United States of America -- New York -- Dutchess County -- Millbrook
Scope and Contents:
The folder includes correspondence, brief description of garden, articles, notes about slides, exerpt from the Garden Club of America Handbook and information sheet done by GCA researcher.
"This historic eighteenth century residence was deeded by the Crown Grant to the Thornes, a Quaker family and has remained in their possession ever since. It was famed in the nineteenth century for the quality of their breeding cattle and for their standard bred horses."
"It was Mr. Thorne's great grandmother, the late Mrs. Oakleigh Thorne, who was responsible for the planning and planting of Thorndale's gardens which were for many years listed as the most beautiful in the world. The gardens have seen many changes through the years, but are still a beautiful setting for the largest classic white clapboard house with ist huge columns on its portico. The trees, white pine, spruce, red oaks, white oaks, maples and elms have been assiduously tended for decades."
"Most of the gardens are within sight and sound of water. Old stone steps rise from the upper pond's edge to green lawn. A path circles the pool where water-lilies bloom and dogwood and azaleas abound. A swimming pool is passed on the way to the lower pond and water pavilion. The pavilion, designed by Jerome Allen, architect, stands two stories high to command a long vista."
"A stream links the two ponds and is shaded by birch, dogwood and elms. Drifts of daffodils are naturalized in the fields beyond."
"Pierced brick walls with espaliered fruit trees surround the yew garden. Here you will find a great many varieties of taxus and magnificent topiary work. At the entrance to trim paths stand eighteenth century English stone monkeys playing musical instruments."
Mr. and Mrs. Oakleigh Thorne also owned Las Tejas, Santa Barbara, California.
Persons associated with the property include: Edward Van Altena (colorist for lantern slides); Nellie B. Allen (landscape architect); Helen Page Wodell (landscape architect); Jerome Allen (architect); Marian Cruger Coffin (landscape architect); Helen Thorne (former owner); Wodell and Contrell (landscape architect).
Thorndale related holdings consist of 1 folder (14 slides:, glass lantern, hand colored.)27 slides (col.) (35 mm.)
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Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
The Regional America program at the 1974 Festival continued the tradition of featuring the folklife of one State - in this case, Mississippi. In the six months leading up to the Festival, Smithsonian field researchers travelled 15,000 miles through 82 counties in the State. Their mission was to locate and identify traditional music, dance, craft skills, culinary arts and story-telling. They sought individuals whose skills were transmitted by families and friends in their home communities, people who were not formally trained, but who assimilated the culture of their families and neighbors since infancy. In addition to a Fiddlers' Convention and a diversity of musical performances from African American and white Mississippians, including a group of Lebanese descent, activities were organized around three themes: cotton, cattle and timber. Some 65 musicians and more than 50 craftspeople took part in the Mississippi program between July 3 and July 7, 1974.
A quarter-acre of cotton, under cultivation since mid-April 1974 by the Beltsville Agricultural Research Center of the U.S. Dept. of Agriculture, grew on the Festival grounds. Visitors were invited to the related exhibits of classing, grading, ginning, carding, and spinning from plant to finished product. Several breeds of cattle were stabled on the Mall, representing an industry of increasing cultural significance. A calf-cutting demonstration with quarter horses, cattle shows and related crafts was part of the presentation. The timber exhibit demonstrated precision felling of trees, team-work on a hand-powered cross-cut saw, and workshops on timberlore and tall tales.
The Regional America program was coordinated by Peggy Martin. Mississippi's participation was coordinated by the Mississippi Department of Archives and History under the direction of Elbert R. Hilliard and Byrle A. Kynerd. The Mississippi Agriculture and Industrial Board, Mississippi Authority for Educational Television, the State Department of Agriculture and Commerce, and the Mississippi Arts Commission assisted in the presentation, which was endorsed by the Mississippi American Revolutionary Bicentennial Commission. Regional America continued to be a major program through the Bicentennial Festival in 1976.
Richard Hulan, Worth Long, Tom Harvey, Howard Marshall, Charlotte Gutierrez, Annelen Archbold, Mack McCormick, and Andy Wallace; photographer Roland Freeman.
John W. Arnold, singer, Grenada, Mississippi
Brenda Ashker, dancer, Mississippi
Joseph Ashker, 1914-1994, dancer, Clinton, Mississippi
Josephine Ashker, 1921-1997, dancer, Mississippi
Joseph Ashker, Jr., dancer, Mississippi
Tommy Ashker, dancer, Mississippi
Marion "Chunk" Bentley, 1910-, caller, Rose Hill, Mississippi
Derrick Bunch, 1957-, cane flute player, Yazoo City, Mississippi
John White, 1910-, oak basket maker, Camden, Mississippi
Joe H. Wilson, leather worker, Bellefontaine, Mississippi
Mrs. Joe H. Wilson, leather worker, Bellefontaine, Mississippi
Frankie Lee Wright, 1948-2005, oak basket maker, Philadelphia, Mississippi
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or email@example.com for additional information.
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Smithsonian Folklife Festival records: 1974 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.