A Guidebook to
HAMPTON NATIONAL
HISTORIC SITE
by
Lynne Dakin Hastings
Edited by Margaret Worrall
Published by Historic Hampton, Inc.
in cooperation with the National Park Service,
U.S. Department of the Interior
1986
Con [on [s
Acknowledgements
V
Introduction .. 1
History ..
3
Architecture . . 25
Collections . . . . 37
Gardens .. 57
Outbuildings 63
Conclusion .. 71
Appendix 1. Ridgely/Hampton Chronology
Appendix 2. Ridgely Genealogy
Photography by Nancy and Dennis Caudill, Visus Photography, unless otherwise noted
Guidebook project managed and edited by Margaret Worrall
This is the first edition of the first guidebook for Hampton National Historic Site.
Copies 1-100 are signed and numbered
Copyright 1986 by Historic Hampton, Inc.
This book may not be reproduced in whole or in part without written permission
from Hampton National Historic Site, 535 Hampton Lane, Towson, Maryland 21204
Printed by E. John Schmitz & Sons, Inc., Towson, Maryland 21204
ii
iii
/1
Ofli on [s
ci~t--? () tC~
ith sincere pleasure and gratitude, the author would like to thank those
who have helped to make Hampton's guidebook a factual, yet readable
reality. A significant amount of information about Hampton is already in
print, and, after sifting through both primary and secondary documenta
tion, the author assumes full responsibility for any inadvertent mistakes.
First to be acknowledged is Theodore R. Bechtol, Jr., the horticulturist at Hampton
NHS. Ted researched and developed the chapter on the gardens, and has been an un-
failing source of material regarding Hampton's natural resources, as well as a knowl-
edgeable critic and enthusiastic supporter throughout the project.
I have benefitted most from the Ridgely family papers in the collection of the Mary-
land Historical Society. The Society graciously has allowed me to quote from these papers
and to utilize freely the material for this guidebook. I am extremely grateful for the advice
and expertise of their staaf at the library and in the museum. Other vital information,
essential for Ridgely family documentation, has come from the Hall of Records, Mary-
land State Archives.
My appreciation also goes to other scholars who have contributed to the body of knowl-
edge available on the Ridgelys and Hampton, including Charles W. Snell, Anita E. Jones,
Anne C. Fdmonds, William D. Hoyt, Jr., and Charles Peterson. James T. Wollon, Jr., A.I.A.,
read the architecture chapter and provided many invaluable suggestions, and Michael
K ~frostel, A.I.A., also supplied little-known information. Jane McGarry of Browne, Worrall
and Johnson, Inc., Architects, executed the drawings of the north door and the portico
windows. Margaret S. Keigler and Gail S. Smith assisted with genealogical and other neces-
sary research.
I am also grateful to Margaret WorralI, who managed and edited the guidebook project,
for making this a painless and exciting experience; to Site Manager Adam Karalius and
Superintendent Karen Wade for their support and review; and to Historic Hampton, Inc.,
and its many committees, for raising the funds for the guidebook and a multitude of other
projects, which assist the National Park Service in the preservation and interpretation
of Hampton National Historic Site.
Finally, I would like to offer my special thanks to John Ridgely, III, a never-ending source
of information and inspiration, a fitting patriarch in the Ridgely family tradition.
Lynne Dakin Hastings
Curato,;
Hampton National Historic Site
V
Introduction
0 ~
t has been truly said of Hampton that it expresses more grandeur than any ot)
place in America.'
With these words, respected author Henry Winthrop Sargent took "histori
notice" of Hampton in 1859. The distinguished estate situated several miles no
of Baltimore, Maryland, was already more than 100 years old.
The National Park Service received Hampton Mansion and 43 adjoining acres in 19
with additional lands and structures acquired in 1953 and 1980. As a national park, Han
ton's enduring significance is keyed to two features: its architecture; and its status as
early agricultural/industrial empire and an entailed American estate, whose econon
and social history remained in the hands of one family for more than 200 years.
Once dominating a vast, self-contained community, Hampton Mansion is now the c~
terpiece of a comparatively small historical park in the midst of 20th century intrusioi
Today's sixty-acre national site encompasses the main residence, one of the largest a
most ornate Georgian houses built in America, and twenty-three surviving depend~
cies and associated farm buildings. Surrounded by landscaped grounds and elabor
formal gardens, the Mansion contains an important collection of decorative arts, t
majority of which are original to the estate.
Much more than a stately and venerable mansion, Hampton has always been a dynan
entity. The house, farm buildings, dependencies, gardens and furnishings all mirror a p
ticular pattern of living within the context of 200 years of American history. Begun
the 18th century, the Hampton conglomerate continued to expand and evolve until t
latter part of the 19th century when the way of life common to great plantations beg
to disintegrate. The core of the estate remained intact, however, and the aura of tra
tion and graciousness was maintained at Hampton throughout the Ridgely fair
occupancy.
The story of the Ridgelys of Hampton, told through the furnishings, family portr~
and other surviving documentation, reflects a fascinating, progressive and compreh~
sive tale of fabulous success and prosperity, followed by failing prospects and event
decline.
Interpreted in the setting of Hampton Mansion and its past and present environme
we invite you to share this tradition. The history of this once magnificent domain is bc
intriguing and noteworthy-an important monument to the exuberant American spil
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The Beginnings 1695-1760
11151t)!%1/
ampton's history begins fifty years prior to its ownership by the Ridgely fam
Unlike many 18th century American historic houses, the Mansion does r
sit on land originally patented by the people who built it. Rather it stan
asa symbol of achievement for one family over several generations.
The Mansion at Hampton, constructed between 1783 and 1790, occupies a tract
land granted to Colonel Henry Darnall (c.1645-1711), who immigrated to Maryland fr(
Hertsfordshire, England. The 1500-acre parcel, named "Northampton~' was surveyed
Colonel Darnall in 1695 and was only a small part of the vast acreage he owned. Darn
was related to Lord Baltimore, acting as the proprietor's primary agent in Maryland
many years.
Upon Henry Darnall's death in 1711, the "Northampton" property was inherited by
daughter Ann Hill (1680-1749). Mrs. Hill and her sons, Henry and Clement Hill, s
the "Northampton" tract, 1500 acres "more or less" together with houses, outhou~
tobacco houses, barns, stables, gardens and orchards to COLONEL CHARLES RIDGE
on April 2, 1745, in consideration of 600 pounds sterling. COLONEL RIDGELY I
begun purchasing Baltimore County lands in 1726, but it was "Northampton" t
became the centerpiece of the Ridgely family patrimony.
The name "Hampton" did not originate with the Ridgelys. They also acquired "0
hampton" (200 acres) and "Hampton Court" (100 acres), names chosen by previous own
because of family connections or ties in England.
COLONEL CHARLES RIDGELY (c.1702-1772), called "CHARLES THE Ml
CHANT," was a third generation American, the son of "CHARLES RIDGELY T
PLANTER" and Deborah Dorsey. "CHARLES THE PLANTER" (?-1705) was a yo
ger son, born to ROBERT RIDGELY and Martha ______________ of St. Inig
Creek in St. Mary's County.
ROBERT RIDGELY (?-1681), a barrister may have emigrated from England aroj
1634, although few early passenger lists of ships leaving there for the province of M
land survive. By 1666, however he was Clerk of the Maryland Council and later am
other offices held, he was Deputy Secretary of the Province and acting Attorney Genc
As he prospered, ROBERT RIDGELY acquired considerable assets. An inventor
his possessions included several buildings on the home property, plus furnishings s
as eleven beds, bedsteads and accompanying furniture, a parlour clock, a collectio
books, 230 pounds of pewter some silver and a watch.
"CHARLES THE PLANTER" is the most obscure of the Ridgely ancestors. Lift
known about him except that when he died, his debts almost equalled the value oi
estate.
His son, COLONEL CHARLES RIDGELY, was more successful. By 1750, he ow
more than 8000 acres of land in Baltimore and Anne Arundel Counties, mo
his interests as a plantation owner planter and merchant toward the develo
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commercial center of the state. From 1751-1754, he also served in the Maryland Legis-
lature for Baltimore County.
C.1721, COLONEL RIDGELY married first Rachel Howard (d.1750), daughter of John
Howard and Mary Warfield of Anne Arundel County. They had five children who grew
to adulthood: two sons, John and Charles; and three daughters, Pleasance Goodwin,
Achsah Holliday Carnan Charmier and Rachel Lux. COLONEL RIDGELY married
second Lydia Warfield Stringer by whom he had no children.
The Development of the Family Fortunes 1761-1790
In 1760, COLONEL RIDGELY gained control of 100 acres situated just north of
'~Northampton" for the purpose of establishing an ironworks. The Northampton
Furnace and Forges were organized in 1761 and put into blast in 1762. The company
was a three-way partnership between COLONEL CHARLES RIDGELY and his sons,
John and Charles. The tenth ironworks established in Maryland, the Northampton Com-
pany took advantage of the easily mined deposits of iron ore in the area.
Bar and pig iron had become a staple
export of the Chesapeake region with
both the local government and the
British Crown encouraging this industry
through tax incentives and other bene-
fits. Large quantities of wood, limestone
and water power, as well as the ore itself,
were essential to production. To provide
the raw materials necessary to support
the furnace, the Ridgelys continued to
acquire large tracts of land.
To help them sustain their share of
the ironworks, COLONEL RIDGELY
conveyed parts of his property to his
sons. In November 1760, he deeded
some 2000 acres of land, including a
major portion of '~orthampton" and
parts of "Hampton Court;' "Oakhampton"
and "Stone's Adventure;' to his younger
son, CAPTAIN CHARLES RIDGELY.
CAPTAIN RIDGEL", also known as
"CHARLES THE MARINER" or
"CHARLES THE BUILDER;' soon un-
dertook responsibility for managing the
ironworks.
As a younger son, CAPTAIN RIDGELY (1733-1790) had gone to sea by about 1755.
It is believed that he was employed first as a supercargo on one of his father's ships, in
charge of the commercial aspects. He later assumed command of the ship "Baltimore
Town~' bound from London to Maryland and Virginia. The purpose of the voyage was
typical of its time-the exchange of finished goods from England for tobacco, raw
Captain Charles Ridgely (1733-1790), by John
Hesselius, c.1770. First owner and budder of
Hampton Mansion, he was also a successful sea
captain, iron master plantation owner merchant
and politician. Hampton NHS Collection.
materials such as bar iron or pig iron, and agricultural products from the colonies. Rid~
commanded several vessels over a period of years, from whence his tifle of "Capta
derived.
In 1760, CAPTAIN CHARLES
RIDGELY married Rebecca Dorsey
(1739-1812), the daughter of Caleb
Dorsey and Priscilla Hill. Caleb Dorsey
was a prominent and wealthy ironmaster
and the owner of "Belmont" in Anne
Arundel County.
By 1763, CAPTAIN RIDGELY had re-
tired from the sea. Although he remained
an active agent for British merchants in
the colonies, he also pursued other com-
mercial interests including a general mer-
chandising business in Baltimore begun
in 1765, and the operation of several mills,
quarries, plantations, and at least one
large orchard, in addition to his obliga-
tions to the Northampton Company.
The Revolutionary War era brought
many changes to the Ridgely fortunes. In
the 1760s, trade problems between Brit-
ish and colonial merchants escalated.
Likewise, by the end of that decade,
CAPTAIN RIDGELY's relations with Brit-
ish traders deteriorated because of conflicts regarding credit, fees and the paymen
bills. British import duties and the Stamp Act led to non-importation agreements am~
the colonists and eventually to war.
Although British trade was cut off from 1775 until 1783, Ridgely's merchandi~
interests regained momentum once the War ended. After the Revolution, Baltim
hardly more than a village when the ironworks was established, would become on
the leading economic and commercial centers in America.
In 1771, CAPTAIN CHARLES RIDGELY's brother John died. Captain Charles l;
chased John's one-third share in the Northampton ironworks from the estate execub
COLONEL CHARLES RIDGELY died in 1772, leaving the final one-third share to
three daughters, under the trusteeship of his son-in-law Darby Lux. CAPTAIN CHAR[
RIDGELY, however, maintained control over the entire operation.
Iron making was a difficult and labor-intensive procedure involving many level.
workers. Artisans and tradesmen worked in proximity to convict laborers and, during
War, British prisoners. Slaves conducted the heavy, simple tasks, but were also trai
for the various aspects of processing the iron. Many indentured servants, includ
joiners, other tradesmen and laborers, bound themselves to CAPTAIN RIDGELY u
their passage fee to America could be paid back. Families, even children, often wor
together. Conditions were unenviable and indications of the usual diet show a ratior
chiefly of corn, pork, herring and flour.
Rebecca Dorsey Ridgely (1738-1812), by J
Hesselius, cJ770. Wffe ofCaptain Charles Rid
and first mistress of Hampton. Hampton ~
Collection.
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Colonial iron exports equalled about three-and~ne-half tons in 1718. By 1761, the year
the Northampton Company was established, exports had reached 2500 tons of pig iron
and 600 tons of bar iron, shipped to England as ballast.
The Revolutionary War created an expanding market for iron products and the
Northampton operation provided camp kettles, round shot varying in size from two pounds
to eighteen pounds, and cannon, also in various sizes. The Northampton ironworks
produced guns "allowed, by the best judges, to be equal in quality to any yet made on
the continent, and as the best workmen are now employed, and ready at the Furnace,
they shall be as neat;' according to an advertisement in the Maryland Journal and Ba fti-
more Advertiser, July 1781.
In 1782, pig iron brought seventeen pounds per ton, a considerable jump from the
five dollars per ton indicated in Ridgely papers dated 1766. The large profits from the
military contracts enabled CAPTAIN RIDGELY to buy up confiscated British lands,
including part ownership of the former Nottingham Company ironworks, and Principio
Company lands. During the 1780s, the Captain also bought up other iron concerns in
Maryland and Pennsylvania.
CAPTAIN CHARLES RIDGELY's participation in the Revolutionary War was mainly
political and industrial, although he did send out some of his schooners as priva-
teers. After the War; the demand for iron products slowed and prices declined, but
CAPTAIN RIDGELY's iron concerns continued to prosper. From 1783 until the time of
his death, his activities centered around his life as an ironmaster and his role as a
local politician.
CAPTAIN CHARLES RIDGELY's various economic activities and expanding wealth
were natural incentives to political activitism. He served in the Maryland House of
Delegates as a representative of Baltimore County almost continuously from his first elec-
tion in 1773 until his death. Supporting a democratic, pro-debtor; and Anti-Federalist
stance on behalf of his constituents in the commercially developing Northern Chesapeake
area, CAPTAIN RIDGELY's position was not only very popular in his district, but was
personally rewarding to his business interests. A forerunner of the "Jeffersonian Demo-
crat;' Ridgely espoused the cause of the common man, was in favor of cheap paper
currency, promoted an expanded franchise of voters, and wanted a weak central govern-
ment where taxation and government spending were rigidly controlled. He was consid-
ered politically shrewd and the acknowledged political boss of Baltimore County.
As a member of the radical minority party, CAPTAIN RIDGELY did not participate in
the major statewide decisions made by Maryland's leading conservatives such as Charles
Carroll of Carrollton. Nevertheless, he was appointed to the Committee of Correspon-
dence of 1774, a series of Provincial Conventions, the Baltimore Committee of Observa-
tion for the Council of Safety, the State Constitutional Convention of 1776, and the
Constitutional Convention of 1788.
Although the expansion of the family capital was paramount, not all the Ridgely money-
making pursuits were strictly mercantile. They began racing and breeding horses at an
early period. COLONEL CHARLES RIDGELY was a leader in establishing a Baltimore
County Jockey Club, and surviving accounts show CAPTAIN CHARLES RIDGELY's horse
breeding activities to have been a profitable occupation. Reputed to be of fiery tempera-
ment, CAPTAIN RIDGELY also enjoyed amateur boxing and wrestling. His father is
recorded as having been a judge at fighting events.
The Building of Hampton 1783-1790
With a combination of business acumen, forceful personality and a continuing per
sonal involvement in all aspects of his business enterprises, CAPTAIN CHARLE~
RIDGELY parlayed a modest inheritance into a large, self-made fortune and agricul
tural/industrial/commercial conglomerate. By the time of his death, he owned mon
than 24,000 acres of land. His expanding affluence and position allowed him to emulab
the life of the "country gentleman" represented by the early aristocratic Maryland fami
lies, if not in a life of ease, certainly in the symbols of his accomplishment.
CAPTAIN RIDGELY's most enduring testimony to his own performance was the con
struction of "Hampton Hall;' the nucleus of his empire. The culminating expression C
his acquired wealth, his "house in the forrest" was begun in August of 1783.
Like many Marylanders of his generation, CAPTAIN CHARLES RIDGELY enjoye
building residences. He had a house constructed in Baltimore Town and another oi
Patapsco Neck. He also owned several additional properties, including "Sportsman
Hall;' where he and his wife lived when they were first married.
An ambitious undertaking, the five-part Georgian style "Hampton Hall" became on
of the most extraordinary country residences in America. CAPTAIN CHARLES RIDGEL
supervised every phase of construction, and just as closely scrutinized its cost. For exampl~
he allowed the cupola, or "doom" as he referred to it, to be constructed in 1787 onl
so long as the price did not exceed the original estimate agreed upon in 1783.
The work on the Mansion progressed for seven years with labor by slaves, indenture
servants and free craftsmen. The family, who had other houses at North Point and in towr
may have spent some time in the Lower House or farmhouse at Hampton to oversee th
construction and to be close to the ironworks.
In a journal, Rebecca Ridgely, the Captain's wife, indicates that she moved to the "Larg
new dwelling" in December of 1788, although existing records document that the interic
of the house was not finished until 1790. Perhaps the family used one wing or only
portion of the main block prior to completion.
One traditional story relates that when Hampton was ready to receive guests, CAPTAU
CHARLES RIDGELY held a spirited party for his friends with wine, songs and card game.
At the same time, Rebecca Ridgely held a prayer meeting in another part of the hous
Rebecca, an ardent convert to Methodism in the 1770s, stated that she was "Born agai
a Child of God" The Ridgelys contributed handsomely to the Methodist cause and
1776 provided, rent free, a house and farm on the Hampton estate for the "first preach~
of Methodism in America~' the Reverend Robert Strawbridge.
'Iragically, CAPTAIN CHARLES RIDGELY died in 1790 at the age of 56, not livin
long enough to enjoy fully the ultimate fruits of his labor. In his will he requested th£
a family burial ground be established at his dwelling place and that he be buried then
CAPTAIN RIDGELY's nephew, CHARLES CARNAN, organized an elaborate funera
hoping "to see the largest number there, that ever was at any Funeral in the Countt
and arranged for the family cemetery at Hampton.
Because he and his wife Rebecca had no children, CAPTAIN RIDGELY's will, date
April 7,1786, stipulated:
I give and bequeath unto my beloved wffe Rebecca Ridgely during her natural
life the dwelling house wherein I now reside together with Eight Acres of Land
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thereto Adjoining for a Garden with as many of the outhouses as she may
think necessary for her Convenience or ff she should prefer the new house lam
now building I leave it at her option to Choose the same and Iso also direct that
Charles Ridgely Cam an my nephew and his heirs do and shall provide for my
said dear wife a stable sufficient to contain Sir horses and the keep in constant
Repair etc.
Rebecca Ridgely decided not to remain in the large new house, and on January 17,
1791, she reached an agreement with Charles Carnan which exchanged Hampton
Hall and all her interests therein for 244-1A acres at "Dimite's Delight;' a carriage house
and stable, a house on Howard's Hill, and other provisions. The house Rebecca
went to live in became known as 'Auburn~' Although it burned on November 6, 1849,
and was rebuilt in altered form, Auburn still stands today on the Towson State Uni-
versity campus.
Charles Carnan Ridgely at Hampton 1790-1829
Upon the death of CAPTAIN
CHARLES RIDGELY in 1790, four neph-
ews were included as principal heirs:
Charles Ridgely Goodwin, son of William;
Charles Ridgely Goodwin, son of Lyde;
Charles Ridgely Sterett, son of John;
and CHARLES RIDGELY CARNAN, son
of John. The condition of inheritance
was that each of the above change his
surname to Ridgely CHARLES CARNAN
received approximately 12,000 acres of
land, his uncle's two-thirds interest in the
Northampton Company (including all
land and stock), and one-eighth of the
furnace and forges formerly belonging
to the Nottingham Company. By direction
of the will, no inventory of CAPTAIN
CHARLES RIDGELY's estate was made.
Consequently the content and disposition
of personal effects is uncertain.
Born December 6,1760, CHARLES
RIDGELY CARNAN was the son of
CAPTAIN RIDGELY's sister Achsah and
her second husband, John Carnan
(d.1762). CAPTAIN CHARLES RIDGELY
and his wife Rebecca took great interest in CHARLES CARNAN's upbringing and
apparently supervised his education and development. They also contributed to the
raising of the other nephews.
Covernor Charles Ridgely of Maryland, by Thomas
Sully, National Gallery ofArt, Washington. Gift
ofMr and Mrs. John Ridgely. Dated 1820. Other-
wise known as "General" Charles Carnan Ridgely,
he was the second master of Hampton.
In 1782, CHARLES CARNAN married
Priscilla Dorsey (1762-1814), daughter
of Caleb and Priscilla Dorsey and youn-
gest sister of Rebecca Dorsey Ridgely,
the Captain's wife. Groomed to inherit a
major portion of the Captain's enterprises,
business accounts in both names were
established by 1785, and the younger
couple spent a significant part of each
year with the Ridgelys. It is believed that
when the Captain and Rebecca moved
into Hampton Hall in 1788, Charles and
Priscilla Carnan moved with them. Their
second son, John Carnan, was the first
child born at Hampton Hall, January 9,
1790.
Priscilla Dorsey Ridgely (1762-1814), copy of
portrait by Rembrandt Peale, c.1800. Wife c
Charles Cam an Ridgely, sister ofRebecca Dorse
Ridgely, and second mistress of Hampton. Th
original portrait hangs at Government House i
Annapolis, Maryland.
After the Builder's death, CHARLES
CARNAN consolidated the Ridgely for-
tune for himself and his heirs. By an Act
of the Maryland Legislature in 1790,
CHARLES RIDGELY CARNAN became
CHARLES CARNAN RIDGELY carrying
forth the wishes of his uncle to perpetu-
ate the Ridgely family name. Although
"CHARLES THE BUILDER" left his
wife life interest in some of the estate
and personal property, the will specified that CHARLES CARNAN would inherit a
her death with a courtesy entail to his eldest son.
CHARLES CARNAN RIDGELY was appointed a major in Colonel Johnson Iman
Baltimore militia regiment in 1794 and a~brigadier general in the state militia by 179~
For the rest of his life, he was referred to as "General Ridgely" A director of the Nation~-
Bank of Baltimore and the National Union Bank of Baltimore, he was also elected ti
the board of the Baltimore College of Medicine and was an incorporator of the Balt
more Orphan Asylum. In addition, the GENERAL was instrumental in the establishmer
of the Baltimore and Ohio Railroad.
Surprisingly, in light of his uncle's staunch political views, CHARLES CARNM
RIDGELY became a leading Federalist. The philosophy of a strong central governmer
which encouraged industry and promoted the interests of merchants and large propert
owners was obviously more suited to his princely lifestyle.
GENERAL RIDGELY was elected to the Maryland Legislature (1790-1795), the Stat
Senate (1796-1800), and served as Governor of Maryland for three consecutive term:
In the first election of 1815, he was elected by a vote of 47 to 45; in the second (181(
62 to 17; and in the third election (1817), he was unopposed. Three terms were th
maximum permitted by the state constitution at that time. (Unfortunately, CHARLE
CARNAN RIDGELY's wife, Priscilla Dorsey, died in 1814 and did not live to see her hu:
band become Governor of Maryland.)
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During GOVERNOR RIDGELY's term of office, the Legislature established a fund to
start free schools; ceded Fort Mc Henry and Fort Washington to the federal govern-
ment; incorporated the Washington and Baltimore Canal Company; and established
the Patapsco Company to build another canal. The State experienced a period of
tremendous growth and resource development; internal improvements such as roads
and bridges were provided for; and manufacturing companies, insurance companies
and other businesses were begun. Road improvements especially would have been most
desirable to GOVERNOR RIDGELY. A historian and guest at Hampton in 1797 stated
that the roads through the forest to Hampton were so bad "that it is a day's work in
winter for a team:'
In 1819, CHARLES CARNAN RIDGELY returned to private life. Influenced by his uncle,
the Builder; he fashioned Hampton into a showplace. During his tenure, lands which had
been willed to other heirs were bought back and new tracts were added. By 1812, all other
interests in the Nottingham Company lands had been bought up by CHARLES CARNAN
RIDGELY and more of the Principio lands and lands adjoining the Northampton fur-
nace were purchased as well. By the 1820s, all of the final one-third interest in the
Northampton Company had been acquired by the GENERAL. Coal was discovered and
mined on the estate, and marble from the Ridgely quarries was used for the Washington
Monument in Baltimore. The fortune of the Ridgelys had grown with that of the city.
From a population of about 200 persons in 1750, Baltimore's citizenry numbered more
than 80,000 by 1830.
The Ridgely plantations were equally busy Tobacco production had given way to
corn, wheat and other grains, and beef cattle became an important product for local
markets. GENERAL RIDGELY also was elected president of the Maryland Agricul-
tural Society.
His concern for the land extended not only to profitable agricultural production but
to landscape gardening as well. It was CHARLES CARNAN RIDGELY who completed
the original plans for the formal gardens at Hampton, including the falling terraces of
formal parterres and the landscaping of the north and south lawns, and initiated the plant-
ing of specimen trees and the construction of specialized garden structures. His gardeners
were some of the highest paid employees on the estates and included such well known
nurserymen as William Booth and Samuel Feast.
Carrying on in the tradition of his uncle and grandfather; thoroughbred horses, both
for racing and breeding, were of great interest to CHARLES CARNAN RIDGELY. By
1805, he had constructed a stone racing stable near the Mansion and built a racing course
on the Hampton estate. According to the Jockey Club of New York, GENERAL RIDGELY,
who had some of the finest stables in America, was one of two men in the country (the
other was John Thyloe, III, of Virginia) responsible for Washington and Baltimore's posi-
tion as the center of American racing in the early 19th century.
Among GENERAL RIDGELY's many outstanding thoroughbreds were Thckahoe, Grey
Medley and Post Boy. An 1809 wager indicating GENERAL RIDGELY bet $10,000 that
Post Boy could beat Potomac in a match race at the Washington City Jockey Club sur-
vives in the Hampton archives. A large silver racing trophy with gilt lining, made by Samuel
Williamson of Philadelphia and engraved with the image of Post Boy and his jockey, was
owned by GENERAL RIDGELY and is presently on exhibit at Hampton.
The "Post Boy Cup~' by Samuel Williamson of
Philadelphia, c.1809. Made for Charles Carnan
Ridgely, this important silver racing trophy
commemorates one of General Ridgely '5 finest
thoroughbreds.
Richard Parkinson, author of A Ibur
America, published in London in 180~
wrote of his visit to Hampton:
The Genernl's lands are very
well cultivated... his cattle, sheep,
horses, etc., of a superior sort, and
in much finer condition than many
I saw in America. He is very fa-
mous for race horses and usually
keeps three or four such horses in
training, and what enables him to
do this is that he owns very exten-
sive iron works, or otherwise he
could not. He is a very gentell man
and is said to keep the best table in
America. Icontinued in friendship
with him until the time ofmy leav-
ing the country, and as he had a
house in Baltimore where he spent
his winters, loften experienced his
great hospitality.
Like his uncle, CHARLES CARNA
RIDGELY did not live at Hampton excl
sively Mthough it appears that at one tin
he and his wife may have leased thE
houses in Annapolis and Baltimore f
the winter season, in 1807 GENERAL RIDGELY purchased a townhouse on North G
Street in Baltimore for $10,000. The 1829 records of the estate sale at 8 North Gay Stre
indicate that the GENERAL's townh£use was large and well appointed. Following I
retirement as Governor; Ridgely divided his time between this house and Hampton. I
was still acquiring some furnishings as late as 1828, when he attended John Eag
Howard's estate sale and purchased several costly items. The GOVERNOR left the G
Street townhouse to his eldest daughter; Rebecca.
Also included in the terms of CHARLES CARNAN RIDGELY's will, dated April 2
1828, was a provision to free most of his slaves. By these terms, all males age 28 to
and all females between 25 and 45 were free persons at his death. Those under 28 a
25 respectively were to be freed when they attained these minimum ages. All older sla~
were to be held in trusteeship by his executors, who were not allowed to sell them, I'
instead to permit the slaves "as far as practicable to enjoy the rewards and benefit of th
own labour their condition as much as may be ameliorated, consist therewith that th
be kindly treated and provided for comfortably during their old age at the general char
of my estate The GENERAL's will listed more than 300 slaves on the estate at t
time of his death.
>1
12
13
With an emphasis on elegance, CHARLES CARNAN RIDGELY even employed a
French cook who travelled back and forth between Annapolis, Baltimore and Hampton.
Henry Thompson recorded in his diary in 1812, when he went to Hampton to dine, "Fifty
one People sat down to Dinner in the Hall and had plenty of room:' Charles Carroll
mentions attending a party for which 300 invitations were issued.
In Heinrich Buchholz's Governors ofMarylandfrom the Revolution to 1908, he sums
up CHARLES CARNAN RIDGELY's last years at Hampton: 'At the close of his adminis-
tration Mr. Ridgely retired to Hampton where he devoted himself to the task of looking
after his property. At home he represented the typical aristocrat of his day. He had the
fortune that enabled him to live like a prince, and he also had the inclination:'
The GENERAL and his wife had at least 14 children, 11 of whom reached adulthood:
three sons and eight daughters. CHARLES CARNAN RIDGELY attempted to secure
dynastic marriages with other prominent Maryland families for each of these children.
~I\vo daughters and one son married the children of James Carroll of Mount Clare; two
daughters married two sons of John Eager Howard; another child married a Chew of Phil-
adelphia; another a Dorsey; and another daughter married the son of Alexander Contee
Hanson.
Their eldest son, Charles Carnan Ridgely, Jr., was born in 1783 and married Maria
Campbell in 1809. Charles, Jr., was killed in a riding accident in 1819. His infant son,
born posthumously, lived only three months. Thirty-six years old at the time of his death,
Charles, Jr., had been carefully raised to assume the responsibilities of the estate. How-
ever; his brother; JOHN CARNAN RIDGELY became the new heir.
John and Eliza Ridgeig at Hampton
1829-1867
JOHN CARNAN RIDGELY (1790-
1867), the second son of CHARLES
CARNAN RIDGELY and Priscilla Dorsey,
was of a very different character than his
great uncle or his father Raised as a youn-
ger son, JOHN's life was not marked by
the ambition and prominence of Hamp-
ton's first two masters.
In 1812, JOHN married Prudence
Gough Carroll, daughter of James
Maccubbin Carroll (Mount Clare) and
Sophia Gough (Perry Hall). They had six
children, none of whom survived infancy.
Prudence died in 1822, three years after
the death of JOHN's older brother.
½) On January 8, 1828, JOHN remarried.
For his second wife, he chose Eliza
Eichelberger Ridgely (1803-1867), the
only child of Nicholas Greenbury Ridgely,
a wealthy Baltimore merchant, and Eliza
John Carnan Ridgely (7790-1867) by Thomas
Sully, 1841. The second son of Charles Carnan
and Priscilla Ridgely, and third master ofHamp-
ton. Hampton NHS Collection.
Eichelberger. Nicholas Greenbury Ridgely (1770-1829) was descended from Colone
Henry Ridgely who immigrated to Maryland in 1659. No common descent for the tw(
Ridgely families, prior to the marriage of JOHN and Eliza, has been established.
Eliza Eichelberger Ridgely was a wealthy woman. Her mother died at the time o
Eliza's birth and Nicholas Greenbury Ridgely never remarried. Eliza was raised by he
father and her maternal grandmother; Eliza (Mrs. Martin) Eichelberger. Following Eliz
Ridgely's marriage and the death of Nicholas Ridgely, Mrs. Eichelberger spent part 0
each year with the Ridgelys of Hampton and lived long enough to see her great-grea
grandchildren.
Eliza Ridgely attended boarding school at Miss Lyman's Institution in Philadelphia t(
become "a lady of learning as well as accomplishments" She took instruction in natura
history, philosophy, botany, Les Belles Lettres, English grammar; Italian, drawing an(
music.
While in Philadelphia, Eliza's father; Nicholas, commissioned her portrait, painte
by Thomas Sully in 1818. Mr. Sully also painted her father's portrait in 1820. Her hu~
band, JOHN RIDGELY, and his father; CHARLES CARNAN RIDGELY, also ha
their portraits painted by Sully, in 1841
and 1820 respectively. 4
Following her return to Baltimore as
an 'accomplished" young lady, Eliza
is described by her contemporaries as
'teautiful;' "charming;' and "fascinating"
She was a favorite of the Marquis de
Lafayette, to whom she was introduced -
during his trip to Baltimore in 1824. It is
said that she played the harp for him and
he was captivated. They maintained a
lively correspondence thereafter; and in
later years, JOHN and Eliza Ridgely
visited at "La Grange~' Lafayette's French
estate.
With the death of CHARLES CARNAN
RIDGELY, the great period of the Hamp-
ton "empire" had vanished. The estate
was divided among the GENERAL's
many children and grandchildren. JOHN
RIDGELY received only the Mansion and
approximately 4000 surrounding acres.
A courtesy entail, devised in the will of
CAPTAIN CHARLES RIDGELY, kept the
core estate intact.
JOHN and Eliza Ridgely had five chil-
dren, two of whom survived to adult-
hood. Their daughter Eliza (1828-1894)
recorded life at Hampton during the sec-
ond quarter of the 19th century. 'Iwo of
Marble statue ofElira Ridgely White Buckler a
her son William Buckler by P Romanelli, c.1&
14
15
her surviving diaries from the 1840s reveal a busy family life divided between Hampton
and the Ridgelys' house in town. The children's education by private tutor and local schools
is discussed, as are the highlights of weekends and Christmas visits to the country the
summer removals to Hampton, and the illnesses of babies Julia Maria and Nicholas who
died.
Eliza, Jr., known to her family as "Didy;' married John Campbell White in 1849. The
Whites had two sons: Henry, later ambassador to Italy and France; and Julian. John
Campbell White died in 1853 and "Didy" married Thomas Buckler; a Baltimore physi-
cian, in 1865. They had one son, William H. BucklerWwhose likeness was sculpted for
two statues which adorn the Mansion today. Later memoirs, written by Henry White, also
detail life at Hampton before 1867, relating family trips to Europe and to White Sulphur
Springs, where the Ridgelys owned a cottage.
Until the time of the War Between the States, the fortunes of the Hampton
estate continued to prosper. Income from inheritances and from the estate itself
permitted continual innovations such as plumbing, gas light, "central" heating,
marble steps for the north portico, and additional stables. Outbuildings were renovated
or rebuilt.
An avid traveller; Eliza developed cosmopolitan tastes, importing furnishings and works
of art to complement the many pieces of furniture and silver that she purchased locally
in Baltimore. Many of the fine furnishings on exhibit today reflect the choice of Eliza
Ridgely She also spent a great deal of her time and money on the gardens, altering them
to the prevailing fashion.
South Pacade of Harnpton Mansion, 1838. Watercolor by Robert Carey Dong. Present whereabouts unknown.
The hospitality and entertainment at Hampton retained its traditional reputation. In
1832, the Baltimore American recorded a party at the Mansion:
Within the doors I found true hospitality where I am informed it has long
preside& never however more happily than now 1am inclined to believe... good
judgement and taste seem to have provided most amply: for neither the head nor
ear could devise nor desire any change. .. There was on this occasion assembled
in the spacious apartment of this palace, a constellation ofgrace, wit and beauty
not to be excelled. . . The entertainments were all social and intellectual: present-
ing a fine opportunity to grow in knowledge and grace. The repast was such
as refinement alone could prepare, consisting of the richest viands... the happy
pair who provided (this bountfful feast) and who presided with unusual felicity
at this regal, no republican feast... (are) among the most hospitable, amiable,
and refined..
hire servants to operate the estate and the
The Civil War brought many changes, however. The wealth and lifestyle at Hampton
depended on slave labor. While the majority of Hampton slaves were dispersed by the
will of CHARLES CARNAN RIDGEIN, JOHN RIDGELY inherited slaves from his first
father-in-law and his first wife's estate as well as from the estate of Nicholas Greenbury
Ridgely. JOHN and Eliza also purchased additional slaves. Receipts for slaves' clothing
and a Christmas list for gifts to the slave children help to document the character of the
labor force in this period.
After 1864, the Ridgelys were obliged to
townhouse. According to the memoirs
of Henry White, his grandmother Eliza
Ridgely never accustomed herself to the
changes, living in fear of a slave revolt
during the War and not satisfied with the
output of the servants following the War.
Although he never held public office,
JOHN RIDGELY was in some measure a
local benefactor; donating funds for the
construction of a new Episcopal church
in Towson, c.1860, and providing land for
the construction of an almshouse. JOHN,
the first child born at Hampton and the
first master to grow up there, died on
July 17,1867, at 77 years of age. Eliza died
of a stroke in December of the same year.
Charles Ridgeig, Fourth Master,
1867-1872
The second child born to JOHN and
Eliza Ridgely was CHARLES (1830-
Charles Ridgely q83~1872), by Robertson, cJ860
The son of John and Eliza Ridgely, he was th
fourth master of Hampton. Hampton NH
Collection.
'3-
16
17
1872). Following his early education at Mr. McNally's school in Baltimore, CHARLES
went to Paris from December of 1847 until July of 1848. He was then sent to Har-
vard University to complete his education. Among other subjects, he took French,
German, chemistry, fencing, billiards and dancing. His sister "Didy" later claimed that
his premier accomplishment at Harvard was learning to smoke.
In 1851, CHARLES returned to
Hampton and married his first cousin,
Margaretta Sophia Howard, daughter of
James and Sophia Ridgely Howard.
CHARLES soon began to assume respon-
sibility for managing the estate for his
father and stayed chiefly at Hampton until
after the Civil War.
Margaretta, who had grown up as a
childhood playmate of the Ridgely chil-
dren, was aftectionately known to her
family as "Dumps" "Didy" and "Dumps"
remained close friends as well as sisters-
in-law throughout their lives.
At the outset of the War Between the
States, in January 1861, a meeting was
held at the Odd Fellows Hall in Towson-
town to form a cavalry of "state's rights
gentlemen" for the defense of home and
state. Within a week, the group estab-
lished the Baltimore County Horse
Guards, formally organized under Mary-
land's militia laws. CHARLES RIDGELY
was elected Captain and chief officer of
the Company. The group met weekly
and conducted regular drills.
In April 1861, following problems with Union troops passing through Baltimore on their
way to Washington on the 19th, the Baltimore County Horse Guard Company was sent
to Whetstone Point outside Fort Mc Henry on April 20 to guard against confrontations
between the military and the citizens of Baltimore.
The following morning, April 21, the Baltimore County Horse Guards, under the com-
mand of Captain Ridgely, were sent to Towsontown with orders to patrol the York Road
to Cockeysville. On April 22, President Abraham Lincoln ordered Union troops back
to Harrisburg, Pennsylvania, and Ridgely received an order from Major General George
Stewart, commander of militia forces and later a Confederate general, to follow and ob-
serve retreating Pennsylvania troops to the state line, and also to destroy all bridges. Cap-
tain Ridgely appointed Lieutenant John Merryman of "Hayfields" and other members
of the Horse Guards to carry out that order.
On May 25, 1861, Lieutenant Merryman was arrested and taken to Fort McHenry. His
arrest and subsequent disposition was the subject of Roger Brooke Thney's landmark
Margaretta Sophia Howard Ridgely q824-1904), by
Pollock, 1870. The granddaughter ofJohn Eager
Howard and Charles Cam an Ridgely, she was the
wife of Charles Ridgely and the fourth mistress
of Hampton from 1867 until her death in 1904.
Hampton NHS Collection.
U.S. Supreme Court opinion ex parte Merryman, dealing with the writ of habeas corpus.
CHARLES RIDGELY was never arrested.
In his memoirs, Henry White states that General John Dix of New York, in command
of the U.S. troops in Baltimore and a personal friend of JOHN RIDGELY, told JOHN
RIDGELY that a warrant had been issued for CHARLES' arrest. JOHN RIDGELY assured
General Dix that CHARLES was not a conspirator against the United States and that
he would remain quietly at Hampton for the balance of the hostilities. The charges were
never pursued, and CHARLES did stay at Hampton managing the estate until his father's
death in 1867. The Baltimore County Horse Guard Company was disbanded in 1861.
Although the Hampton Ridgelys did not actively participate in the War after this time,
Henry White records that "My grandfather (JOHN RIDGELY) always professed to be a
'Union Man;' but it was not long before I noticed feelings of marked satisfaction when-
ever the Southerners won a victory"
CHARLES and Margaretta had seven children between 1851 and 1869; four sons and
three daughters. Only one of their daughters married. After 1867, he and his wife spent
much of their time abroad, but CHARLES maintained an active correspondence with
his estate manager and gardeners during his trips, always concerned with the interests
of his estate. He died of malarial fever at the age of 42, March 29,1872, in Rome, Italy.
John Ridgeig, Fifth Master, 1872-1938
The oldest son of CHARLES and Margaretta Sophia Howard Ridgely, JOHN, born in
1851, was given the usual advantages of Baltimore's upper class. He was sent to Europe
Captain John q851-1938) and Helen West Stewart Ridgely (7854-1929), seated on a rustic garden settee
in the Hampton gardens, c.1905, were the fifth master and mistress ofHampton. Hampton NHS Collection.
18
19
in December 1865 with his cousins to continue his education in Paris until the winter
of 1867-68 when he returned briefly to Hampton. He completed his education at Trinity
College, Cambridge, in England.
In August 1872, following the death of his father; the Baltimore County Circuit Court,
in conformance with the will of CHARLES RIDGELY awarded JOHN the Hampton estate
with approximately 1000 acres. This constituted the "Home Farm" The remainder of the
estate was divided among the heirs with JOHN receiving an additional portion. However;
by the terms of the will, JOHN's mother; Margaretta, continued to manage the Hampton
estate for many years and the expenditures took place in her name. Work continued which
maintained and upgraded the "Home Farm~' including major rehabilitations c.1880.
Horses remained important at Hampton. Hunters and carriage horses were bred and
raised, in addition to work horses necessary to the farm. Hampton hosted the famous
steeplechase race, the Maryland Hunt Cup, four times between 1895 and 1920.
JOHN RIDGELY married Helen West Stewart (1854-1929) in 1873, after they had met
in Europe. Helen was the daughter of John Stewart and Leonice Josephine Moulton
(daughter of Joseph Moulton, Daniel Webster's law partner) of Baltimore. JOHN and
Helen had six children who survived to adulthood: three sons and three daughters. Only
one daughter married. The family resided at Hampton with JOHN's mother; Margaretta,
and his sisters and brothers, although JOHN and Helen also owned a house in town
until shortly before World War I.
The fortunes of Hampton began to ebb during the tenure of JOHN RIDGELY
always called CAPTAIN JOHN. The financial reverses which led to the decay of the
estate first became evident in the latter part of the 19th century. A "gentleman farmer;"
JOHN's wife Helen recalls in her diary that he spent his days "saunter(ing) around with
his hands in his pockets leaving work to overseer and men~'
With a dwindling estate and a decline
in profits from farming, JOHN was re-
quired to assume more responsibility for
managing Hampton by the end of the
19th century. A lack of business interests
or outside occupations on the part of
the master limited financial resources.
The changing economic climate also
contributed to the family's problems.
CAPTAIN JOHN's mother Margaretta
died in 1904 and once again the estate's
assets were reduced by division among
the heirs. By 1905, Hampton's lavish and
elegant lifestyle had diminished and, al-
though the estate was cared for; little
change or improvement took place.
Fortunately, Helen Ridgely was a re-
sourceful partner. She was the successful
author of two books, Historic Graves of
Maryland and the District of Columbia
and The Old Brick Churches of Maryland;
A
1'.
Daughters of the house testing the success of the
yearly apple crop; sipping Hampton dder directly
from the barrelc.190O. Hampton NHS Collection.
and sketched with charcoal, pencil, and pen and ink; an excellent hostess; and equally
at home on the farm.
Helen's diary chronicles collecting eggs from the chicken house in the morning and
dressing to catch the train to Washington for tea at the White House in the afternoon.
She reorganized the gardens to cut back on maintenance and raised prize-winning
chickens. She cherished the traditions at Hampton and refused to allow electricity to be
installed. However; it was Helen who drove an automobile, a modern convenience her
husband disdained. CAPTAIN JOHN RIDGELY preferred to walk to and from Towson,
usually with his brother Otho.
Helen Ridgely was appointed by the Governor of Maryland to assist with the Jamestown
Exposition and was a friend of the Theodore Roosevelts. She also kept her own apart-
ment in Baltimore, even after the townhouse was sold, for retreat when her asthma was
at its worst. At her death, an era characterized by a succession of three remarkable mis-
tresses of Hampton came to an end. Each of these women, Eliza, Margaretta and Helen,
made an important and lasting contribution to the estate, its success and its survival.
The Final Ridgeig Years 1929-1948
Helen West Stewart Ridgely died in 1929. Almost immediately, CAPTAIN JOHN
had electricity installed in the Mansion, using profits from the sale of the famous
Ridgely wine cellar to J. P. Morgan during Prohibition.
JOHN RIDGELY JR., (1882-1959), CAPTAIN JOHN and Helen Ridgely's eldest son,
married Louise Roman Humrichhouse
in 1907. They built a large residence
at 503 Hampton Lane and raised
three children there: John Ridgely,
III, James Walker Humrichhouse Ridgely
and Louise Ridgely. Mrs. John Ridgely,
Jr., died in 1934, only five years after
the death of Helen Ridgely. Shortly
thereafter; JOHN RIDGELY, JR., sold
the house at 503 and moved to Hampton.
He and CAPTAIN JOHN had a bach-
elor establishment, run with the as-
sistance of Lena Devlin, the long time
housekeeper.
JOHN RIDGELY, JR., established the
Hampton Development Company in 1929
and began constructing and selling
houses on the Hampton lands. This de-
velopment continued over a long period,
ultimately encompassing the "Hampton"
community surrounding the park.
In 1936, John Ridgely, Ill, and his wife,
Lillian Ketchum (married 1935), moved
to Hampton. The young Mrs. Ridgely
John Ridgely, Jr. ('882-1959) and wife Louise
Hun'richouse, 1907, standing on the Great T"race
with the original Orangery in the background.
~\-I
a skillful artist who painted watercolors
20
21
undertook the arduous responsibilities of mistress of the house for three generations of
John Ridgelys, all living together in the Mansion. Her duties consisted of such things
as household management, preservation of the gardens, and the maintenance of dairy
records. Groceries continued to be delivered from Baltimore, including a freezer of ice
cream each week for Sunday dinner.
Hampton remained a very busy place. Some farming activities were still conducted
and the stables still housed horses. CAPTAIN JOHN RIDGELY's sisters, Eliza, Julianna
and Margaretta, spent each summer at Hampton, along with Otho Ridgely, David Stewart
and his wife, and other family. Louise Ridgely had her "coming out" party at Hampton
in 1938, an entertainment in keeping with traditional Ridgely hospitality.
CAPTAIN JOHN, titular master of Hampton for 66 years, died in 1938. The central
core of the estate was once again inherited by the eldest son, JOHN RIDGELY, JR.,
although land was provided for younger sons, daughters and grandchildren.
In 1939, JOHN RIDGELY, JR., married Jane Rodney. John Ridgely, III, and his wife
moved to the Lower House or farmhouse, the first Ridgelys to occupy it for several gener-
ations. Plumbing, electricity and other "conveniences" had been installed earlier in the
20th century. John Ridgely, III, and his wife left the farmhouse in 1942, when Mr. Ridgely
served overseas in the Army Air Corps and Mrs. Ridgely was commissioned a lieutenant,
serving as a nurse.
Following World War II, Mr. and Mrs. John Ridgely, III, returned to Hampton, where
pivotal changes had been taking place. Upkeep of the Mansion, its remaining acres, farm
and outbuildings had become increasingly difficult. JOHN RIDGELY, JR., was worried
that Hampton would be lost to the encroaching suburbs and eventually be destroyed.
During the summer of 1945, David Finley, director of the National Gallery of Art and
former advisor to Andrew Mellon, went to
Hampton looking for a painting for the
National Gallery's collection which would
be a significant representation of the work
of Thomas Sully. He had been told about
the magnificent portrait of Eliza Ridgely,
"The Lady with a Harp;' painted in 1818.
Following negotiations with JOHN
RIDGELY, JR., the portrait of Eliza and
a three-quarter length portrait of
CHARLES CARNAN RIDGEiY~ also
painted by Sully, were purchased for the
National Gallery.
Returning to Washington, D.C., Mr.
Finley, who had been very impressed
with Hampton and Mr. Ridgely's concerns
for its preservation, discussed its possible
acquisition with several influential people
including Fiske Kimball, a member of the
National Park Service Advisory Board;
Mrs. Ailsa Mellon Bruce (Andrew Mellon's
daughter) and Donald Shepard of the
John Ridgely, Jr. (7882-1959). The eldest surviv-
ing son ofJohn and Helen W£ Ridgely, andsirth
and last master of Hampton. Hampton NHS
Collection.
Avalon Foundation (a Mellon family foundation); and Ronald Lee, chief historian of the
National Park Service.
After a lengthy period of review by the National Park Service, an agreement was reached
with JOHN RIDGELY, JR., to sell the Mansion, some of its furnishings, and 43.29 acres
for a price well below fair market value. Hampton's preservation became a reality. This
would be the first instance in which the National Park Service considered acquisition
of a historic property based on its "outstanding merit as an architectural monument;'
rather than for historic connections such as a famous event or person association.
The final agreement stipulated that the Avalon Foundation would provide $90,000 to
purchase the property and some of the furnishings and to make some essential repairs
to the Mansion. The house itself and surrounding acres with outbuildings sold for $43,000,
with furnishings at $15,000 and repairs estimated at $25,000. The check was presented
to the Secretary of the Interior on April 25, 1947.
Because of post-war budget problems, the National Park Service agreed to accept
Hampton as a donation from the Avalon Foundation provided a custodian could be
found to manage the site on behalf of the Department of the Interior. The National Park
Service undertook negotiations in Baltimore with the Society for the Preservation of
Maryland Antiquities and its President, Robert Garrett. A cooperating agreement was
developed, and was approved by President Harry Truman on October 6,1947. The
Secretary of the Interior officially designated Hampton a National Historic Site on
June 22, 1948.
Hampton National Historic Site 1948-
JOHN RIDGELY, JR., and his wife moved to the Lower House which they enlarged
by adding a four room wing with basement and bath.
Following restoration work on the Mansion and its furnishings, undertaken by the
National Park Service in cooperation with the S.PM.A. and the Avalon Foundation
which donated an additional $40,000 for repairs and $18,000 for landscape preserva-
tion, the site opened to the public on May 2, 1949.
Hampton was not only preserved; it set a precedent for National Park Service acqui-
sitions and became the impetus for the formation of the National Trust for Historic
Preservation, organized by some of the same people who established a cooperative
effort between government and private philanthrophy in the saving of Hampton. During
the first organizational meeting of this group, held at the National Gallery of Art,
David Finley suggested that the participants each visit the gallery where the portrait of
Eliza Ridgely hangs and express their appreciation to "The Lady with a Harp" for start-
ing it all.
The Society for the Preservation of Maryland Antiquities served as the custodian of
Hampton National Historic Site for more than 30 years. During this period, in 1953, the
two racing stables and an additional 1.9 acres were acquired for the site, and the
S.PM.A. received the Hampton cemetery from the Ridgely family.
JOHN RIDGELY, JR., died in 1959. By his will, his widow was given life tenancy rights
to the Lower House and its furnishings.
On October 1, 1979, the National Park Service assumed full administrative responsi-
bility for Hampton National Historic Site. A cooperating association, Historic Hampton,
22
23
Dedication of Hampton National Historic Site, April 30, 1950. Uft to right: David Finley, Director of the
National Gallery ofArt; William Preston Isane, Governor ofMaryland; Robert Garrett, President of the
Sodety for the Preservation ofMaryland Antiquities; and Newton B. Drury, Diredor of the National Park
Service. Hampton NHS collection.
Inc., was established by several members of the former Hampton Committee of the
Society for the Preservation of Maryland Antiquities. Today Historic Hampton, Inc.,
manages the Hampton Gift Shop and assists the National Park Service with its inter-
pretive and preservation goals.
The 14.02 acre farm property was purchased for $480,000 by the U.S. government
on March 20,1980, from John Ridgely, III, and other heirs of JOHN RIDGELY~ JR.,
following the death of Jane Rodney Ridgely.
The history of Hampton continues to be recorded, although its character has altered
dramatically. The once 24,000+ acre estate has dwindled to 60 acres and the daily
activities of a lively family have given way to the footsteps of thousands. Formerly the
showplace for an aspiring family, Hampton is now a National Park, preserved not merely
for historical connections but as an outstanding example of 18th century American
architecture.
Ceremony transferring the Hampton farm property to the U.S. Department of Interior 1980. Uft to right:
Clarence Long, U£ Congressman, James Coleman, Mid-Atlantic RegionalDiredor, NPS; John Ridgely, III;
Mrs. John (Lillian) Ridgely, III. Hampton NHS collection.
w
~ii]
The count~people soon saw with amazement what was to them a palace rising
in the wilderness. ... They called it "Ridgely's Folly.". . it had too many "new-
fangled notions" about it. Marble mantels, folding doors, sofas, mahogany side-
boards, and chinaware, were almost unknown immediately after the Revolution.
Yet Hampton must be adorned with all these. ... the captain would have carpets,
and stoves, and carriages.
J. C. Carpenter; May 8, 1875
Appleton's Journal
ThL~f
S
.5
t
he mansion house, originally called Hampton Hall, was built between 1783
and 1790 by Captain Charles Ridgely Considered by contemporaries to be
a very ambitious undertaking, the resulting edifice was one of the largest and
most ornate country residences of its time in America.
Although the Mansion was constructed after the Revolutionary War; the design reflects
a style of American architecture which developed in the 1750s. Defined as "Georgian~
this style characterizes a period of history between 1714, when George I ascended the
throne of Great Britain, through George II and George III to the death of George W in
1830. More specifically, this term denotes a type of architecture common in America
c.1700-1800, represented by a "formal arrangement of parts employing a symmetrical
composition enriched by classical detail" Hampton's Georgian design follows the tradi-
tional symmetrical or balanced five-part plan: a main house or "block;' two flanking wings,
and "hyphens" or enclosed passages which connect the wings to the central structure.
An 18th century house plan which included a ceremonial center hall with extended
wings was very popular in both America and England for residences at great estates where
"show" was considered indispensable. Captain Ridgely's vast fortune was a new one and
he was anxious to epitomize this concept. Hampton Hall would serve as the heart of an
important agricultural and industrial complex and therefore, it was imperative that the
house reflect the owner's wealth and stature.
Because there is no recorded architect for the Mansion at Hampton, it is thought that,
for the most part, Captain Ridgely designed the house himself based on houses he had
visited in England, Philadelphia, Annapolis and Virginia. As befitted a genileman of his
era, he also may have had architectural books in his library.
In addition, Jehu Howell, who worked for Ridgely on several housing projects and was
the master carpenter at Hampton, was listed as "a very ingenious Architect, of Baltimore
County" at his death in 1787. Howell surely assisted and probably guided the Captain
in his design. Unfortunately, Howell died before the Mansion was completed, which may
be the reason for some unfinished details in the building. Furthermore, the economic
climate of the late 1780s had deteriorated causing a general depression, and it is possi-
ble that Captain Ridgely felt this financial pinch.
Although a set of original plans or drawings has never been located, a remarkable col-
lection of primary documentation survives which records the construction of Hampton
24
25
26
27
in thorough detail. Copious accounts for each phase including costs, materials, descrip-
tion of work and, in many cases, the names of the workmen, indicate the progress and
the character of the building. Contemporary ledger books also contain entries for room
and board, supplies ordered for individual needs, and fascinating references to shoes made,
clothing ordered, and liquor consumed.
In August 1783, Captain Ridgely contracted with the carpentry firm of Jehu Howell
and William Richardson as follows: "Howell and Richardson old Accts for work in
(Patapsco) Neck settled but my work on my house now bildg in the forrest (Hampton)
is to be (built) at the same prices Except % to be Deducted for Board and in the Neck
their (sic) was 'A Deducted for Board" The cellars and stone work were begun in 1783
and by November 1784, the central block of the main house and the two wings were un-
der construction and their roofs were being put on. Later entries describe the cupola,
constructed in 1787 at a cost of 180 pounds for the carpentry work; sixteen scrolls for
the sides of the dormer windows; pedestals for urns; urns to ornament the roof line; and
venision (Venetian or Palladian) windows.
Exterior
The vigorous exterior design selected by Charles Ridgely conforms to the Georgian
formula for classical detail and balanced effect: rigid symmetry, five-part composition,
axial entrances, geometric proportions, pedimented gable ends and sash windows.
Andrea Palladio, a 16th century Italian architect and author of 1 Quattro Libri dell
Architettura (The Four Book's ofArchitecture) influenced architecture for more than
200 years. The 18th century translations of his works and the Palladio-designed build-
ings studied in Italy by Thomas Jefferson and other travellers created a particular style
in England and America, often called Palladian. These classically inspired Palladian
ideas are evident at Hampton, although the lack of a formally-trained architect can be
seen in the somewhat heavy and non-academic treatment of the design.
The external appearance of the house is generally more suited to a public building or
a monument than to an American residence of the period, and the Mansion would have
looked even more imposing and magnificent when first completed in 1790, stark and
unadorned at the top of the hill. Visitors of 1790 would have seen it without the large
specimen trees which were planted in the mid-19th century and without the encroach-
ing suburbs of today.
The exterior of the Mansion is constructed of common rough gneiss schist stone
quarried in the area. The stone walls are covered with stucco: a mixture of sand, lime,
animal hair and water. The use of stucco was characteristic of Palladio's designs, but
an unusual approach locally. Most great Georgian houses in Maryland have brick
exteriors.
The color of the Mansion, pinkish terracotta, is not paint, but a reflection of the local
iron bearing sand used to mix the stucco. The gray base, which shows indications of white
paint lines, was colored by grinding charcoal into the stucco mixture. Originally, the white
lines were used over the entire exterior to make the Mansion appear to be built of ashlar
or precisely cut stones. "Rustication~' a decorative treatment using raised wooden blocks
shaped to look like cut stone, was also applied.
The stuccoed and "rusticated" exterior was a sophisticated selection by Ridgely.
utilized texture, color and the detailed demarcation to simulate the construction featun
of a European country house.
Although the house was reroofed with slate later in the 19th century, the original ro
was covered with "fish scale" shaped wood shingles. In addition, the roof is crowned I
a series of wooden urns of classical form, which define the projecting pediments and o~
side corners of the main block and cupola base.
The cupola, or "doom" as Captaln Ridgely called it, is of massive proportions and glv
Hampton its special distinction. It also provides a sizeable chamber with an excelle
view of Hampton lands in all directions. The cupola's large sash windows are the key
an ingenious and notably successful ventilation system. When the windows in the octa
onal cupola are raised, the cupola draws the hot air in the house up and out of the low'
stories.
The eight dormers on the roof of the main block are highlighted by decorati'
scrollwork and elegant "Gothick" muntins in the arched windows. "Muntins" a
pieces of wood which support the individual panes or 'lights" of glass in the windo
Elaborate fake windows with moulded wooden frames and painted glazing a
applied on the chimneys to create a "trompe lbeil" (trick to the eye) effect. Rustic
tion can be seen in the pediments, at the base of the cupola, and on the inside walls
the chimneys.
The north and south entrances, which directly oppose each other across the cent
of the house, are known as "axial" entrances because they intersect the primary axis
the house. There is no front or back door as we term them today. To the north, the c~-
riage entrance opens to the heart-shaped carriage drive, and to the south the garden e
trance gives access to the formal gardens.
Both entrances are protected by partially enclosed central pavilions or porticoes whi
are highlighted by bold pilasters or columns supporting intricate pediments containii
Venetian windows. With a central, arched window and a narrow flatheaded window
either side, these openings appear to be framed in stone, another example of rusticatio
The side walls of the porticoes are also stuccoed stone and contain sash windows at bo
first and second story levels, cross-ventilating the porticoes for use in the summer. Tl
second story porticoes were made practical with the inclusion of railings in Gothick Chi
pendale style.
The portico steps on both the north and south sides were originally sandstone wi
iron railings. In 1867, the Ridgelys replaced the north steps with marble ones with turn
balusters and railings, designed by E. G. Lind. As a complement, the plain wood flo
of the north portico was covered with black and white marble tiles.
Louvered doors originally supplemented the solid wood exterior doors at the nor
and south entrances, both in the main block and in the hyphens and wings, permittli
cross-ventilation throughout the house during the warm season while still allowing ti
family their privacy.
The doors are the standard panelled type typical of the 18th and early 19th centu
The portico doors are surrounded by elegant classical ornamentation in the Doric ord
The doors to the hyphens, on the other hand, are perfectly plain with only a row of fix'
lights, or transom, above.
28
29
RAKING CORNICE PEONENT
TRIGLYPH
SASH
MODLLM;yLASTERS
ENTABLATLIR;?
INOLLOERED
Th
PLINTH
ELEVATION NORTH PORTICO HAMPTON MANSION
Architectural details of the North Portico door and window& Courtesy ofBrowne, Worrall & Johnson, Inc.,
Arch itect£
The exterior window treatment of the first two stories is quite simple with the excep-
tion of those in the porticoes. The portico windows are detailed with complete entabla-
tures, or architectural treatments, including important classical elements: architraves,
friezes and cornices. The windows were protected in some areas by louvered shutters on
the exterior; and all windows on the first and second story have recessed interior shut-
ters which fold out for additional protection and to control light and heat in the house.
All windows and doors have wooden or iron bars on the interior for securing the house
at night or while the family was away.
Interior
The house was built on a massive scale with large public rooms in the first story of
the main block. Captain Charles Ridgely evidently intended to do a lot of entertaining
and he wanted to do it in impressive style. Designed for these social activities, the first
story includes a large central receiving area and a pair of rooms on each side.
Unlike many five-part Georgian houses, Hampton's main staircase is not located in the
central hall but is placed on the east side between two smaller parlours, out of the way
of the reception area.
The staircase was originally highlighted by a large moulded archway supported by
engaged fluted columns which connected the stairs to the central receiving area. The
arch was filled in with plaster walls and a doorway before 1800 to provide a practical so-
lution for conserving heat in a very large house with only fireplaces and woodburning
stoves. When not used for entertaining, the central and west side of the house could be
isolated from the two smaller east side parlours and the bedchambers above, which were
the family living quarters.
Tea
Room
VisitorGift
Reception Shop
Room
4..
Dining Muehc
Kitchen Room~ Room
~g~~Poseoge Hall
Pass Drowing
~Parlor Room
FIRST FLOOR PLAN
Present Floor Plan, First Story, Hampton Mansion.
Each of the four principal parlours in the first story has a decorative overmantel wi
moulded picture reserve. An early account indicates that "landskips" or landscapes we
painted in one or more of these overmantels. The decorative detail is most elaborate
the Great Hall, the Drawing Room and the Dining Room, as one might expect.
Although "random width" floors today are considered "antique," the wealthiest hor
owners of this earlier period wanted carefully matched floor boards and Captain Ridg~
had the financial resources to install them. The pine wood flooring on the first level
very precisely cut and placed. Not as much attention was paid to the floors on the seco
and third levels, although they too are finely constructed.
Walls and ceilings throughout are plastered with carved or moulded wood cornic
chairrails, wainscoting and baseboards. Ceiling height is 13'8" for the first and seco
stories.
The initial painting of the interior did not begin until April 1791. Richard Jones
Fells Point and two assistants worked for eight weeks to complete the job, which cc
almost 72 pounds, including the paint. The first colors used were yellow, blue, pun;
brown, vermillion, "Litherage of Gold;' "Prussian Bleu," '~Verdigrease Green," "Pate
Yellow," umber; stone ocher; red lead, lamp black, and white lead.
Great Hall
The first story is dominated by a central or "Great" hall, measuring 51 by 21 feet. Li
most ornamentation throughout the house, its classical details conform to the Rom
Doric order. A versatile room used for parties, balls, receptions and large dinners, t
Great Hall spans the depth of the house, opening to the heart-shaped carriage drive
the north and to the gardens on the south. Such a design created a primary axis whic
if drawn on paper; runs through the center of the gardens, down the central Great Hc~
across the north lawn, bisects the farm property, and culminates at the site of the irc
works to the north at Loch Raven. Space in the Great Hall could be expanded by t
use of the porticoes in warmer months.
30
31
Music Room
The larger parlours on the west side of the Great Hall include the formal Drawing Room
to the north and the Music Room on the south side. The visitor enters the house today
through the west hyphen, walking up a small set of stairs and through a doorway into
the Music Room. This door, which connected the west side of the main block to the offices
in the hyphen during the Builder's period, was important. It isolated Captain Ridgely's
family life from the business interests of the estate. It is believed that originally the Music
Room may have also served as the library, a useful annex for Mr. Ridgely during his busi-
ness day.
Later generations of Ridgelys used the Music Room extensively, one mistress going
so far as to make it a supplemental greenhouse because of its southern exposure. One
of the children of John and Eliza Ridgely writes in her diary that the family said prayers
together in the Music Room and that she often sat there in the morning waiting for the
carriage to take her to school in Baltimore.
Drawing Room
The Drawing Room was the most formal room in the house. Here the Ridgelys enter-
tained dignitaries and honored guests. The architecture is particularly significant for its
marked symmetry and proportion. For example, the window openings are carefully
balanced with false windows (framed recesses which are plastered) opposing them. The
overmantel, with raised panel frieze surmounted by rectangular picture reserve and
moulded pediment, is balanced by the related doorway treatment.
The orientation of this room was probably deliberate. Located on the northwest side
of the house, the hyphen and west wing block out much of the available light source.
Since little time was spent here when the family was not entertaining formally, sunlight
and warmth were not as important in this room as they would be in the Dining Room
and in the Music RoomiLibrary and Parlour, which were frequenily used by the family.
Dining Room
To the east of the Great Hall are two smaller parlours, one for family use and one for
dining. The Ridgelys appear to have incorporated a dining room from the earliest period
of occupancy However, when large groups were entertained, they dined in the Great Hall,
as was the earlier practice in many English country houses.
The original Dining Room was on the southeast side of the main block where you see
it today. This room was changed in the early 19th century when an east side window was
lowered to create a door, disturbing the symmetry flanking the fireplace and overmantel.
The alteration took place when the pantry hyphen was widened to create more worki
storage space. The change also allowed direct access to the Dining Room by means of
a small staircase from the pantries as well as from the second story.
The cupboard and corner closet are both original to this room. The cupboard is very
shallow and probably was used to store drinking glasses and other small items. The corner
closet is unusual and contains shelves as well as pegs for hanging.
The Dining Room has been restored to the period c.1810-1830, displaying the correct
colors used during Hampton's second period of decoration. The woodwork is painted
blue like the original paint of Prussian blue pigment, white lead and linseed oil, and gla2
with two coats of varnish to create a glossy surface which would reflect the light as ~~
as last longer and be easier to clean.
The dentils and fireplace surround are picked out in an ochre color and the chain
and doors are grained to simulate mahogany. The graining of the doors is highly figu~
with imitation string inlay. This graining was copied from surviving graining at Hampt
with the colors matched to small original chips viewed under a powerftil stereomicrnsco
as were the paint colors. Graining during this period was more fanciful than that of
later 19th century and was intended to delight the eye. Like the "fancy" furniture of I
time, such decoration was generally a prerogative of the wealthy, very fashionable a
"modern" in taste.
Parlour
The Parlour at Hampton was utilized in much the same way we use our family ro
today. It was reserved for less formal entertaining of family and friends and would h
been considered "cozier" than the Drawing Room. Immediately to the left as one ent
the Great Hall on the north side, the Parlour was easily accessible from the upstainc
from the kitchen and east hyphen entries.
In the second quarter of the 19th century, the Dining Room and Parlour were revers
As customs changed and the family spent more time together, it was important to maxin
the light and warmth available in such a room. Therefore, the southeast chamber bec~
the f&nily parlour. The view of the garden from the south windows also added to the roc
appeal.
The Dining Room, once transferred to the north side, is remembered by surviving fa'
members as a very cold room. It is said that the only person who was warm was the per
at the head of the table, the master of the house. He sat with his back close to the
while the children, who (when they were present) sat at the foot of the table, bec~-
extremely cold in the winter months. This was more of a problem for later generati
of Ridgelys, who spent most of the year at Hampton.
First Storij Stairhall
The stairhall in the first story provided direct access to the east hyphen, the kitc
wing and to the upper stories. Because parts of the second story were also used for re
tion areas, the staircase is generous in size and detail, designed for use by guests as
as family and servants.
The turned balusters of the staircase are walnut, and are dovetailed into the stair tre
The handrail and the scrollwork on the strings, as well as the newel posts and tu~
drops, are also walnut. The turned drops as details are specifically mentioned in car
try bills submitted to Charles Ridgely during the Mansion's construction.
Seen through the glass barrier door to the east hyphen are a set of brass and iron se~
bells. A bell system was installed when the Mansion was constructed, and the system
repaired and renovated several times in the 19th century. Each room had a bell pull,
each bell had a special sound so that the servants would know in which room they
needed, an important communications device in a house the size of Hampton.
32
33
Lab Curatorial Exh~it
Storage Room
=
Exhibit
Bodroom Room
SECOND FLOOR PLAN
S~oto: Y16~ 0' 'Zn U'
Present Floor Plan, Second Story, Hampton Mansion.
eod room
I -~
... .w-
Floor Plan, Third Story, Hampton Mansion. John Laing, late 19th C.
Second &ory Hall
Third Stofli
Containing the finest architectural detail inside the Mansion, the second story hall is
entered at the top of the stairs through engaged fluted columns supporting an entabla-
ture of the Doric order embellished with triglyphs and metopes in the frieze. Each of the
ten doors is crowned with a broken pediment. Four storage closets are built into the hall
with wooden pegs at hanging level. These closets were used originally to store the cloalts
of guests, while later generations of Ridgelys stored out-of-season clothing in them. To-
day the closets have been adapted for exhibition space.
A large passageway extends east to west in the third story. At the center, the can
vered cupola staircase rises from a widened stairhall with central bedchambers to
north and south, lighted by the small Venetian windows of the portico pediments. F
more bedchambers are east and west of the stairhall, each lighted by a dormer. Ti
ten plain bedchambers have both louvered doors and panelled ones to allow ventila
as well as privacy. Small doors give access to storage space under the eaves.
The third story was used traditionally for the children, less important relatives or gui
and their servants, separating the "nursery" from parents and distinguished guests be
Only the southwest and northwest bedchambers had fireplaces.
Second &oru Rooms
The second story originally contained six large, principal bedchambers. Because it was
the warmest and sunniest room, the southwest chamber was reserved for the master and
mistress.
The central chambers of the second story each have double doors which open onto
the upper porticoes. When not needed as bedchambers, they were used as reception
rooms. These two chambers have no fireplaces, but after about 1850, heat was supplied
through ducts from the basement furnace.
The southeast bedchamber was reduced in the 19th century to provide a small pas-
sage to the backstairs. The smaller bedchamber was then used as a nursery and later
divided to create space for a bathroom.
The height of the overmantels in the northwest and southwest bedchambers and their
elaborate architectural detail give them great elegance. The overmantels of the two east
bedchambers are short, with pediments immediately above the shelves and little decora-
tive treatment.
Hyphens and Wings
The main block of the house is connected by hyphens to the east and west wings. S
the hyphens were of lesser importance, details here are reduced in scale and lack
vigor and drama of the center section.
Originally, the hyphen on the east side contained pantries on the first story with
age above, and the east wing accommodated a large kitchen with quarters above loi
cook. In the first half of the 19th century, the east hyphen was enlarged to the soul
create more pantry space and a room above. A small staircase was added or enlar
which gave access direcily to the second story of the main block. This is a 'tack st
and is not meant to be seen, but there are no "hidden passages" at Hampton.
Perhaps the west hyphen was originally the clerk's office and the west wing may
been the estate office with living quarters above. Some evidence, such as the large
place, indicates that the west wing was the laundry at a former period, although a ~
rate wash house is shown in early documents.
34
35
A Dffferent Perspective.. The West Hyphen looking towards the Music Room, c.192O. Now the wsilor's
en trance, the West Hyphen, when used as a sitting room, combined furnishings representative ofseveral
generations of Ridgely family occupancy. The stacks of books to the left and right of the stairs include
bound volumes ofthe London Times Illustrated. These provided hours ofeducational amusement for the
Ridgely children. Hampton NllS collection.
eral purpose cellar. Most prominent was the wine cellar with an outstanding collec
During Prohibition, the Ridgelys sold a large part of the contents of the wine cell
J. P. Morgan, using the proceeds to pay for electricity and new plumbing in the Man
Heating Systems
The Ridgelys considered Hampton their country estate and maintained at leasi
additional residence in Baltimore or Annapolis until the 20th century. They spent I
of the "season" or winter in town, socializing, conducting business and politics, and st
warmer in the closer confines of a city house. By the second quarter of the 19th cer
however the family did spend at least part of the winter at Hampton, including Chris
The first heating sources in the Mansion were fireplaces, part of the original con~
tion. Wood stoves-the earlier ones of the Franklin type, the later ones closed-
added to increase the heat output, and eventually, some of the fireplaces were conv
to burn coal.
In the mid-19th century, a gravity air furnace was installed in the cellar with du
registers in the floorboards of the first story. In the second story, ducts also carrie
air to the two central bedchambers. Stoves continued to be used to supplement the
central system.
About 1910, radiator heat was installed in the Mansion, and this heating sy
although upgraded with thermostats and a new furnace, is still used today.
Hampton's baronial scale and grandiose design provided a spacious and comfortab]
ting for both gracious entertaining and a close-knit family life for seven generatic
the Ridgely family.
Later, the west wing accommodated a part-time schoolhouse, and Hampton's first
bathrooms were installed here by the 1850s. The bathrooms had bathing tubs, water-
closets and sinks, all with running water supplied by a cistern and pump on the west side
of the Mansion. A cistern on the east side supplied water to the kitchen. In addition, there
were wooden pipes for running water which supplied spring water to the Mansion and
garden& These pipes were first laid in the 1790s and later replaced with lead pipes in 1855.
Cellars
The stone cellars under the main block of the Mansion were used for storage and later
for the furnaces. There was a wine cellar, lard cellar, carpet cellar, apple cellar and a gen
(
¼
Collections
e 4 ,r- I"~
. ~~¼. \
r - . "4'
A¼ffi'~
Large silver urn with Ridgely family crest in the Rococo revival style. This urn was made in Baltimore,
c.1828, and is attributed to Samuel Kirk. ftis marked only with the assay office stamp and the year symbol
"C': A compatible repousse' tea set is also on exhibit in the Mansion.
36
years of occupancy, the historic collections at Hampton National Historic
those items owned and used by the family during their
represent each generation, concentrating on the period between 1810 and 1
were scattered through inheritance and, in the 20th century, many
sold by the fifth and sixth masters of Hampton to provide funds to maintain the diminL~
estate. The ultimate goal of the National Park Service is to furnish the Mansion to rE
the different generations of Ridgelys who lived there. The nine period rooms on ex
will eventually relate almost two centuries
of the social and aesthetic history of a
prominent Maryland family.
In addition, one room at the Lower
House will be furnished to illustrate the
objects owned and used by a Ridgely
overseer; and one room of the Log Slave
Quarters will exhibit an interior setting
typical of the slaves' subsistence environ-
ment. In this manner visitors will be able
to compare the status and living condi-
tions of three distinct social classes at
Hampton.
The Mansion
Music Room
The Music Room is furnished to rep-
resent Ridgely occupancy during the
latter part of the 19th century and into the
20th century. At that time, furnishings in-
cluded pieces dating from 1815 to 1870,
but were chiefly Victorian (1840-1870),
a period named for Victoria, Queen of
England from 1837 until 1901.Although
based on earlier periods, the distinctive
styles that developed in this era were
characterized by exaggeration in both
form and ornamentation.
In the "Music Saloon" during the
latter part of the 19th century, walnut
graining was prevalent on the wood-
work and doors, and the walls were
This walnut highback hall chair, upholste;
dark green leatherette, is one of a set of t
made in Baltimore for the Ridgelys, c.186(
set was custom-ordered with the Ridgely a
arms carved in the crest rail.
4'
.1
37
38
39
painted, not wallpapered. The graining was executed by James Malbon in 1854 for
$30.00.
Heavily carved and gilded wooden cornices, decorated with the family crest, hung over
each window, and a massive mirror with an elaborate gilt frame that matched the cor-
nices covered the south wall between the windows.
The mahogany library-bookcase, which still dominates the north wall, was made in Bal-
timore, c.1815. Its workmanship is attributed to the shop of William Camp (working
1801-1822), a preeminent Baltimore cabinetmaker. The books inside the library-bookcase
are all part of the extensive Ridgely library developed over several generations. Many of
the books exhibited in the Music Room belonged to Charles Carnan Ridgely, who pur-
chased the bookcase.
The marble top center table, four sidechairs, couches and loveseat, as well as the ornate
short-legged sidechair were all made in Baltimore in the Rococo Revival style, c.1845.
The center table was an important piece of furniture in the 19th century as a gathering
place for the family or the focal point of the room. On the table is a silver tea set with
Ridgely family crest made by Samuel Kirk of Baltimore, c.183S.
The piano, also in the Rococo Revival style, c.1855, was made by Steinway of New York.
These large square instruments were extremely fashionable at mid-century, and sev-
eral prominent Baltimore manufacturers, including Knabe, competed with New York
companies to make them. The heavy rosewood case has a cast iron interior frame
supported by detachable legs locked into place by metal fittings.
The double-movement painted and
gilded harp belonged to Eliza Ridgely
(1803-1867). Her father, Nicholas
Greenbury Ridgely, ordered this harp
from London in 1817 at a cost of almost
$600. Made by Sebastian Erard, "Maker
to H.R.H. the Princess Charlotte of
Wales, his most Christian Majesty the
King of France, and to his I.M. the
Emperor of all the Russias~' the harp,
when shipped from England, was accom-
panied by a leather cover Roman strings
and silver strings. A painted and gilded
music stand, which belonged to Eliza but
was made in Baltimore, is also part of the
collections. The music stool seen near the
harp was made in New York but is not of
Ridgely provenance (i£., it was not owned
by the Ridgelys.)
The Thrkey carpet, one of several or-
dered by John and Eliza Ridgely, is a rem-
nant of a much larger carpet that was
once used in the Great Hall but was cut
up in the 20th century to create sev-
eral smaller carpets. Late 19th century
Nicholas Greenbury Ridgely a7744829), by
Rembrandt Peak, ci 797. A prominent Baltimore
merchant and businessman, and father ofEliza
Ridgely, the third misfress ofHampton. Nicholas
Ridgely and his daughter were not related to
the Ridgelys of Hampton before her marriage.
Hampton NHS Collection.
photographs alternately show a room-sized floral carpet with strips of straw matting o
top, or a Thrkey carpet similar to the one in present use.
On the east wall, the circular convex girandole mirrors with candle arms date to ti]
early 19th century. These mirrors were highly decorative as well as functional, reflectin
both objects and light in perspective. Although they may have been used originally
the Great Hall, Drawing Room, or Dining Room, late 19th century photographs sho
the mirrors in their present location.
The later Rococo Revival mirror with stag's head crest which hangs on the south wa
is a smaller contemporary example of a much larger one which originally hung in this spac
Other than firelight and the natural light available during the day through the window
lighting during the 19th century was expensive and time consuming. Mthough the Ridgel
owned a variety of oil and fluid lamps, candles were the primary means of lighting
Hampton until about 1850, especially in ceiling fixtures and wall sconces.
Because the Ridgelys were very wealthy, however they were able to afford the late
in lighting innovations. In the mid-19th century, John and Eliza had a gashouse co
structed at Hampton with pipes installed to conduct the gas into the house. The Mus
Room's porcelain and gilt chandelier with the Chinese export vase center made in Fran(
in the second quarter of the 19th century, was adapted for gas lighting as were each
the other candle-holding ceiling fixtures in the Mansion.
Gas light, in addition to oil lamps and candles, continued to be used until 1929, wh~
electricity was finally installed. However according to family tradition, the Ridgelys ul
lized oil lamps or chamber candlesticks for going up to bed at night until they left Hampt:
in 1948. These candlesticks and lamps were kept on a table in the first story stairha
and a servant spent every morning collecting the used equipment for cleaning, trimmit
the wicks and changing the fluid.
The pair of girandole lights with hanging cut-glass prisms on either side of the mant~
piece in the Music Room were also originally illuminated by gas, but have been wir(
for electricity since 1929.
The porcelain mantel clock and vases are French, 19th century. The two pairs of lar
porcelain vases, also 19th century, are Chinese export. The vases are purely decorati~
often used by the family for flowers or cut greens.
Portraits in this room are of family members and include a fascinating rendition by Jol
Carlin of four grandsons of John and Eliza Ridgely fishing in a pond, c.1860. The po!
was located where Goucher College is today, with Hampton Mansion looming in the bac
ground. The figures include John Ridgely (later fifth master of Hampton), Charles Ridge
Henry White and Julian White. It is interesting to many of today's children that Jol
Ridgely is the only boy wearing long pants. The other younger boys are still in dress~
Over the mantel is a copy of Thomas Sully's three-quarter length portrait of Charl
Carnan Ridgely, painted in 1820. The original is presenily in the collection of t]
National Gallery of Art in Washington, D.C.
Important small portraits of the Ridgelys were also displayed in the Music Room wh~
you see them today. Exhibited as a group are four watercolors on ivory of John and Eli
Ridgely, their daughter Eliza, and Mrs. Martin Eichelberger the grandmother of El~'
Sr, all painted by George Lethbridge Saunders (1807-1863). Another watercolor on par
of Charles Ridgely, John and Eliza's son, hangs nearby. This small portrait was also
ecuted by Saunders, an English painter travelling in America, c.1843.
40
41
The four seaside landscapes in ornate gilded frames are part of a group of paintings
purchased by the family while touring Europe in the 19th century. A large landscape by
Charles Volkmar (1809-1880), who painted in Baltimore, is seen in early photographs
either over the library-bookcase or over the west door.
Drawing Room
The Drawing Room was the most formal room in the Mansion and the furnishings here
reflected the wealth and status of the family. It is presently furnished to the 1830s, dur-
ing the third period of ownership.
Presumably Charles Ridgely the Builder and his wife, Rebecca, did not live in the Man-
sion long enough to completely furnish it, although surviving bills and receipts do indi-
cate quality items, many of which were imported from England. Since the Builder left
instructions in his will that no inventory of his estate should be taken, little evidence sur-
vives to document the interior appearance of the Mansion during his occupancy.
Charles Carnan Ridgely, the Builder's heir, was one of the wealthiest men in the state
and the Mansion was opulently furnished during his residency. Following his death in
1829, many of his furnishings were sold at auction or divided among his children. The
Governor's estate sale was listed at 8 North Gay Street, his townhouse address, and
although items from Hampton may have been included, paintings, silver and other
objects from this period remain in the collections at Hampton today.
John and Eliza Ridgely, the next generation to live at Hampton (1829-1867), made
many "modern" improvements during their 38-year ownership of the estate. Eliza, the
only child of a wealthy merchant, had the resources to travel extensively, make luxu.
rious alterations and additions to the gardens, and purchase elegant furnishings fo~
the Mansion.
The first room to receive "redecorating" was the Drawing Room. About this time, thE
woodwork was painted off-white, and the doors on the first floor were painted a rich dar~
green. Later, the doors and woodwork were grained to imitate walnut, and the walls werc
papered.
In 1832, the Ridgelys ordered a suite of painted furniture from John Finlay, the mosi
prominent "fancy" furniture maker in Baltimore. Also a coach painter, he worked with
his brother Hugh from 1803-1816, and resumed his business alone in 1831.
This set of black and gold furniture, in
the classical archaeological style often
referred to as Empire, is an important
group. It survives in the original room
for which it was designed, documented
by its bill of sale.
The bill for the black and gold set
14 Hollow back framed chairs with-
out Damask for seats
1 Sofa with Gilt swans and chimn
legs without Damask for
Covering
1 peir (sic) Table frame with mar-
ble pillars ormalo (sic) caps &
bases & Gilt Lions feet
1 Centre Table carved pillar &
feet
Painted sidechair, Baltimore, 1832. This chair is
part ofa set made for John and Eliza Ridgely by
John Finlay. The classical ornamentation seen on
this chair contains elements used throughout the
Drawing Room during this period.
for a total of $327. At this time a more
typical set of painted furniture might
have retailed for about $125-150. The
tops of the center table and pier table are
imported, decorated with polychromed
scenes and ornate borders painted on
slate.
The sofa alone, with its large carved
and gilded swans, sold for $80 without
its upholstery. A sophisticated example, unique among Baltimore painted furniture, th~
sofa exhibits a strong French influence, possibly attributable to Eliza Ridgely's taste. Sh~
had travelled throughout Europe and enjoyed a special friendship with the Marquis d(
Lafayette. The French silver ewer on the center table, embellished with swans and othe
classical motifs found on the painted furniture, is said to have been a gift to the famil~
from Lafayette.
The Drawing Room, in 1948. Photo graph by A. Aubrey Bodine. Hampton NHS Collection.
includes
44
45
Parlour
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Page one, Inventory, Charles Ridgely (ofHampton), 1829. Although it is not known whether the items
indicated are from Hampton or Charles Carnan Ridgely '5 townhouse on Cay Street, the textiles listed
provide evidence for materials, colors, and styles preferred by Governor Ridgely. Hall ofRecords, Mary-
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Used daily by the family, the Parlour was less formal than the Drawing Room and cor
tained a mixture of furniture, older pieces combined with the most up-to-date.
Today, the Parlour is furnished by the Colonial Dames of America, Chapter One. Th
period chosen reflects occupancy from 1790, when the house was completed, until 182c
the time of Charles Carnan Ridgely's death. The first paint colors for the Parlour wer
white, followed by pale green and then yellowish pink in the early 1800s. The doors ant
chairrail were grain-painted as they are in the Dining Room. The walls were paintet
until late in the 19th century when they were wallpapered.
None of the furniture in this room is of Ridgely provenance and only two decorativ
items belonged to the family: an early 19th century Chinese export punch bowl whic]
was 'redecorated" in the later 19th century, and the orange and gilt tea set made in Pari~
Captaln Charles Ridgely the Builder and his wife were married in 1760 during the heigh
of Georgian fashion. Among the furnishings here are pieces of early and late Georgia
style, also known as Queen Anne and Chippendale. These pieces are representative c
those which an affluent family might have purchased from England or the New Englant
states, or that they might have inherited.
The Irish mahogany gaming table and the American walnut tea table are the earlie~
pieces exhibited in this room, dating to 1740-1760. The easy chair covered in bargelli
worked by the members of the Colonial Dames, and the magnificent mahogany and gil
looking glasses, date to the later Georgian period.
The cabriole sofa, made in Baltimore c.1800, is inlaid with bell flowers and upholsteret
in a striped fabric as illustrated in George Hepplewhite's English design book publishet
in 1794. The fabric for the sidechairs and window drapery is this same striped silk.
The mahogany tall case clock with London works was made in Baltimore c.1800 a
were the mahogany heart back sidechairs and armchair. The square piano forte, c.183~
is labelled "Joseph Hiskey, Baltimore~' The mahogany case is heavily embellished wit]
painted decoration, and a handcolored engraving of a landscape scene is applied abov
the keyboard. Joseph Hiskey was the foremost maker of pianos in Baltimore at this period
and this piano forte is one of the many outstanding examples of his work.
The silver repousse urn was made in Baltimore in the second quarter of the 19th ceri
tury by Andrew Ellicott Warner one of the initiators of the Baltimore repousse style. It
decoration is similar to several repousse tea sets owned by the Ridgely family.
The portraits in the Parlour are not typical of those found in an American home du~
ing the Federal period. However they are important examples of British portraiture. Th
small 18th century portrait over the mantel is an anonymous young English gentlemari
the portrait on the north wall is of Catherine of Braganza (1638-1705), Queen of Charle
II, attributed to Sir Peter Lely (1616-80); and on the south wall is a portrait, also sait
to have been painted by Lely, of Queen Mary 11(1662-94), co-sovereign with William II]
Dining Room
The Dining Room has been carefully researched to refurnish it in the span of Ridgel
occupancy, c.1815-1829. The paint colors are those from the second period of decor~
tion of this room, c.1815, and the mahogany graining on the doors faithfully reproduce
52
53
coverlets of Ridgely family provenance. The carpet for the Master Bedchamber should
be a Brussels or Scotch ingrain, based on documentation.
Furniture on the second story, for the most part, is not of Ridgely provenance, although
at least one piece in each chamber was used at Hampton. Several other objects here,
however; are similar to the ones listed in bills or receipts, or in family inventories.
The late 18th century mahogany high post bed is English, as is the beautifully veneered
and inlaid dressing table. A Hampton dressing table of this type is still owned by a family
member.
The rare Federal period night table, which belonged to Charles Carnan Ridgely, is
one of two in the Hampton collections. The appearance of these night tables is decep-
tive: the tops lift and the doors swing inward to reveal a commode. These sophisticated
examples of a necessary convenience are closely related to a plate in George Hepplewhite's
The Cabinet-Maker and Upholsterer's Guide, published in 1794.
The wardrobe, an essential furnishing for homes of this period (which did not have
closets in the bedchambers) is another elegant example of the Federal era. This mahogany
and satinwood "wing" wardrobe was made in Baltimore between 1800 and 1820, proba-
bly in the shop of William Camp. Its decorative impact is made through the geometric
contrast of color and shapes. The center section contains drawers which slide out for
easy access.
Upholstered easy chairs, now called wing chairs, were a form usually reserved for use
in bedchambers. Designed for comfort and to protect the sitter from draughts, this par-
ticular example, American, c.1800, was originally a commode chair; with a chamber pot
under the seat. It is upholstered in wool moreen, in the manner prescribed in period draw-
ing books.
The side chair at the desk has an important history. It is one of a set of chairs attributed
to Thomas Affieck which was made for the Chew family of "Cliveden" in Philadelphia.
The Chews, Ridgelys and Howards intermarried in several generations, and one of the
Chews inherited this chair which found its way to Hampton. The Ridgelys altered the
chair in the 19th century to make a rocker; but the chair has been restored to its original
appearance. The remaining chairs from the set are exhibited at Cliveden.
The painting over the mantel is a copy of a portrait of Priscilla Dorsey Ridgely
(1762-1814), painted by Rembrandt Peale. The original was donated by the Ridgelys
for use at the Governor's Mansion in Annapolis.
North west Bedchamber
The mahogany "wing" wardrobe, c.1815, which has an uncertain Ridgely provenance
might also be attributed to William Camp of Baltimore. Eliza Ridgely, before her mar
riage, purchased an expensive mahogany wardrobe from an auction of Camp's effects
However; there is no proof that this is that wardrobe.
The mahogany Grecian couch, Baltimore c.1820, was a popular bedchamber form fo
socializing, napping and lounging. This sofa also has a Ridgely history; by family tradi
tion it was given to the Governor's daughter Priscilla when she married Stephenson Whib
in 1820.
The Grecian armchair exhibited at the desk-bookcase was made in Baltimore, c.1815
It is original to Hampton and according to the Ridgelys was used by Lafayette when h(
visited the Mansion.
The portrait over the mantel of Margaretta Sophia Howard Ridgely (1824-1904) is b:
Pollock, 1870.
Paint research has not been undertaken in this bedchamber at the present time.
Northeast Bedcham ber
Although this room contains children's items, the young Ridgely children actuall:
occupied the third story. Evenutally this room will be furnished as a mid-19th centur,
guest bedchamber. The room contains important remnants of 19th century stencil worl
on the walls, and the National Park Service hopes to be able to restore this stencillin~
when the room is refurnished.
Presently, the centerpiece of this chamber is the turned curly maple high post bed mad
by John Needles of Baltimore for the Ridgely family, c.1830. Other pieces of figure~
maple furniture in this room, including the chest of drawers, the wardrobe, the youtl
bed and the washstand, were also made by John Needles for his own family. These items
donated to the Baltimore Museum of Art by the Needles family, have been placed ol
permanent loan to Hampton.
The cast iron stove, made in New York in the 19th century, is one of several use~
throughout the house. Earlier stoves used at Hampton may have been made at the Ridgel;
ironworks.
The carpet on exhibit is another of the Thrkey carpets purchased by John and Eliza
Carved walnut cornices with the Ridgely family crest adorned this room in the later 19tl
century.
Paint analysis has not been conducted in this room to date.
This room, known by later members of the family as the "white curtain room;' was one
of the principal guest bedchambers. In the latter part of the 19th century, the window
treatments here were heavy white wool curtains with deep red fringe, hung under elaborate
leaf carved and gilded cornices.
Retaining its original room size, the carpet in this chamber is a significant survival of
Hampton provenance, one of several Thrkey carpets ordered by John and Eliza Ridgely.
Although they were going out of fashion by the second quarter of the 1 800s, high post
beds were prevalent at Hampton during the entire period of Ridgely occupancy. In later
photographs, however; they were not draped with hangings. The mahogany high post beds
in this bedchamber are of Ridgely provenance.
The furniture and decorative arts acquired by the Ridgelys accommodated a country houst
lifestyle of both indoor and outdoor pursuits, reflecting elegance on a grand scale corn
bined with conveniences for everyday activities.
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55
Farly neo-classic style teapot and stand, c.178O, by Joseph Thy ofAbingdon, Maryland. This teapot and
stand are engraved "PD" for Prisdlla Dorsey ('762-1814), wffe of Charles Carnan Ridgely, second master
ofHampton. Another very similar teapot and stand made for Priscilla's sister, Rebecca Dorsey Ridgely,
is now in the collection of the Baltimore Museum ofArt. The W6men's CommiUee ofHistoric Hampton,
Inc. Photograph by Richard L. Goodbar
Silver tea caddy, Baltimore, c.1795. This tea caddy, marked by William Ball, is engraved with the Ridgely
shield within an oval reserve, typkal of many pieces made for Charles Carnan Ridgely, second master
of Hampton. Hampton NHS collection. Photograph by Richard L. Goodbar.
This French porcelain vegetable dish, with cover was made in Paris, c.1825, and decorated with the Rid9
family crest by Feuillet. Hampton NHS collection. Photograph by Richard L. Coodbar.
Enghsh covered sauce boa~ Spod~ early 19th century. One ofseveral large dinner services owned by Char
Carnan Ridgely. Hampton NHS collection. Photograph by Richard L. Goodbar
Gardens
andscape gardening remained a keystone of Ridgely activity at Hampto
throughout the family's occupancy. Because Hampton was cut from the wilde
ness, clearance of the land took precedence during the early development (
the grounds. Yet even before the construction of the Mansion, Captai
Charles Ridgely operated a large agricultural plantation, including by 1773 an orchar
of at least 722 apple trees.
During the period that the Mansion was being built from 1783 to 1790, numerou
gardeners were employed. Some specimen trees, usually native material, were plantec
but it was not until the late 1 790s that Hampton's falling garden of descending terrace
was constructed.
Laurence Hall Fowler's "The Garden Plan of Hampton, Baltimore County, Maryland;' 1902. From Great
Georgian Houses of America, vol. 1 ('933).
56
[
57
The Cedar of Lebanon which ornaments the south lawn was imported as a small seedling and piant~
by Eliza Ridgely, c.1840. ft is now one of the largest in America.
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59
Information concerning the early development of the gardens is incomplete and no
known original plans survive. However; it is known that artist-enamel painter; William
Russell Birch of Philadelphia, played a role in the conception of the formal gardens, writing
c.1802,.... during my second visit to General Ridgely at Hampton, after my introduc-
tion to him by my friend Judge Sm'l Chase; the Gen'ls attention to me was very polite
and marked with every appearance of respect. I stoppe(d) several days with him, the situ-
ation at Hampton is beautiful and richly deserved the adoption of art in its improvement.
I made several designs for that purpose which was approved~' Whether Birch's designs
were ever instituted is not known.
By 1800, the construction of the parterres, or formal geometric gardens, was begun
under the supervision of William Booth. Booth was well thought of among American
botanists, florists and seedsmen, and had been hired to lay out some of the finest gardens
around Baltimore. This terraced style of landscape design was typical throughout Mary-
land and Virginia in the late 18th century. Alden Hopkins, former resident landscape
architect for Colonial Williamsburg, has stated that the construction of the "falls" or ter-
races at Hampton involved moving greater volumes of earth than any other early Ameri-
can "falling" garden.
The Great Terrace, or South Lawn, is adjacent to the Mansion and measures 250 x 150
feet. This area was also termed a "bowling green"
Below the Great Terrace are the precisely designed descending terraces. Expressing
the crowning glory of the Hampton gardens, a pair of parterres graces each of the three
terraces. The first garden terrace drops away from the Great Terrace and is actually 18
feet lower in elevation. The second terrace is 6 feet below the first and the third terrace
is 4 feet lower than the second. The terraces are connected by grassed ramps, demon-
strating an informality that is unlike the European practice of marble steps. The kitchen
garden containing vegetables, herbs and possibly extra stock for the formal gardens, was
located below the third terrace, arranged in the same formal patterns or "constraints"
carried down from above.
When viewed from the cupola of the house, the terracing creates an optical fantasy,
leveling the parterres to continuous patterned garden. This proportioning indicates con-
siderable sophistication as well as knowledge of garden design and engineering.
While many prominent Americans were laying out gardens in the naturalistic style
based on the English landscape park, Charles Carnan Ridgely chose to follow the much
earlier formal geometric plan once favored by the European and English aristocracy. The
Ridgelys' deliberate selection of the earlier formal style was an attempt to emulate the
stability, culture and refinement of their ancestors' life in Europe. The naturalistic style
was used in developing Hampton's landscape to the north.
Between 1798 and 1801, Charles Carnan Ridgely had an irrigation system constructed
by digging trenches and laying wooden pipes. Water was first brought to the Mansion
by 3,910.5 feet of piping. Next, 6,680 feet of pipe were installed to convey water from
the springs to the garden and meadows.
With Governor Ridgely's death in 1829, his son John inherited the Hampton estate
and made many "modernizations" in the gardens. John's wife Eliza, who was indepen-
dently wealthy and took a devoted interest in the gardens, was unsparing in her expendi-
tures to improve them.
As early as 1830, Eliza converted one of the boxwood parterres to beds of colorful coleus
such as she had seen in Europe. A 21-acre orchard containing apple and peach varietit
was planted flanking the formal gardens, and several new structures were erected to bend
the area, including two greenhouses and a small cottage to house garden workers. Ti
gardener's house was also enlarged.
The garden received early acclaim in an article appearing in the Baltimore Americai
1832: "In the rear thereof, you are delighted in beholding a rich profusion, and balir
fragrance of numerous plants and flowers, adorned with orange trees, and an extensi~
and highly cultivated garden"
Eliza adopted many of the landscaping principles professed by 19th century America
foremost landscape gardener; Andrew Jackson Downing, whose books she purchased f(
her library. She also planted exotic and native evergreens such as the picturesque Eas
ern Hemlock on the South Lawn. One specimen tree believed to be of national standin
is the impressive Cedar-of-Lebanon in the center of the South~Lawn. According to fami]
tradition, this now magniflcent example was brought back from the Middle East in a sho
box, c.1840.
In 1852 a professional gardener was hired for two years to continue the moderniz<
tion of the Hampton gardens. Victorians felt that art and nature were closely intertwinec
Through the manipulation of a variety of plant forms and colors, they could express d(
sign ideas relevant to the architecture, fine arts and decorative arts of the period.
By mid-century, the parterre gardens had been redesigned and the marble vases wer
added. The classically-influenced ornaments are well placed for emphasis and serve t
link the architecture of the Mansion to the landscape.
At this time, Hampton reached its horticultural peak, as shown in numerous leadin
publications of the day. An article entitled "Jottings Among the Gardens;' that appeare
in The American Farmer 1854, relates:
Prominent among the improvers ofour neighborhoodstanas the honored name
ofMrs. Ridgely ofHampton. This lady, lam told, is an accomplished florist, and
enters with zeal and taste on the culture of the flowering treasures of her erten-
sive garden& Many elegant improvemenis were lately made to the garden at Ham~
ton... the new vineryt, and mode of growing the grape vine, as practiced by Mrs.
Ridgely '5 v~ efficient gardener James Calbraith... There has aiso been erected
a new propagating house. .. heated by hot water on the tank system. This house
is certainly one of the most perfect in its construction, for the uses and purposes
designed that I have ever seen. The whole place is copiously supplied with water
conducted from aspring by over 3, 000 feetoflead pipe, to a reservoir at the Man-
sion, from where it radiates to different sections of the gardens, where hydrants
are placed, and by a hose the entire garden can be watered at pteasur~ The petu-
nias, verbena, geraniums and other summer flowering plants, looked as though
they lacked no moisture ther~
The Ridgelys' enthusiasm and knowledge of plants and gardening is also shown in a]
excerpt from The Horticulturist andjoumalofRuralArt and Rural Taste, published ii
June 1857. 'The owners are fully impressed with the beauty of trees; some very fine speci
mens are around the Mansion, and progress is marked by conversation in which the relativ
Success of importing from France or England is knowingly discussed~'
By 1875, America had developed its own unique style of landscape design. But man
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Parterres 1, III, and V, Hampton Gardens, 1902. Note the high level ofmaintenance in Parterre I, the only
parterre which retains its original geometric configuration. In 1902, the boxwood surrounded beds ofmbced
geraniums. Parterre III contained roses. Hampton NHS collection.
visitors to Hampton wrote of the great age of plant material and the 'bld-fashioned" gar-
den, accounting for a scene more English than American.
No major changes in the landscape design were made during the final quarter of the
19th century, although several specimen trees were removed because of overcrowding,
while new specimens were planted throughout the grounds. Many garden structures were
rehabilitated, and there were at least six other specialized houses in addition to the Oran-
gery used primarily for growing cut flowers and bedding plants: a greenhouse, stove
house, fernery, grapery, rosehouse and forcing house.
In the summer of 1880, Margaretta Ridgely's head gardener; Mr. Massey, reported
using 10,000 coleus, 4,000 geraniums and 2,000 alternantheras, with uncounted num-
bers of verbena, salvia, lantana and annuals. This totalled an estimated 20,000 bedding
plants. 4,000 roses were also planted, not to mention a terraced vegetable garden to the
east of the formal gardens which fed an average of 40 people.
To enjoy the beauty of these gardens, the family used a large quantity of porch, lawn
and garden furniture. In 1881, 65 chairs and 32 benches were given a fresh coat of paint
and varnish. Much of this furniture was painted vermillion (red) and straw, as were the
panelled boxes which held the lemon and orange trees.
Today Hampton is noted for its collection of mature specimen trees. This collection
was already celebrated by 1889 when W.K Massey wrote.... one of the oldest and finest
specimens of Magnolia x soulangiana in America stands on the grounds of Hampton.
Five years ago the stem below the branches measured nearly eight feet in circumference"
Today this tree still prospers and is now thirteen feet in circumference. It is believed to
be the largest of its kind in America.
By 1900, following Margaretta Ridgely's
active management of the gardens, an-
other prominent mistress of Hampton as-
sumed responsibility for preserving the
family's traditional interest in horticulture.
In 1902, Helen Stewart Ridgely revised
the formal garden designs, apparently un-
changed since 1850, so that the grass
walks could be mowed by horse-drawn
mowers rather than by hand. This and
other cost saving innovations were insti-
tuted, and the elaborate gardens were pre-
served for years to come. Eventually, how-
ever; all but the Parterre I were returned
to grass as the economic decline at
Hampton forced the Ridgelys to cut back
on gardens and grounds maintenance.
The landscape and horticultural considerations at Hampton have had an interlocking
cultural history with the Mansion and its occupants for 200 years. The formal gardens,
specimen trees, orchards and kitchen gardens as well as the supporting structures have
played a major role in the evolution of the Hampton estate.
-.~.~ ~~½-r~½~~.~
This photograph of John Ridgely, Jr., and others
sledding down the central ramp of the parterre
gardens was taken c.1905. Dressed in suits and
bowlers, the gentlemen appear to have "formally"
accepted the challenge of this exciting sled run.
Hampton NHS Collection.
This view of Parterres II, IV and VI was photographed c.1890. li indicates the aftered form, first developed
at Hampton by Eliza Ridgely, using Vktorian bedding plants instead of boxwood. Planted here are
annuats such as alternantheras and coleus. Hampton NHS collection.
r
r
°For further information, please see the separate brochure and map on Hampton's grounds and garden&
64
65
of the greenhouse or "hothouse" In fact, the Orangery at Hampton was called a green-
house until the latter part of the 19th century.
Hampton's classically-inspired Orangerie is a reconstruction of the c. 1820 Greek re-
vival structure which burned in 1928, leaving only the north and west brick walls. The
specialized structure was built to house citrus and other tender fruits which could not
survive a Maryland winter out-of-doors. Rarely seen in early America, only one original
orangery is known to exist today.
Lemons and oranges, cultivated in the Mediterranean by the first century A.D., were
initially brought to America by the Spanish, who introduced them to the Indians of
Florida in the 15th century. During the mid-19th century, the Orangery at Hampton
housed one of the finest citrus collections in the United States. The Ridgelys encircled
the Great Terrace with over 40 lemon and orange trees, potted in tubs and panelled
boxes. These plants were transferred to the Orangery during the winter months. Addi-
tionally, grapes were grown on the interior walls in espaliered fashion.
The Orangery was heated by solar energy through the full4ength windows on the south
and east sides, and by a hypocaust, a type of wood-burning furnace, in the west-side shed.
The hypocaust provided heat through flues which ran under the floor; radiating heat
around the perimeter of the room and up the chimney.
On the north side of the Mansion is an ice house with a domed brick ceiling, field-
stone side walls and an underground vaulted passageway. The central cylindrical cham-
ber is almost 34 feet deep. Here the Ridgelys stored ice, which had been cut from nearby
ponds in the winter and packed in straw, for use in the summer. Construction of the ice
house was contemporary with the building of the Mansion.
The eastern perimeter of the Mansion was flanked by several dependencies. Those
which exist today include a late-18th century shed and privy, and a 19th century privy.
The locations of the privies, which had multiple seating, were changed as necessary,
although they were constructed with clean-out traps in the rear.
Also present on the eastern perimeter are a 20th century garage and a late-18th
century smokehouse. Meat houses, a fish house (perhaps with a holding pond), a cider
cellar and other food storage buildings were once additional extensions of the estate ~
indicated on building inventories. These dependencies would have been imperative fc
early food preservation, to feed the large number of people the estate supported an
entertained.
With gas that was manufactured on the
estate, the Ridgelys utilized gas lighting
in the Mansion for more than 60 years.
The gas house and a holding tank, for-
merly located northeast of the Mansion,
no longer exist.
Cisterns were located on both the east
and west sides of the Mansion. After the
east side cistern ceased to function, a
tank was installed on the east wall of the
house near the roof. Water was conveyed
into the Mansion by way of a pump in the
small building on the east terrace, from a
spring some distance to the north. Al-
though altered, this structure remains
today.
An octagonal frame structure was built immediately to the east of the Mansion durin~
the 19th century to accommodate some of the house servants. This building, which did
This octagonal two-story frame structure we
located on the east terrace and was living auar'er~
for several house servants. The building burne~
c.1946. A herb garden is planted on th~
foundations.
Ice Hous~ This structure is considered contemporary with the Mansion at Hampton and was used to store
ice for use in the summer months.
41q
~tr~ -.
View of the Ridgely f~inily burial vault, located on the Hampton estate, at the time ofCaptainJohn Ridgelys'
death, 193&
66
67
not have plumbing or electricity, burned about 1946. An herb garden is now planted in
its foundation.
The Cemetery
The first master of Hampton, Captain Charles Ridgely, stipulated in his will that a fam-
ily burial ground should be constructed: "I direct that my Body be decently interred at
the discretion of my executors hereafter named at my present dwelling Plantation where
I direct that a vault be made and that Charles Ridgely Carnan do pay Moses Dillon for
doing the same" The vault and burial ground, with a brick wall and iron gates, is located
at the southeast corner of the park. Each generation of master and mistress, and many
of their children and spouses, is buried there. The Ridgely family cemetery is not open
to the public at the present time.
Garden Support Structures
At one time, many buildings were utilized in the horticultural operations at Hampton.
These included the gardener's house, a maintenance building with quarters, and two large
greenhouses. These buildings still stand. Buildings which have disappeared, such as the
fernery, grapery, rosehouse and propagating houses, were similarly important in main-
taining the gardens and grounds.
The gardener's house was built sometime before 1843 with additions added c.1855.
This building has been altered extensively and is presently a private residence for park
staaf. The first greenhouse may have been erected early in the 19th century, but was late
Victorianized with decorative metalwork removed during restoration. The second greer
house was constructed in the mid-19th century. The garden maintenance building, whic]
housed the horse-drawn mower and other garden equipment, also contalned housin
for one or more of the gardener's assistants. It was built in the latter part of the 19th centur:
The Stables
Hampton was renowned for its racing and breeding of thoroughbred horses. A ston
stable for these horses, built c.1805, stands just northeast of the Mansion. This buildin
once had fine wooden stalls for the horses, and its exterior was stuccoed to resemble th
Mansion itself. The stucco was removed in the 20th century and has not been restorec
A second stable, built next to the earlier stable in 1857, is constructed of cut stone an
was never intended to be stuccoed.
Across the lane to the east of the stables, a large carriage house once stood. Whil
this carriage house no longer exists, two of the Ridgely vehicles which were housed the~
are now on exhibit in one of the stables, along with pieces of harness.
The Farm Property
The agricultural establishment at Hampton reached its zenith in land under cultiv
tion and in pasture during the occupancy of Charles Carnan Ridgely, 1790-1829. Tb
scope of the farm operation decreased over the subsequent years, but agriculture w~
pursued as a necessary supplement to other family vocations well into the 20th centur
There are, at the present time, more than 14 acres of land across Hampton Lane whic
reflect remnants of the estate's farm operation. Included in this area are two 18th cei
tury buildings plus several mid-19th century structures which do not appear on the 18A
Barney map. This portion of the park is not open to the public.
Stable I, built c.18O5 to house the famous Ridgely thoroughbred horses, was originally stuccoed like the
Mansion.
The lower House or Parmhous~ lived in at various periods by the Ridgelys, their overseers, or tenan
contains elements c.173O. ft was enlarged several times and aftered to its present appearance in 19~
Is
ff
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69
The frame house with gambrel roof, known at various times as the Farmhouse.
Overseer's House or the Lower House, was the focal point of the Hampton farm. A
tral portion was constructed in the first half of the 18th century and altered later ir
18th century and again in the 19th. A final addition was completed when Mr. and
John Ridgely, Jr., moved from the Mansion to the Lower House in 1948. Earlier Rid~
may have used the Lower House as a temporary residence while the Mansion was ui
construction, although they owned other more substantial houses at that time.
Slaves and servants performed an essential function in plantation culture. Most of
quarters were at some distance from the Mansion, including some located near the
works, the mills and the quarries. Not as distant, at the farm properti, two early log qua
were torn down and enlarged and rebuilt in stone, c.1850. At about the same time, a I
quarters building, which remains as a log structure, was rebuilt from two earlier si
tures. During this mid-19th century period, other buildings such as the Mule Barn,
House and Granary were also rebuilt, with the decorative addition of scrolled and pie
fascia boards.
The distinctive dairy-springhouse is believed to be contemporary with the Man.'
A spring emerges under the gothic stone arch and flows into the building in directed c
nels. This water kept the milk, cream and other dairy products cool. The dairy was n
fled somewhat in the 19th century and continued in operation well into the 20th ceti
An early and extremely large stone cow barn was located near the present Long H
Granary. This barn was demolished about 1965.
The Ridgelys made a fortune by combining their pursuits of agriculture, industry
commerce. This success allowed the family to maintaln a way of life realized by few Ai
cans in the 18th and 19th centuries. Their lavish and comfortable mode of livin~
made possible by a large work force, operating throughout the many outhuilding~
dependencies. Only by relating the activities of these areas and the servants and ci
people who facilitated the life of ease within the Mansion can we hope to gain a rea
image of Hampton's past.
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Conclusion
special combination of grand and distinctive architecture, impressive form
gardens and landscaped grounds, representative dependencies, and a sign ii
d~ntsh~S~or in has is only one of many great historic houses in America. However; i
aesthetic remnants of this early estate reveal an exciting and intrigt
ing American adventure. A fairy tale success story, the first generations of America
Ridgelys, using energ~ tenacity and ingenuity, realized their greatest ambitions, whic
enjoyment of Hampton Mansion, the centerpiece
dream.
success, with its encumbent traditions, was relished by Ridgely descer
generations. An additional dimension, the story of those who worke
for the Ridgelys, from artisans and cooks to overseers and slaves, is interwoven into th
estate's fabric.
The preservation of Hampton and the conservation and interpretation of its cultun
resources offer a dynamic challenge to the National Park Service and to its cooperatin
volunteers and volunteer groups under the direction of HistoriC Hampton, Inc. The sit
provides each of us with an opportunity to re-examine a revealing portion of America
past. Its worth can be clearly demonstrated: the social and economic implications of thi
monumental family home, in the center of a self-made agricultural, industrial and corr
mercial empire, are illustrative of our cultural heritage.
The full potential of Hampton as a National Historic Site has not yet been realizec
We hope that you will return to Hampton again and again to explore its emerging stor
with us.
Louise H. Ridgely and John Ridgely, Ill, c.1912. Hampton NHS Collection.
70
71
72
73
Helen Ridgely, daughter of Captain John and Helen West Stewart Ridgely, in the Music Room at Hampton,
c.1887. This great-granddaughter of "The I"tdy With a Harp" posed with Eliza Ridgely's double.movement
harp, ordered from London in 1817. Hampton NHS collection.
An informal family group on Hampton's South lawn, c.1891. Hampton NHS collection.
Mr~ I
From left to right: John Ridgely, Jr., sixth master ofHampton; David Stewart Ridgely; and, Julian Ridgely,
c.189L Hampton NHS collection.
74
Appendix 1
Ownership of The "Hampton" Estate
Dates
1745-1760
Colonel Charles Ridgely
purchased land from Ann Darnall Hill
1760-1790 1st Master of Hampton
Captain Charles Ridgely
Mansion constructed 1783-1790
1790-1829 2nd Master of Hampto
Charles Cam an Ridgely
also called General Ridgely or Governor
Ridgely
1829-1867 John Ridgely 3rd Master of Hamptor
1867-1872 Charles Ridgely 4th Master of Hamptor
1872-1938 5th Master of Hamptor
Captain John Ridgely
shared management of estate with his
mother Margaretta Sophia Howard Ridgely
until 1904
1938-1948 John Ridgely, J?: 6th Master of Hamptor
Farm property 1948-1983
1948-1959
John Ridgely, 6th Master of Hampton
known as John Ridgely, Jr.
1959-1980 John Ridgely, III, and other heirs
1980-present National Park Service, as complement to
original 1948 acquisition of mansion and
surrounding acres.
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Appendix 2
I I I
Charles Rebecca Dorsey Prudence Gough JO
b. 1783 b. 1786 b. 1788
m. Maria m. Charles d.y.
Campbell Wallace Hanson
ROBERT RIDGELY
emigrated by 1664, m. Martha 7
I I I I
Robert CHARLES William Martha
b.16
d. 17W5
m. Deborah Dorsey
I I
CHARLES William Deborah
b.c.1700
d. 1772
(1) m. Rachel Howard
I I I
John Pleasance Charles Achsah William CHARLES Rachel
b. 1723 b. 1724 b. 1727 b. 1729 b. 1731 FIRST MASTER OF HAMPTON b. 1734
m. Mary Dorseym. Lyde Goodwin d.y. d. 1785 d.y. b. 1733 m. Darby Lux
(1) m. Robert Holliday d. 1790
(2) m. John Carnan (3) m. Daniel Chamier m. 1760, Rebecca Dorsey
b. 1739, d. 1812
d.s.p
Charles Ridgely Carnan
(name changed to)_____________________________________
CHARLES CARNAN RIDGELY
SECOND MASTER OF HAMPTON
b. 1760
d. 1829
m. 1782, Priscilla Dorsey
~. 1762, d. 1814
I I I I
iN CARNAN Prudence Achsah Henry Priscilla Hill Eliza David Latimer Sophia Gough
b. 1791 b. 1792b. 1795 b. 1796 b. 1797 b. 1798 b. 1800
m.Georgem. Jamesd.y. m. Stevenson m. Harry m. Mary Louisa m. James Howard
Howard Carroll White Dorsey Norman
Gough Carroll
Mary Pue Harriet
b. 1802 b. 1803
m. Charles S. W. m. Henry Banning
Dorsey Chew
(con't)
JOHN CARNAN
THIRD MASTER OF HAMPTON
b. 1790
d. 1867
(1) m. 1812, Prudence Gough Carroll
6 dau. d.y.
(2) m. 1828, Eliza Eichelberger Ridgely (dau. of Nicholas Greenbury Ridgely and Eliza Eichelberger)
b. 1803 d. 1867
I Priscilla Nicholas Greenbury
b.1831 b. 183d.y. d.y.
Eliza ("Didy") CHARLES Julia Maria
b. 1828 FOURTH MASTER OF HAMPTON b. 1841
(1) m. John Campbell White b. 1830 d.y.
d. 1872
m. 1851, Margaretta Sophia Howard (daughter of Sophia Ridgely and James Howard - see above)
Henry John (d.y.) Julian b. 1824, d. 1904
(2) m. Dr. Thomas Buckler
Willaim Hepburn Buckler Charles Howard Otho Eliza Juliana Elizabeth Edgar Margaretta Sophia
JOHN b. 1853 b. 1855 b. 1856 b. 1858 b. 1862 b. 1863 b. 1869
rIFTH MASTER OF HAMPTON d.um.1873 d. 1900 d. 1929 d.um. 1954 d. 1951 d. 1864 d.um. 1949
b.1851 m. Helen m. Henrietta m. John Southgate
d. 1938 Tucker Thomas Yeaton
m. 1873, Helen West Stewart Ridgely
b. 1854, d. 1929
I I I I
Leonice Josephine Margaret Howard Helen Stewart Charles John Stewart JOHN David Stewart Jul ian White
b.1874 b. 1876 b. 1877 b. 1879 b. 1881SIXTH MASTER OF HAMPTONb. 1884 b. 1887
d.um. 1934 d.1936 d.um. 1979 d. 1882 d. 1882 b. 1882 d. 1978 d. 19 ?
m. Clarence Leidy d. 1959 m. Dorothy Emma m. Marguerite Hunt
(1) m. 1907, Louise Humrichouse Powell
(2) m. Jane Rodney b. 1883, d. 1934
n.s.p.
John James Walker Humrichouse Louise
known as John III b. 1915 b. 1920
b.1911 d. 1976 (1) m. George Hawkey
m. Lillian Ketchum m. Gertrude Cochran (2) m. Noble Buckingham
Genealogical Chart of the Ridgely family