4 5

Sample #: SH-201-15

Sample Location: supporting post in western end of room

Room: 201 Element: face of post, about midway from floor





Magnification: 100x

Substrate: wood


Scheme Color 5 white 4 off white 3 off white 2 off white 1 off white

1 2 3

4 5

Appendix B


Sample #: SH-201-16

Sample: chair rail

Room: 201 Element: molding of chair rail






Magnification: 100x

Substrate: wood


Scheme Color Scheme Color Scheme Color 12 white 8 cream 4 off white

11 mint green white (primer)

7 cream 3 cream

10 pink off white (primer)

6 cream 2 tan

9 cream 5 cream 1 orange white (primer)

2

1

3

4

5

6

7

8

9

12

10 11

Appendix B


Sample #: SH-201-19

Sample Location: north wall

Room: 201 Element: heavy masonry wall






Magnification: 40x

Substrate: plaster


Scheme Color 6 aqua 5 dark pink

dark pink 4 light brown 3 beige 2 beige 1 beige

2

1

3

4

5

6

10

11

Sample #: SH-201-19


Room: 201 Element: heavy masonry wall






Magnification: 40x

Substrate: plaster


Scheme Color 6 aqua 5 dark pink

dark pink 4 light brown 3 beige 2 beige 1 beige

2

1

3

4

5

6

10

11

Appendix B


Sample #: SH-201-20


Room: 201 Element: window sash






Magnification: 100x

Substrate: wood


Scheme Color Scheme Color 8 white 4 beige 7 off white 3 beige 6 off white 2 beige

white 5 cream 1 tan

2 1

3 4

5

6

7 8

Sample #: SH-201-20


Room: 201 Element: window sash






Magnification: 100x

Substrate: wood


Scheme Color Scheme Color 8 white 4 beige 7 off white 3 beige 6 off white 2 beige

white 5 cream 1 tan

2 1

3 4

5

6

7 8

Appendix B


Sample #: SH-202-23

Sample Location: door in east wall

Room: 202 Element: raised panel of door to room 201






Magnification: 100x

Substrate: wood


Scheme Color Scheme Color 9 white 4 off white

off white 8 light pink 3 off white 7 deep red 2 cream

6 dark pink 1 orange 5 white

1

2

3

4

5

6

8

9

7

Sample #: SH-202-23

Sample Location: door in east wall

Room: 202 Element: raised panel of door to room 201






Magnification: 100x

Substrate: wood


Scheme Color Scheme Color 9 white 4 off white

off white 8 light pink 3 off white 7 deep red 2 cream

6 dark pink 1 orange 5 white

1

2

3

4

5

6

8

9

7

Appendix B


Sample #: SH-203-26

Sample Location: door to bathroom, north wall

Room: 203 Element: door frame






Magnification: 100x

Substrate: wood


Scheme Color 5 off white 4 off white 3 cream 2 cream 1 cream

2

1

3

4

5

Appendix B


Sample #: SH-302-33

Sample Location: inside east closet

Room: 302 Element: pegboard






Magnification: 100x

Substrate: wood


Scheme Color 5 off white 4 peach

peach 3 off white 2 green 1 off white

2 1

3 4

5

Third floor

Sample #: SH-302-33








Magnification: 100x

Substrate: wood




2 1

3 4

5

Sample #: SH-302-33








Magnification: 100x

Substrate: wood




2 1

3 4

5

Appendix B


Sample #: SH-302-35

Sample Location: east door

Room: 302 Element: raised panel of door






Magnification: 100x

Substrate: wood


Scheme Color Scheme Color *9 rust red 4 off white

8 glaze

pink 3 off white

7 glaze pink

2 sage

6 pink white

1 orange

5 off white

2

1

3

4 5

6

7 8

9

*Most recent latex layer detached in the process of embedding.

Sample #: SH-302-35








Magnification: 100x

Substrate: wood



8 glaze

pink 3 off white

7 glaze pink

2 sage

6 pink white

1 orange

5 off white

2

1

3

4 5

6

7 8

9


Sample #: SH-302-35








Magnification: 100x

Substrate: wood



8 glaze

pink 3 off white

7 glaze pink

2 sage

6 pink white

1 orange

5 off white

2

1

3

4 5

6

7 8

9


Appendix B


Sample #: SH-303-36

Sample Location: south wall

Room: 303 Element: trim around dormer






Magnification: 100x

Substrate: wood


Scheme Color 5 off white 4 off white 3 white 2 beige

white 1 white

2 1

3

4

5

Sample #: SH-303-36

Sample Location: south wall

Room: 303 Element: trim around dormer






Magnification: 100x

Substrate: wood


Scheme Color 5 off white 4 off white 3 white 2 beige

white 1 white

2 1

3

4

5

Appendix B


Sample #: SH-303-41

Sample Location: west wall

Room: 303 Element: flat plaster from wall






Magnification: 40x

Substrate: plaster


Scheme Color Scheme Color 7 light blue 3 off white

6 pink 2 beige 5 tan 1 cream 4 cream 3 off white

2

1

3

4

5

6

7

Appendix B


Sample #: SH-306-03 Sample Location: Exterior handle, closet door

Room: 306 Element: DoorDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 100xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color6 White 3 White5 Black 2 Beige4 White 1 Light gray

1

2

345

6

b

Appendix B


Sample #: SH-306-04 Sample Location: Exterior of closet door

Room: 306 Element: DoorDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 100xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color6 White 3 Translucent white5 White 2 Dirt layer

White4 White 1 Dirt layer

Gray

1

2

3

4

5

6

9

b

Appendix B


Sample #: SH-306-05 Sample Location: Closet door frame, left side

Room: 306 b Element: Molding Date Sampled: March 2010 Microscope Type: Olympus CX31 Date Analyzed: April 2010 Illumination: Quartz Halogen Analyzed by: Meaghan Colahan Magnification: 200x Substrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color 8 White (2 layers) 4 White 7 Off-white 3 Beige 6 Off-white 2 Black 5 Translucent white 1 Light gray

12

345678

Appendix B


Sample #: SH-306-06 Sample Location: Molding separating closet from wall

Room: 306 Element: MoldingDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 200xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color11 White 5 White10 Pink 4 White9 White 3 Off-white8 White 2 Black7 White 1 Dark gray6 Peach

1

23

4

5

67

8

9

1011

b

Appendix B


Sample #: SH-306-07 Sample Location: Corner next to the fireplace

Room: 306 Element: WallDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 40xSubstrate: Plaster Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color10 Light pink 5 Peach9 Light pink 4 White8 Pink 3 Peach7 Pink 2 Dark glaze

Dark yellow6 Mint green 1 White (plaster

finish coat)

1

23

45

67

89

10

b

Appendix B


Sample #: SH-306-08 Sample Location: Closet shelf directly below peg board

Room: 306 Element: Closet woodworkDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 100xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color7 White 3 Peach6 Pink 2 Tan5 Dirt layer

White1 Dark gray

4 Yellow

1

2

3

4

5

6

67

b

Appendix B


Sample #: SH-306-09 Sample Location: PegboardRoom: 306 Element: Closet woodworkDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 100xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color8 White 4 Peach7 White 3 Beige6 Pink 2 Off-white5 Dirt layer

White1 Dark gray

1

2

3

456

87

b

Appendix B


Sample #: SH-306-10 Sample Location: Bottom shelf, right side

Room: 306 Element: Closet woodworkDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 200xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color6 White 3 Beige (2 layers)5 Dirt layer

Pink2 Off-white

4 White 1 Gray

1

2

3

4

5

6

b

Appendix B


Sample #: SH-306-11 Sample Location: Frame of window to the left of the fire place, upper half

Room: 306 Element: Window frameDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 100xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color5 White 2 Dirt layer

White4 White 1 White3 White

1

234

5

b

Appendix B


Sample #: SH-306-13 Sample Location: Above the ceiling line, above fireplace


Scheme Color Scheme Color8 Yellow 4 Orange (plaster?)7 Dirt layer

Yellow3 White

6 Dark translucent 2 Discolored white5 White 1 White (plaster

finish coat)

12

3

4

5

67

8

b

Appendix B


Sample #: SH-306-15 Sample Location: Wall of window opening left of fireplace


Scheme Color Scheme Color9 Pink 4 White8 White 3 Peach7 Pink 2 Dirt layer

Yellow6 Pale green 1 White (7 layers)5 Gray

1

234

56

78

9

b

Appendix B


Sample #: SH-306-16 Sample Location: Frame around window left of fireplace


Scheme Color Scheme Color11 Pale pink 5 White translucent

(discolored)10 Pale pink 4 White9 Pink 3 Peach8 White 2 Yellow7 White? 1 Dark gray6 White

1

2

3

4

5

6

78

9

1011

b

Appendix B


Sample #: SH-306-17 Sample Location: Left side of double gable


Scheme Color Scheme Color8 Pale pink 4 Gray7 Pale pink 3 White6 Pink 2 White5 Pale green 1 White (plaster

finish coat)

1

23

45

6

78

b

Appendix B


Sample #: SH-306-19 Sample Location: Trim around window opening, left gable


Scheme Color Scheme Color13 White

White6 Dirt layer

White12 Beige 5 Dirt layer

Translucent white11 White 4 White10 Pink 3 White9 White 2 Peach8 White 1 Dark gray7 White

1

2345

67

89

101112

13

b

Appendix B


Sample #: SH-306-20 Sample Location: Partition between windows in double gable


Scheme Color Scheme Color9 White 4 White8 White 3 White7 Beige 2 Dirt layer

Translucent white6 White 1 White5 White

1

2

34

5

6

7

8

9

b

Appendix B


Sample #: SH-306-21 Sample Location: Baseboard, left wallRoom: 306 Element: MoldingDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 100xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color8 White 4 White7 White 3 White6 White 2 White5 Beige 1 Gray

1

2

345

67

8

1011

b

Appendix B


Sample #: SH-306-22 Sample Location: FloorRoom: 306 b Element: FloorDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 100xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color3 Red brown 1 Red brown

Beige2 Dark brown

123

Appendix B


Sample #: SH-306-23 Sample Location: Baseboard, right wallRoom: 306 b Element: MoldingDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 100xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color10 White 5 Off-white9 Translucent yellow 4 White8 White 3 Peach7 White 2 Off-white (2 layers)6 White

Peach1 Light gray

1

23

9

5

6

7

8

4

10

Appendix B


exterior

Sample #: SH-N-50

Sample Location: north façade, western end

Room: Exterior, north facade Element: second floor window frame






Magnification: 100x

Substrate: wood


Scheme Color Scheme Color 8 white 3 green 7 off white 2 grey 6 off white 1 dark grey

grey 5 off white 4 cream

2

1

3 4

5

6

7

8

Sample #: SH-N-50








Magnification: 100x

Substrate: wood




2

1

3 4

5

6

7

8

Sample #: SH-N-50








Magnification: 100x

Substrate: wood




2

1

3 4

5

6

7

8

Appendix B


Sample #: SH-W-49

Sample Location: west façade, southern exterior door

Room: Exterior, west facade Element: door frame






Magnification: 100x

Substrate: wood


Scheme Color Scheme Color 9 white 4 green 8 white 3 grey 7 white 2 grey 6 white 1 brown 5 off white

2

1

3 4 5

6

7

8

9

Sample #: SH-W-49

Sample Location: west façade, southern exterior door

Room: Exterior, west facade Element: door frame






Magnification: 100x

Substrate: wood


Scheme Color Scheme Color 9 white 4 green 8 white 3 grey 7 white 2 grey 6 white 1 brown 5 off white

2

1

3 4 5

6

7

8

9

Appendix B


Sample #: SH-N-24 Sample Location: Exterior of window shutter, left window if facing 106


Scheme Color Scheme Color8 Dirt layer

White4 White

7 White 3 White6 Dirt layer

White2 White

5 White 1 White

1

2

3

5

6

7

8

4

Appendix B


Sample #: SH-N-25 Sample Location: Exterior of window frame, left window if facing 106

Room: 106 Element: WindowsDate Sampled: March 2010 Microscope Type: Olympus CX31Date Analyzed: April 2010 Illumination: Quartz HalogenAnalyzed by: Meaghan Colahan Magnification: 100xSubstrate: Wood Camera: Nikon Ds-Fi 1

Scheme Color Scheme Color10 White 5 Blue-gray9 White 4 Light gray8 White 3 Gray (2 layers)7 White 2 Dark yellow6 Green 1 Light gray

12

3

56

7

9

4

10

8


Appendix C: Plaster AnalysisPlaster and mortar samples were collected from the interior of Sellers Hall in as representative a way as

possible. These were then processed using the standard ACL procedure of drying, crushing, acid digestion, filtering, and sieving. Analysis was based on visual inspection, context, aggregate to binder ratios, and sieve analysis of aggregate. These factors were used to construct five groups that indicate distinct plaster recipes and different phases of construction. The groups are indicated on the plaster maps by different colors.

Plaster groups were established first by comparing binder to aggregate ratios (fig. C4) and grouping simi-lar samples. These groups were further broken down based on the aggregate gradation curves (fig. C3). These groupings are artificial and subject to sampling error. They also need to be refined as the more samples are processed. Sample numbers are arbitrary and individual context information for each sample is on figure C2 while sample processing data is on figures C8-C18.

Appendix C • C1


Lab

#Fl

oor

Room

Wal

lLa

yer

Subs

trat

eSu

rface

Dat

e Tak

enN

otes

Drie

dAc

idFi

ltere

dSi

eved

201

101

Sout

h1

Mas

onry

Pain

t3/

24/2

010

From

laye

r und

er d

ryw

all l

ayer

.1

110

2W

est

1La

thPa

int

2/3/

2010

Abov

e w

ains

cotti

ng n

orth

of t

he �

repl

ace.

xx

xx

21

102

Wes

t2

Mas

onry

none

2/3/

2010

Abov

e w

ains

cotti

ng n

orth

of t

he �

repl

ace.

xx

xx

131

102

Cei

ling

1La

thPa

int

3/24

/201

0Ta

ken

from

wes

t of s

omm

er b

eam

.6

110

3Ea

st1

Mas

onry

Pain

t2/

17/2

010

From

bac

ksid

e of

chi

mne

y.x

xx

x12

110

5C

eilin

g1

Lath

Pain

t3/

24/2

010

Take

n fro

m e

ast o

f som

mer

bea

m.

221

107

Sout

h1

Mas

onry

3/24

/201

0Po

intin

g m

orta

r fro

m u

nder

ext

erio

r stu

cco

�nish

.x

xx

x11

220

1Ea

st1

Plas

ter

Pain

t3/

24/2

010

Take

n fro

m w

all n

ext t

o �r

epla

ce. R

elat

es to

sam

ple

#15.

152

201

East

2M

ason

ryPl

aste

r3/

24/2

010

Take

n fro

m w

all n

ext t

o �r

epla

ce. R

elat

es to

sam

ple

#11.

xx

xx

92

201

Wes

t1

Lath

Pain

t2/

17/2

010

182

202

Wes

t1

Plas

ter

Pain

t3/

24/2

010

Take

n fro

m w

all n

ext t

o �r

epla

ce. R

elat

es to

sam

ple

#16.

162

202

Wes

t2

Mas

onry

Plas

ter

3/24

/201

0Ta

ken

from

wal

l nex

t to

�rep

lace

. Rel

ates

to sa

mpl

e #1

8.x

xx

x19

220

2W

est

1La

thLi

mew

ash

3/24

/201

0Ta

ken

from

insid

e of

�re

plac

e.3

220

3Ea

st1

Mas

onry

Pain

t2/

17/2

010

From

bac

ksid

e of

chi

mne

y.x

xx

x17

220

3Ea

st1

Bric

kPa

int

3/24

/201

0Ta

ken

from

wal

l abo

ve st

ovep

ipe.

xx

xx

142

204

Sout

h1

Mas

onry

PoP

3/24

/201

0Ta

ken

from

laye

r sho

win

g th

e ou

tline

of t

he st

airc

ase

xx

xx

272

206a

Nor

th1

Plas

ter

Pain

t4/

3/20

10Re

late

s to

sam

ple

#28.

282

206a

Nor

th2

Lath

Plas

ter

4/3/

2010

Rela

tes t

o sa

mpl

e #2

7.24

220

6aSo

uth

1La

thPa

int

4/3/

2010

Take

n fro

m sm

all c

lose

t bel

ow st

airs

to 3

rd �

oor.

232

206b

Sout

h1

Lath

Pain

t4/

3/20

1025

220

6cN

orth

1Pl

aste

rPa

int

4/3/

2010

Take

n fro

m w

all n

ext t

o �r

epla

ce. R

elat

es to

sam

ple

#26.

262

206c

Nor

th2

Mas

onry

Plas

ter

4/3/

2010

Take

n fro

m w

all n

ext t

o �r

epla

ce. R

elat

es to

sam

ple

#25.

xx

xx

293

301

East

1La

thPo

P4/

3/20

10Fr

om sl

oped

cei

ling/

wal

l.21

330

3Ea

st1

Mas

onry

Pain

t3/

24/2

010

Take

n fro

m b

elow

�oo

r lev

el, n

orth

of t

he d

oor.

103

302

Wes

t1

Plas

ter

Pain

t2/

17/2

010

Rela

tes t

o sa

mpl

e #3

3.33

330

2W

est

2M

ason

ryPa

int

4/3/

2010

Rela

tes t

o sa

mpl

e #1

0.7

330

3Ea

st1

Plas

ter

Pain

t2/

17/2

010

Rela

tes t

o sa

mpl

e #8

.x

xx

x8

330

3Ea

st2

Mas

onry

Pain

t2/

17/2

010

Rela

tes t

o Sa

mpl

e #7

.5

330

3C

eilin

g1

Lath

Pain

t2/

17/2

010

43

303

1Br

ick

none

2/17

/201

0Ta

ken

from

chi

mne

y br

ick

insid

e of

cei

ling.

303

306b

Nor

th1

Mas

onry

Pain

t4/

3/20

10Ta

ken

from

wal

l nex

t to

�rep

lace

.31

330

6bC

eilin

g1

Lath

Pain

t4/

3/20

1032

330

6bW

est D

orm

er1

& 2

Lath

Pain

t4/

3/20

10N

eed

to b

e se

para

ted.

Appendix C • C2


Appendix C • C3

0.00

10.0

0

20.0

0

30.0

0

40.0

0

50.0

0

60.0

0

70.0

0

80.0

0

90.0

0

100.

00

10

100

1000

10

000

Percent Passing

Siev

e Sc

reen

Siz

e (

m)

Com

pari

son

of M

orta

r A

ggre

gate

s

Sam

ple

1

Sam

ple

2

Sam

ple

3

Sam

ple

6

Sam

ple

7

Sam

ple

14

Sam

ple

15

Sam

ple

16

Sam

ple

17

Sam

ple

22

Sam

ple

26


Appendix C • C4


Appendix C • C5

DOWN

101

102

103

104105

106

107

UP!!

6

2 1

22

20

13 12


Appendix C • C6

201

202

203

204

206a

206b

206c

93

2827

2625

24

23

1918

17

16

15

14

11


Appendix C • C7

!

!

!

301

302303

306a

306b

8754

33

32

31

30

29

21

10


Appendix C • C8

ARCHITECTURAL CONSERVATION LABORATORYUNIVERSITY OF PENNSYLVANIA

MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS

Project/Site: Sellers HallProject/Site: Sellers HallProject/Site: Sellers HallProject/Site: Sellers HallLocation: Upper Darby, PALocation: Upper Darby, PA Date Sampled: 2/3/2010Date Sampled: 2/3/2010

Analysis Performed By: HBAnalysis Performed By: HB Date Analyzed: Date Analyzed:

DESCRIPTION OF SAMPLEDESCRIPTION OF SAMPLEDESCRIPTION OF SAMPLEDESCRIPTION OF SAMPLE

Type/Location: 102 West Layer 1Type/Location: 102 West Layer 1 SAMPLE No. 1SAMPLE No. 1

Surface Appearance: Well graded aggregate, large pores.Surface Appearance: Well graded aggregate, large pores.Surface Appearance: Well graded aggregate, large pores.Surface Appearance: Well graded aggregate, large pores.Cross Section: Large amount of hair, brick fragments.Cross Section: Large amount of hair, brick fragments.Cross Section: Large amount of hair, brick fragments.Cross Section: Large amount of hair, brick fragments.

Color: 2.5Y 8/1Color: 2.5Y 8/1 Texture: Texture:

Hardness: Hardness: Gross Wgt.: 28.45 gGross Wgt.: 28.45 g

COMPONENTSCOMPONENTSCOMPONENTSCOMPONENTS

Fines:

Color: Wgt.: 0.51 g Wgt. %: 1.79Fines:

Organic Matter: HairOrganic Matter: HairOrganic Matter: HairFines: Composition: Silt and clayComposition: Silt and clayComposition: Silt and clay

Acid Soluble Fraction:

Wgt: 5.70 gWgt: 5.70 g Wgt. %: 20.04Acid Soluble Fraction:

Desc. Of reaction: volatileDesc. Of reaction: volatile Filtrate Color: Dark YellowAcid Soluble Fraction: Composition: CaCO3Composition: CaCO3Composition: CaCO3

Aggregate:

Color: Wgt.: 22.24 g Wgt. %: 78.17

Aggregate:

Grain Shape: Grain Shape: Grain Shape: Aggregate:

Mineralogy: Mineralogy: Mineralogy: Aggregate:

Sieve analysis: Screen % Retained

Aggregate:

8 99.47

Aggregate:

16 95.75

Aggregate:

30 82.76

Aggregate:

50 55.44

Aggregate:

100 22.06

Aggregate:

200 3.33

Aggregate:

pan 0.09

ASSESSMENT ASSESSMENT ASSESSMENT ASSESSMENT

Mortar Type: Plaster finish layer.Mortar Type: Plaster finish layer.Mortar Type: Plaster finish layer.Mortar Type: Plaster finish layer.Fines: Acid Soluble: Aggregate:

Fines: Acid Soluble: Aggregate:




Appendix C • C9


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS





Surface Appearance: Light colored sand and binder.Surface Appearance: Light colored sand and binder.Surface Appearance: Light colored sand and binder.Surface Appearance: Light colored sand and binder.Cross Section: Large pores and significant amounts of hair.Cross Section: Large pores and significant amounts of hair.Cross Section: Large pores and significant amounts of hair.Cross Section: Large pores and significant amounts of hair.

Color: 2.5YR 5/1Color: 2.5YR 5/1 Texture: smoothTexture: smooth



Fines:






Aggregate:

Color: Wgt.: 26.76 g Wgt. %: 82.38

Aggregate:




Aggregate:

8 99.68

Aggregate:

16 94.67

Aggregate:

30 80.17

Aggregate:

50 57.29

Aggregate:

100 35.80

Aggregate:

200 10.80

Aggregate:

pan 0.58







Appendix C • C10


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS




Type/Location: 203 East Layer 1Type/Location: 203 East Layer 1 SAMPLE No. 3SAMPLE No. 3

Surface Appearance: Light color, fine dark hairs, no visible pores.Surface Appearance: Light color, fine dark hairs, no visible pores.Surface Appearance: Light color, fine dark hairs, no visible pores.Surface Appearance: Light color, fine dark hairs, no visible pores.Cross Section: Fine sand, no visible pores, fine dark hair.Cross Section: Fine sand, no visible pores, fine dark hair.Cross Section: Fine sand, no visible pores, fine dark hair.Cross Section: Fine sand, no visible pores, fine dark hair.

Color: 10YR 8/2Color: 10YR 8/2 Texture: Texture:



Fines:






Aggregate:

Color: Wgt.: 15.99 g Wgt. %: 54.63

Aggregate:




Aggregate:

8 99.68

Aggregate:

16 97.41

Aggregate:

30 90.97

Aggregate:

50 75.24

Aggregate:

100 52.59

Aggregate:

200 34.32

Aggregate:

pan 1.03







Appendix C • C11


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS





Surface Appearance: Well graded aggregate, hair.Surface Appearance: Well graded aggregate, hair.Surface Appearance: Well graded aggregate, hair.Surface Appearance: Well graded aggregate, hair.Cross Section: Hair, brick chunks.Cross Section: Hair, brick chunks.Cross Section: Hair, brick chunks.Cross Section: Hair, brick chunks.

Color: 10YR 8/2Color: 10YR 8/2 Texture: Texture:



Fines:






Aggregate:

Color: Wgt.: 19.46 g Wgt. %: 73.13

Aggregate:




Aggregate:

8 95.70

Aggregate:

16 85.66

Aggregate:

30 54.27

Aggregate:

50 26.19

Aggregate:

100 9.75

Aggregate:

200 5.55

Aggregate:

pan 0.25







Appendix C • C12


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS





Surface Appearance: Well sorted aggregate, very fine.Surface Appearance: Well sorted aggregate, very fine.Surface Appearance: Well sorted aggregate, very fine.Surface Appearance: Well sorted aggregate, very fine.Cross Section: Large amount of very fine hairs.Cross Section: Large amount of very fine hairs.Cross Section: Large amount of very fine hairs.Cross Section: Large amount of very fine hairs.

Color: 2.5Y 8/2Color: 2.5Y 8/2 Texture: smoothTexture: smooth



Fines:






Aggregate:

Color: Wgt.: 6.58 g Wgt. %: 50.46

Aggregate:




Aggregate:

8 97.28

Aggregate:

16 95.47

Aggregate:

30 87.44

Aggregate:

50 71.76

Aggregate:

100 48.06

Aggregate:

200 29.79

Aggregate:

pan 0.91







Appendix C • C13


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS




Type/Location: 204 South Layer 1Type/Location: 204 South Layer 1 SAMPLE No. 14SAMPLE No. 14

Surface Appearance: Mix of aggregate gradation and shape, very fine hairs.Surface Appearance: Mix of aggregate gradation and shape, very fine hairs.Surface Appearance: Mix of aggregate gradation and shape, very fine hairs.Surface Appearance: Mix of aggregate gradation and shape, very fine hairs.Cross Section: Cross Section: Cross Section: Cross Section:




Fines:






Aggregate:

Color: Wgt.: 19.69 g Wgt. %: 74.05

Aggregate:




Aggregate:

8 93.38

Aggregate:

16 83.03

Aggregate:

30 54.21

Aggregate:

50 24.89

Aggregate:

100 8.36

Aggregate:

200 3.29

Aggregate:

pan 0.35







Appendix C • C14


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS





Surface Appearance: Variations in sand gradation, color, and shape, fine, multicolored hairs.Surface Appearance: Variations in sand gradation, color, and shape, fine, multicolored hairs.Surface Appearance: Variations in sand gradation, color, and shape, fine, multicolored hairs.Surface Appearance: Variations in sand gradation, color, and shape, fine, multicolored hairs.Cross Section: Cross Section: Cross Section: Cross Section:




Fines:






Aggregate:

Color: Wgt.: 19.67 g Wgt. %: 66.03

Aggregate:




Aggregate:

8 98.34

Aggregate:

16 94.27

Aggregate:

30 81.23

Aggregate:

50 61.40

Aggregate:

100 37.90

Aggregate:

200 18.38

Aggregate:

pan 0.39







Appendix C • C15


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS





Surface Appearance: Very fine hairs, fine, well sorted aggregateSurface Appearance: Very fine hairs, fine, well sorted aggregateSurface Appearance: Very fine hairs, fine, well sorted aggregateSurface Appearance: Very fine hairs, fine, well sorted aggregateCross Section: Cross Section: Cross Section: Cross Section:

Color: 2.5Y 8/1Color: 2.5Y 8/1 Texture: very smoothTexture: very smooth



Fines:






Aggregate:

Color: Wgt.: 24.50 g Wgt. %: 73.51

Aggregate:




Aggregate:

8 95.33

Aggregate:

16 91.01

Aggregate:

30 77.91

Aggregate:

50 55.56

Aggregate:

100 26.76

Aggregate:

200 7.29

Aggregate:

pan 0.38







Appendix C • C16


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS





Surface Appearance: Well graded aggregate, mix of hairs, metallic flecks present.Surface Appearance: Well graded aggregate, mix of hairs, metallic flecks present.Surface Appearance: Well graded aggregate, mix of hairs, metallic flecks present.Surface Appearance: Well graded aggregate, mix of hairs, metallic flecks present.Cross Section: Cross Section: Cross Section: Cross Section:




Fines:






Aggregate:

Color: Wgt.: 15.75 g Wgt. %: 57.46

Aggregate:




Aggregate:

8 99.34

Aggregate:

16 96.18

Aggregate:

30 87.87

Aggregate:

50 70.13

Aggregate:

100 43.37

Aggregate:

200 19.35

Aggregate:

pan 0.36


Mortar Type: Plaster finish layerMortar Type: Plaster finish layerMortar Type: Plaster finish layerMortar Type: Plaster finish layerFines: Acid Soluble: Aggregate:





Appendix C • C17


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS




Type/Location: 107 South Layer 1Type/Location: 107 South Layer 1 SAMPLE No. 22SAMPLE No. 22

Surface Appearance: Well sorted aggregate, very fine.Surface Appearance: Well sorted aggregate, very fine.Surface Appearance: Well sorted aggregate, very fine.Surface Appearance: Well sorted aggregate, very fine.Cross Section: More graded aggregate, no visible hairs.Cross Section: More graded aggregate, no visible hairs.Cross Section: More graded aggregate, no visible hairs.Cross Section: More graded aggregate, no visible hairs.




Fines:


Organic Matter: NoneOrganic Matter: NoneOrganic Matter: NoneFines: Composition: Silt and clayComposition: Silt and clayComposition: Silt and clay




Aggregate:

Color: Wgt.: 8.56 g Wgt. %: 35.17

Aggregate:




Aggregate:

8 99.88

Aggregate:

16 98.25

Aggregate:

30 89.82

Aggregate:

50 70.06

Aggregate:

100 50.64

Aggregate:

200 27.25

Aggregate:

pan 0.23


Mortar Type: Plaster pointing on original masonry.Mortar Type: Plaster pointing on original masonry.Mortar Type: Plaster pointing on original masonry.Mortar Type: Plaster pointing on original masonry.Fines: Acid Soluble: Aggregate:





Appendix C • C18


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS


MORTAR ANALYSIS




Type/Location: 206c North Layer 2Type/Location: 206c North Layer 2 SAMPLE No. 26SAMPLE No. 26

Surface Appearance: Few hairs, very fine.Surface Appearance: Few hairs, very fine.Surface Appearance: Few hairs, very fine.Surface Appearance: Few hairs, very fine.Cross Section: Cross Section: Cross Section: Cross Section:




Fines:






Aggregate:

Color: Wgt.: 12.79 g Wgt. %: 65.52

Aggregate:




Aggregate:

8 99.33

Aggregate:

16 96.47

Aggregate:

30 83.30

Aggregate:

50 61.08

Aggregate:

100 39.72

Aggregate:

200 24.62

Aggregate:

pan 0.33


Mortar Type: Plaster base layer.Mortar Type: Plaster base layer.Mortar Type: Plaster base layer.Mortar Type: Plaster base layer.Fines: Acid Soluble: Aggregate:




Appendix D


DOWN

101

102

103

104105

106

107

UP

102-1 105-1

102-2

104-1

17th, 18th c. (exact date unknown)1780 - 1810mid 1790’s - 18051790’s - mid 1820’s1815’s - late 1830’slate 1830’s - present

Floor Wall Ceiling Period

Appendix D: Nail ChronologyFirst Floor

Appendix D


Appendix D: Nail ChronologyFirst Floor

104-1: Modern Machine-Cut, Finish

102-2: Modern Wire, Common

102-1: Hand-Wrought, Sharp Point Rose Head

105-1: Early Machine-Cut with Handmade Heads, Lath

Appendix D


Appendix D: Nail ChronologySecond Floor

201

202

203

204

206a

206b

206c

201-1

201-2

206c-1

201-3



Appendix D


Appendix D: Nail ChronologySecond Floor

201-2: Early Machine-Cut with Handmade Heads, Lathe

206c-1: Modern Machine-Cut, Finish

201-1: Hand-Wrought, T-Head

201-3: Early Machine-Headed Cut, Common


Appendix D


Appendix D: Nail ChronologyThird Floor

301

302303

306a

306b

306a-3

306a-1

306a-2

306a-4 306a-5

302-1 302-2 302-3

306b-1 306b-2 306b-3

303-2 303-3

303-1

303-4

301-3

301-2301-1



Appendix D



301-2: Early Machine-Cut, Springs and Brads

301-1: Modern Machine-Cut, Finish


302-1: Modern Wire, Finish


Appendix D




302-3: Early Machine-Cut with Handmade Heads, Common

303-2: Modern Machine-Cut, Box or Flooring


303-4: Modern Wire, Common

Appendix D



306a-1: Early Machine-Cut with Handmade Head: Lathe

306a-3: Hand Wrought (No Head)

306a-4: Modern Machine-Cut, Box or Flooring

306a-2: Modern Wire, Flooring Brads

306a-5: Modern Wire, Common

Appendix D


306b-2: Early Machine- Cut: Springs and Brads

306b-1: Hand Wrought, T-Head

306b-3: Modern Wire, Common


Documents

Upper Darby, Pennsylvania - sellershall.orgsellershall.org/Milner Sellers Hall Final Report (low-res).pdf · led by John Milner, FAIA, Adjunct Professor of Architecture for the University