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Morris–Jumel Mansion

The Morris–Jumel Mansion is an 18th-century historic house museum in the Washington Heights neighborhood of Upper Manhattan in New York City, United States. It is the oldest extant house in Manhattan, having been built in 1765 by British military officer Roger Morris, and was also home to the family of socialite Eliza Jumel in the 19th century. The New York City government has owned the house since 1903. The house's facade and interior are New York City designated landmarks, and the building is a National Historic Landmark and a contributing property to the Jumel Terrace Historic District.

Site
The mansion is located at 65 Jumel Terrace in the Washington Heights neighborhood of Upper Manhattan in New York City. The house is in Roger Morris Park, within the boundaries of the Jumel Terrace Historic District, but is landmarked separately from the historic district. The land lot, which is coextensive with Roger Morris Park, measures with a frontage of and a depth of . The site is bounded by Jumel Terrace to the west, 160th Street to the south, Edgecombe Avenue to the east, and 162nd Street to the north. Extending west of the mansion is Sylvan Terrace, which was originally the mansion's carriage driveway. The house is surrounded by residential buildings, such as the 555 Edgecombe Avenue apartment building (formerly the Roger Morris Apartments) to the south. There are numerous row houses on the surrounding blocks, which include some of Manhattan's last remaining wood-frame houses. The 163rd Street–Amsterdam Avenue station of the New York City Subway is near the mansion. The mansion sits atop Coogan's Bluff, from which Lower Manhattan, the Hudson River including the Palisades, the Bronx, Westchester, the Long Island Sound, and the Harlem River were once visible. The Jumel family, who once occupied the mansion, claimed to be able to see seven counties from the house. In the late 19th century, the house was visible from several miles away and had views of most locations in Manhattan, despite being readily accessible from the elevated Ninth Avenue Line. This led one 19th-century writer to state that "as a point of observation it is hardly to be excelled". Roger Morris Park Roger Morris Park, within which the mansion is situated, is a park bounded by Jumel Terrace, Edgecombe Avenue, 160th Street, and 162nd Street. is the only remnant of a estate that belonged to him and his wife, Mary Philipse Morris. The Morris property covered some distance from Harlem all the way to the Hudson River to the west. The mansion itself was built on one of the highest natural points in Manhattan, A gate to the west, along Jumel Terrace, provides entry to the park. Due to the steep slope of the site, there is a masonry retaining wall to the east, facing Edgecombe Avenue. The northeast corner of the park contains a sunken garden, which was designed by Helen Elise Bullard during a 1934–1935 Works Progress Administration renovation. The garden, which measures about , is octagonal; the shape was inspired by that of the mansion's octagonal annex. Stone paths divide the garden into quadrants, and there is a retaining wall around it. Next to the garden is an octagonal structure with a brick facade. There are also lawns on the west and north sides of the mansion, as well as a rose garden on the east side. == Residential history ==
Residential history
During the 17th century, the site was part of the town of Harlem and was located on a larger plot called the Great Maize Land. The first house on the site had been developed by Jan Kiersen, who received a half-morgen of land, about , in 1695 or 1696. He also received permission to build a house, barn, and garden east of Kingsbridge Road (now St. Nicholas Avenue). Kiersen received a deed to the land in 1700 or 1701 and gradually enlarged his estate. Carroll farmed on the land for two years before selling it to Roger Morris in 1765. had retired from the British Army in 1764. Concurrently, the New York Mercury published an advertisement for a site in Upper Manhattan, with an orchard, two nearby rivers, and panoramic views in all four directions. At the time, the site was still rural, the land was part of the British Province of New York, and New York City comprised what is now Lower Manhattan. Construction began in mid-1765. Contractors secured oak timbers from the nearby forest, which oxen then pulled to the site. but was also referred to as the Roger Morris House. There also were a set of barns, which were located to the north, near what is now 165th Street. The Morrises' two sons and two daughters were born at the house, Both Roger and Mary were Loyalists affiliated with the British cause. The historian William Henry Shelton wrote that Mount Morris was vulnerable to arson attacks from Patriots—who sought American independence—since Roger was a member of New York's legislative council. Use during the American Revolutionary War Continental Army general William Heath and his officers occupied the house as early as September 5, 1776, holding it for their commander in chief, George Washington. Washington used the mansion as a headquarters for a month after British troops forced his army to retreat to Upper Manhattan. He entered the house on the night of September 14–15, 1776; the exact date and time of his arrival is unclear. The house was chosen because of its elevated topography, which enabled Washington to see approaching enemy troops. There were claims that Washington may have chosen the site because of a previous romantic attraction to Mary Morris, but these rumors were unfounded. strategizing for the Battle of Harlem Heights while headquartered there. About 8,000 troops stayed in nearby camps, while some troops set up wooden huts along modern-day Sylvan Terrace. The Continental Army remained in "undisturbed possession of their camps" until about October 18, when the Battle of Pell's Point began. Washington retreated around October 21–22 to flee advancing British troops, and Continental Army colonel Robert Magaw was left to guard the house. On November 16, 1776, during the Battle of Fort Washington, Washington's troops tried to reenter the house but were beaten back by British troops. Captured Continental Army prisoners were tied up in the mansion's barns. The British occupied the house from 1776 until the evacuation of New York in 1783. Documentation of the British troops' time at the house is sparse and is described mainly in two soldiers' journals. Records do not show who occupied the house just after the British captured Fort Washington. The mansion became the headquarters of British lieutenant-general Henry Clinton until 1777 and Hessian commander Baron Wilhelm von Knyphausen during 1778. The latter's staff also took up some space in the house. and a tent camp existed nearby. During 1780, the British used the house as a lookout station, and Hessian major general Von Lossburg also lived there. The Morrises forfeited their Harlem Heights estate, which was advertised for sale in the New York Gazette and Weekly Mercury in 1783. Following its confiscation, Mount Morris was occupied by several different tenants. but Arnold Pickman wrote that neither Berrian nor Ledyard lived in the house. a capacity in which it served for about two years. Talmage Hall operated the tavern, which was known as Calumet Hall. The tavern was a popular stop along the Albany Post Road, Contemporary advertisements promoted the fact that the tavern was in the Morrises' old house and the presence of stagecoach service to Upstate New York and New England. After becoming U.S. President, George Washington, several Founding Fathers, and their families returned to the house for a party in 1790. Ledyard had sold his half of the property before 1791 to Theodore Hopkins and Michael Joy. He then attempted to sell it, renting the property to a farmer named Jacob Myer in the meantime. In 1793, Bleecker sold the parcel that included the Morris House to William Kenyon. After Roger Morris died in 1794, Mary Morris sued to regain ownership of the mansion, claiming that the Act of Attainder did not apply to the mansion since it belonged to her as part of the Morrises' prenuptial agreement. Kenyon sold the entire parcel to Leonard Parkinson, an Englishman, Parkinson decided to sell and subdivide his estate in 1809; the estate was split into fifteen lots, and the mansion and an adjacent coach house were classified as occupying lot number 8. The same year, Mary Morris dropped her claim to the mansion, and John Jacob Astor bought the property from the Morris heirs. but a map from 1815 showed two additional buildings and a gatehouse near the mansion. Jumel ownership In 1810, French wine merchant Stephen Jumel paid $10,000 for the house and some land around it. The Jumels had largely been "neglected by society" when they lived in Lower Manhattan, and Eliza, who had come from poor beginnings, was anxious to become part of New York City's elite. According to Shelton, members of the public may have become interested in the mansion's history because of Eliza's lifestyle, which Shelton called "a leaf out of the book of the fairies". The Washington Post wrote that the house was "the social center of colonial New York" for a half-century after the Jumels bought the house. 1810s and 1820s The 1810 United States census shows that seven people lived in the Jumel household, but the Jumels probably split their time between the uptown mansion and their Lower Manhattan house. The Jumels remodeled the house, adding the Federal style entrance and redecorating the interior in the Empire style. The family reproduced the original wallpaper and bought as much furniture as they could. The family sometimes stayed in their other houses in Lower Manhattan and France. Mary Bowen refused to stay in the mansion by herself because of a belief that the house was haunted by the ghosts of soldiers. By 1814, Stephen Jumel had offered the mansion and his other properties for sale, but the mansion was not sold. The same year, Stephen and Eliza placed the mansion in trust. The Jumels went to France the same year because they had failed to gain enough social standing. returned to the Jumel Mansion in 1817. Eliza and her servants were the only occupants of the mansion until Mary Bowen arrived in 1818. and then returned to France. albeit likely only during the summer. These included the family of Moses Field in 1825 and the Clinton family in 1826. Stephen deeded Eliza the mansion and surrounding land in 1825; sources disagree on whether the move was due to Eliza Jumel's duplicity or whether the move was intended to prevent Stephen's creditors from taking over the mansion. The 1830 United States census recorded eleven people in the Jumel household who lived in the mansion. 1830s to 1860s Around the time of Stephen's death, Mary married the lawyer Nelson Chase, and Eliza bought additional furniture for the mansion. they were married in the house's parlor on July 3 of that year. The marriage, and Burr's stay in the house, was short. Eliza filed for divorce in 1834, which was granted in 1836, shortly before Burr's death. Burr left the mansion for seven months after Eliza filed for divorce, then returned for another five weeks. and she stayed in the mansion from time to time. She reportedly lived in the mansion until 1834, then rented residences elsewhere for five years. but she and the Chase family had moved into the mansion again by 1848, five years after Mary Chase died. The 1850 United States census showed nine people in the Jumel household who lived at the mansion, A well was excavated on the grounds around 1857. Eliza Jumel was eccentric in her later years. Unscrupulous neighbors took advantage of the woman's eccentricity, "helping themselves to anything they wanted on the neglected farms of the estate", in Shelton's words. The 1860 United States census recorded seven people in the household. when they were thrown out after a fight in which Eliza's great-nephew threw an inkstand at the painting of his great-aunt. until her death in 1865. The Chase family lived in the house for about two decades after Eliza died. By 1868, the mansion was occupied by Nelson Chase, the family of Nelson's son William Inglis Chase, and the family of Nelson's daughter Eliza Jumel Péry. The three branches of the families lived in different parts of the mansion and ate dinner at different times. The 1870 United States census did not list the Chase household, but the 1880 census showed twelve members of the Chase household living in the mansion. The disputes over the Jumel estate were not resolved until 1881, when a judge ruled that Mary Bowen had never legally owned the mansion and ordered that the Jumel estate be partitioned. An unidentified purchaser bought the mansion and 30 neighboring lots for $40,000, but the sale was delayed after protests from several people alleging to be Stephen Jumel's heirs. Nelson Chase ultimately retained the mansion, although the estate was subdivided. Sales of the mansion The Chase family remained at the Jumel Mansion until Nelson Chase and Eliza Jumel Péry sold it in March 1887 to Henry H. Tobey, who resold it to Eban Sutton Jr. Sutton is not known to have lived in the mansion, Elizabeth's husband, the early filmmaker Louis Le Prince, wished to screen his films publicly at the mansion but disappeared mysteriously in 1890. Numerous pieces of furniture, purported to be from Eliza Jumel's collection, were auctioned off in early 1890, though the family of Nelson Chase claimed that they still owned the Jumel furniture. Sutton sold the mansion to Seth Milliken in May 1894. The new owners were Ferdinand Pinney Earle, whose mother's family were related to the Morrises, and his wife, Lillie J. Earle. They moved many colonial-style decorations to the cellar, replaced decorative elements, painted the walls, and installed wallpaper throughout various parts of the house. A stair from the basement to the first-floor pantry was sealed off, and the Earles renovated the octagonal annex into a studio apartment and removed a dormer window. Lillie Earle, who headed the Washington Heights Society of the Children of the American Revolution, sometimes hosted events at the mansion. lawn parties, a commemoration of the Battle of Harlem Heights, and meetings of the Sons of the American Revolution. In 1898, a decade after the nearby Hamilton Grange had been relocated, there were unsuccessful proposals to move Earle Cliff. The 1900 United States census showed that seven members of the Earle household lived in the house. == Museum history ==
Museum history
Acquisition and operation dispute in 1905|alt=Black-and-white image of the Polo Grounds baseball stadium, with the Morris-Jumel Mansion on a hill in the background As early as 1899, there had been calls for the government of New York City to acquire the Jumel Mansion and convert it to a museum. Supporters of the museum plan included the editor of ''The Spirit of '76'' magazine, the American Scenic and Historic Preservation Society, Daughters of the American Revolution, and Sons of the American Revolution. At the time, the house was one of three remaining structures in Manhattan associated with George Washington, the other two being Fraunces Tavern and St. Paul's Chapel. The city's Board of Public Improvements first considered the plan in March 1900 and asked the Manhattan Department of Parks (later the New York City Department of Parks and Recreation, or NYC Parks) that September to map out the Jumel Mansion's site. After initially voting against acquiring the house, the Board of Public Improvements voted in favor of the acquisition in March 1901. The next month, the board approved a proposal to purchase the house for $150,000, although the sale was not finalized at that time. The New York City Board of Aldermen passed legislation in December 1901 to convert the mansion and surrounding grounds into a public park. Seth M. Milliken moved to foreclose on a $30,000 mortgage on the house in May 1902, and a lis pendens was filed against the mansion early the next year as part of the foreclosure proceedings. The Daughters of the American Revolution formed a committee in February 1903 to raise money for the mansion, and the Board of Estimate and Apportionment approved the park's creation that May. Lillie Earle initially did not wish to sell the mansion to the city, but she later indicated that she was willing to sell the mansion to the city or to a historical organization. Following the sale, the Realty Protective Company sued Lillie, claiming that she had reneged on an agreement to pay the company ten percent of the house's sale price. The grounds had been downsized to and were surrounded by retaining walls on three sides. The Daughters of the American Revolution formed the Washington Headquarters Association (WHA) in March 1904 to operate the museum, claiming that they had the rights to operate the museum because their ancestors fought under Washington. Their sister organization, the Sons of the American Revolution, submitted a competing bid to operate the museum but later agreed to provide financial support to the Daughters. The Colonial Dames of America also submitted a bid, claiming that they were more responsible than the Daughters were. Following a dispute in which the New York State Legislature passed competing bills awarding operation of the museum to both the Colonial Dames and the Daughters, park commissioner John J. Pallas was appointed to mediate the dispute. As a compromise, governor Benjamin Odell signed a bill that May, allowing the Department of Parks to turn the house's operation over to either organization. Following a hearing in November 1904, Pallas ruled in 1905 that ownership of the mansion belonged to the Department of Parks. The Daughters did not contest Pallas's decision, though the WHA was still permitted to operate the museum. Opening and early years The WHA announced in April 1905 that it planned to restore the Morris–Jumel Mansion. The Board of Aldermen provided $100,000 in funding. The association planned to restore the original Colonial-style architectural details, unseal the old fireplaces, display some of the Jumel and Earle families' furniture, and landscape the gardens around the house. Other changes included a new wooden floor in the basement; a flower garden on the site of one of the mansion's barns; and an arbor to the east of the house. The mansion hosted events such as Washington's Birthday celebrations even before the renovation was completed. The Morris–Jumel Mansion Museum formally opened on May 29, 1907, after the renovation was completed. Kady Brownell, an American Civil War veteran, was the museum's first custodian. In the first few years of the museum's operation, the WHA hosted two events at the house annually; by the early 1910s, the museum attracted over 30,000 visitors per year. The Morris–Jumel Mansion was one of the only remaining mansions in Washington Heights at the time, as most of the area's other large country homes were being demolished. The mansion was now well within the borders of New York City, easily accessible via the subway and the Amsterdam Avenue streetcar. The following year, parts of the third floor opened as exhibit space. The WHA petitioned the Board of Aldermen to name the house Washington's Headquarters in 1915, as the mansion had no official name at the time, but the house was not renamed. The historian Reginald Pelham Bolton discovered parts of the mansion's original kitchen the next year. William Henry Shelton, the museum's curator during the 1920s, reported that many visitors came from the West and Midwest (where few or no Revolutionary War–era structures existed) and that the museum was also popular among teachers and Francophones. The Herald Statesman reported that the museum was one of the most popular historical sites in Upper Manhattan. The mansion was repainted and renovated in 1922, when the portico's pillars and the entrance to the eastern portion of the house were rebuilt. The project also included new landscaping and a restored kitchen. and plans for the renovation were delayed because of uncertainty about the original design of the front door. 1930s to 1980s The house had still not been renovated by the early 1930s, The New York City Department of Parks and Recreation (NYC Parks) designed a further renovation of the house in 1934 and hired Works Progress Administration (WPA) workers to carry out the project. Work on the renovation started that September. The project added a stairway to the basement on the east, as well as areaways along the western half of the house. The first-floor kitchen at the northeast corner was removed. In addition, a new garden, pathways, drainage pipes, gutter stones, and patio were built. The basement kitchen was restored to its 18th-century appearance, and an exhibit with colonial children's objects was added. The Daughters of the American Revolution also refurbished four rooms; The house reopened in October 1936 and recorded 800 visitors within one month. The WHA dedicated a new flag outside the mansion in 1939. In the mid-20th century, the house was known variously as the Morris Mansion and the Jumel Mansion. Nancy McClelland was hired in 1945 to restore the interiors, with assistance from Hofstatters' Sons and Watson & Collins. The house's exhibits were rearranged so the Morris family's belongings were on the first floor and the Jumel family's belongings were on the second floor. Period furniture and furnishings such as wallpaper were installed through the house. The restorations of the dining room and rear parlor were finished in June 1945, The mansion remained in good condition the following decade and was designated as a national and city landmark in the 1960s. By then, there were persistent rumors that the house was haunted. Among the visitors were British queen Elizabeth II, who toured the house in 1976 to celebrate the United States' bicentennial. By the early 1980s, nine of the house's rooms were open to the public. A board of trustees was raising money for the restoration of the house, which had again become dilapidated. The house received a $200,000 preservation grant from the New York state government in 1987. In spite of high crime rates in the surrounding neighborhood, the mansion's curator said in the late 1980s that the museum was largely unaffected by crime because of several security measures. The Morris–Jumel Mansion was one of the founding members of the Historic House Trust, established in 1989. 1990s to present The Morris–Jumel Mansion's exterior underwent an extensive renovation starting in 1990. Jan Hird Pokorny Architects, which had been hired in 1986 to conduct a survey of the house's condition, was also hired to restore the house. Structural improvements comprised three-quarters of the $600,000 cost. Pokorny's firm restored the structure to its 19th-century appearance, consulting old photographs and replacing architectural details such as the balustrade, dormers, and windows. One of the exterior stairways, built in the 1930s, was infilled. The paint had started to peel off, the roof was leaking, and some decorative elements had begun to deteriorate in the early 2000s. The manuscript was ultimately sold for over $912,500. The museum had attracted 17,000 visitors that year, less than half of whom were students. The museum's popularity increased after the Broadway musical Hamilton opened in 2015; Ward estimated that, in 2016, the museum may have seen a 75 percent increase in visitors because of the musical. Eliza Jumel's bedroom and the parlor were restored in the early 2020s. The Historic House Trust announced in November 2021 that it had secured $2.7 million for a renovation. By then, the cost of the renovation had increased due to both inflation and the need to fix additional issues. The house was deteriorating: the paint on the facade was peeling, and one of the portico's columns collapsed in late 2022. The New York Times described the house in late 2023 as being in such poor condition "that it is possible to touch it and walk away with a moist, splintered clump of wood siding in the palm of your hand". A $10 million renovation of the house, which included exterior repairs and accessibility upgrades, began in 2026. == Architecture ==
Architecture
The Morris–Jumel Mansion is an early example of Palladian architecture in the U.S.; the Toronto Star claimed that the mansion was the first Palladian-style structure in North America. It is not known who designed the mansion, but Morris may have been the architect of his own residence; While other 18th-century waterfront mansions in New York City were oriented with their rears facing the river, the Morris–Jumel Mansion is oriented north–south, roughly parallel to the Harlem River. Additionally, the mansion has been described in The New York Times as one of Manhattan's oldest buildings of any kind. Exterior The mansion consists of two sections. The main house is two and a half stories high, including the half-height third story which is treated as an attic. The structure was built with a wooden frame, with brick exterior walls to keep out the heat. are covered with white wooden siding that has a rusticated appearance. The corners of the house are decorated with vertical quoins, and a wooden belt course runs horizontally across the second floor. All of the facades are covered with planking except for the eastern wall of the main mansion, which is covered with shingles. At the bottom of the basement walls is a stone gutter measuring wide. The windows are all of slightly differing sizes; one window has a scratch, created when one of Eliza Jumel's grandchildren scraped a diamond on the glass to determine whether the diamond was real. The portico originally overlooked New York Bay several miles away The layout is similar to that of other houses built before the American Revolution, with various Palladian halls. When the Morris–Jumel Mansion became a museum, it was re-furnished to reflect the decorations that existed when Morris, Washington, and Jumel occupied the mansion. The smaller rooms, and the stairways to the first floor and the house's yard, led off the kitchen. The kitchen originally measured across. After the house's completion, a brick partition was added to keep the kitchen warm in the winter. The parlor, sometimes referred to as the reception room and tearoom, is near the southwest end of the house. but a 1792 advertisement called it "particularly adapted and fitted for a nursery". To the right of the entrance hall, at the southeast end of the house, is a dining room. At some point in the 19th century, there was a doorway separating the stairs from the main hall; this doorway was removed "some years" prior to 1916. One account claimed that 200 Native Americans once gathered in the room to give Washington a wreath. A 1914 account cited the room as being decorated in the Louis XV style with Empire-style ceilings and fireplace. The library is open only to the Friends of the Morris–Jumel Mansion. == Operation ==
Operation
The New York City Department of Parks and Recreation owns the house. The museum receives most of its funding through grants, revenue from events, and admission. According to a 1921 Christian Science Monitor article, the museum exhibited various late-18th-century relics such as coins, guns, prints, clothing, china, furniture, and a Bible belonging to Washington. Other wartime relics displayed during that time included a table, first-aid cabinet, clock, saddlebag, and cannon. The museum also displayed clothing and artifacts belonging to Eliza Jumel, and two desks and chairs that he used. By the 1940s, the first-floor rooms contained decorations like Sheraton furniture. Some objects were borrowed from other museums, A small first-floor room displayed Revolutionary–era relics excavated near the house, and the basement kitchen displayed cookware. A New York Times article from 1985 said that the museum had such varied artifacts as a chandelier from Napoleon and a laundry list for Washington. In the late 20th and early 21st centuries, the Morris–Jumel Mansion was still decorated with a variety of objects used by the Morrises, Washington, the Jumels, and Burr. The furniture collection consists of pieces designed by Thomas Sheraton, Thomas Chippendale, and Duncan Phyfe. The house also retained other artifacts such as its porcelain collection, Eliza Jumel's bed, and French wallpapers. Temporary exhibits In addition to the permanent collections, there have been several temporary exhibits throughout the years. In the museum's early years, it hosted exhibits such as a display of American Revolutionary War-era objects and a display of objects manufactured by women. The house displayed mementos relating to Washington in the 1940s. During the 1980s, it also hosted an exhibit for the bicentennial of Washington's inauguration and a series of miscellaneous artifacts on the third floor. a 2012 exhibit with pieces from the 18th and 19th centuries, and a 2022 exhibit of historical portraits of Washington Heights. Events and programs The museum hosted annual lawn parties and Washington's Birthday holiday celebrations in the early 20th century. receptions hosted by the Washington Headquarters Association; and meetings of the WHA and the Daughters of the American Revolution. During the mid-20th century, its events included a celebration of Washington's bicentennial; Flag Day ceremonies; and Revolutionary War reenactments. The mansion hosted open houses and storytelling series in the 1970s, and museum officials began allowing visitors to host parties at the mansion in 1977, except for weddings and bar or bat mitzvahs. By the late 20th and early 21st centuries, the mansion regularly presented lectures, concerts, and special exhibits. Events in the 1980s and 1990s included a play about Eliza Jumel's life; a food, craft and music festival; Historic House Festivals; "Jazz at the Mansion" festivals; and Easter egg hunts. During the 2000s and 2010s, the mansion hosted outdoor jazz concerts, the Early Music Celebration, and suppers themed to the Founding Fathers' cuisine. Its past programs have included a children's workshop for designing model rooms, The museum also has hosted anniversary celebrations for the house. Its 225th anniversary was marked by a festival with duels, concerts, and storytelling, while its 250th anniversary in 2015 was celebrated with a Halloween festival. The museum presents several regular programs of its own. For example, it hosts ghost tours and regular "paranormal investigations", taking advantage of the fact that the mansion was rumored to have up to five ghosts, including those of Burr and Eliza Jumel. Once a month, Family Day events are presented at the mansion, and the museum hosts online "parlor chats". There are workshops at the mansion, as well as plays and art shows. == Impact ==
Impact
Critical reception In 1881, The New York Times wrote that "it is a treat to see a house occasionally that is a little different from its neighbors" and that the Morris–Jumel Mansion was one such structure. Josiah Collins Pumpelly wrote in 1903 that the house "still remains a conspicuous monument of the taste and ambitious aspirations of those who lived during the infancy of the Commonwealth". The next year, the Buffalo Evening News said that, although the Earles had modified the house significantly, the rooms were still recognizable as examples of early architecture. The Christian Science Monitor wrote in 1921 that there was evidence of the builders' workmanship in the mansion's design, and a critic for the Christian Science Monitor said in 1945 that the house stood "four-square and benevolent in the mellow gold of autumn". and the Washington Post called the house "one of those places where you can lose all sense of time and place". Another Times writer called the house "a pleasingly shabby-genteel Colonial pile" in 2001. The jazz musician Duke Ellington, who lived across the street, referred to the mansion as "the Crown of Sugar Hill", a reference to the nearby Sugar Hill area. There has also been commentary about the museum's collections. The New York Daily News said in 1968 that Eliza Jumel's lifestyle was reflected in the furnishings, crystal, and china. The Wall Street Journal called the mansion one of "Manhattan's sometimes overlooked cultural gems" in 2014, and the Times said in 2018 that the museum retained the 17th-century character of the house. A writer for Insider wrote in 2022 that, despite the presence of a modern Ring doorbell at the entrance, walking into the house "felt like stepping back in time". Landmark designations The Morris–Jumel Mansion's historical importance had been recognized as early as 1914, when the New York City Art Commission took pictures of the mansion and other notable sites across the city; at the time, cameras were still relatively uncommon. The mansion was also documented as part of the Historic American Buildings Survey in the 1930s, and the New York State Education Department erected two signs outside the house in 1935, summarizing the structure's history. It became a National Historic Landmark in 1961, making it one of the first landmarks designated as such. The Morris–Jumel Mansion was added to the National Register of Historic Places on October 15, 1966, the day the National Historic Preservation Act of 1966 went into effect. The exterior was designated a New York City Landmark in 1967. The mansion became part of the city-landmarked Jumel Terrace Historic District in 1970, and it was added to an NRHP district of the same name in 1973. The LPC held hearings in 1975 to determine whether the interiors of Federal Hall's rotunda, the Morris–Jumel Mansion, and the Bartow–Pell Mansion should be designated as landmarks. The LPC designated all three buildings' interiors as landmarks on May 26, 1975, and the New York City Board of Estimate ratified these designations that July. The first and second floors of the Morris–Jumel Mansion were protected by the designation. Later in the century, Fitz-Greene Halleck wrote his lines on the Greek patriot Marco Bozzaris on a rocky outcrop near the mansion overlooking the Harlem River. Rupert Hughes's 1924 novel The Golden Ladder was partly set in the mansion. In 1996, the Morris–Jumel Mansion was featured in Bob Vila's A&E Network production ''Bob Vila's Guide to Historic Homes of America. The television show Ghost Adventures filmed an episode at the house in 2014, The television show Broad City'' filmed a scene at the mansion in 2019. The house itself has also been depicted in other exhibits. For example, it was featured in New-York Historical Society's 1952 exhibition of pre–Civil War houses in New York City, and artifacts from the mansion were displayed in the lobby of 1095 Avenue of the Americas in 1979. In addition, a room in the Lord & Taylor Building was decorated in 1976 with furnishings resembling that of the mansion's rooms. Over the years, the mansion has been the subject of several historical studies, such as William Henry Shelton's 1916 book detailing the mansion's history. == See also ==
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