Truly;

Chastain:

Neal:

Chastain:

Wise:

Chastain:

Wise:

Jones:

Neal:

Jones:

Neal:

Jones:

they're with us for.

Yes, I think so. That wouldbe II'!Y inclination, too.

Well, whatwe're really saying in the brick itself, be-

tween the nodular red and the standard yellow, there's

approximately fifty dollars a thousanddifference in

price.

Yes, that's about right.

There's not any difference in the laying of the walls,

is it?

No, sir.

But now,on the rustications that Mr. Jones wasmention-

ing, do you think Al will knowwhat he's talking about?

Yes, sir. This is what you used to do before you... nON ,

you cone in with a bellows metal millcore trim and put

in ..• this is for a... we complain... in your stucco, so

that if you do have any cracks in it, you hope that it

cracks in these points. Is this not so, Mr. Jones?

Well, this was done!lOreor less to simulate stone, you

see.

That sounds so impure.

Well, it maybe, but it was exactly whatwas done; in

fact, they preferred it actually over a stone interior,

but they used it

But that sort of cosrretics goes against II'!Y grain.

I'm glad. I was going to suggest that you ch~ge your

cast stone to limestone.

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" ~)V copyright< ,'I \J. 5. Code)..

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Wise:

Jones:

Neal:

Jones:

Neal:

Jones:

capers:

Are you thinking of your rustications as somethingthat

wouldconveythe ---

I think that it wouldreplace. The restoring that is

there nowis not done correctly.

Oh, I see. Well, are there any comrents from any of

you gentlemen? I've madesorre rather crude notes on our

meeting and have madecopies for everyone. If you will

pass sorre that way, and pass sorre this way... I think

that's about enough... and we can review these. See, I'm

finally catching up with you, Mr. Jones. Westarted

through this in sort of an orderly rranner, from the front

porch, and then rrovinqon back through the house. We

concerned ourselves prirrarily with just the rransion, not

with the addition, so that these notes makereference to

the mansion, the old rransion. Mr. Jones, if you would

discuss each of these for us, and elucidate

I thought you were going to call me "Ed."

All right.

Wemight as well start off right. I first brought up

the entrance porch. I don't think the terrazzo is in

character, and, unless we can find someevidence as to.what was there originally, that we resurface that with a

suitable material whichwouldhave been used in a Greek

Revival house.

I think we have what was there before. I think weknow

T. N0T:Cc,<: .:.t . MOAH

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Jones:

Truly:

capers:

Jones:

Neal:

capers:

Truly:

capers:

Lewis:

Jones:

Chastain:

Neal:

Jones:

that, though I don't knewwhere it is. I've read it

sOl1l2Where.

I think it's in the records. I understand that it

might be in the records.

Makea note to look it up, Jones.

I'll look it up.

It could be stone, it could be ---

Charlotte, you're going to have this typed up and give

us a copy?

Yes, sir.

Are you bugging that?

I'm bugging the Watergate, you bet.

There's no doubt in ~ mind that terrazzo was not there.

Yes.

I think that whatever you use as a replacerrent depends

on the thickness of the ••• I would not like to go back and

rebuild the whole thing.

I irna.ginethat's a conventional set, whichwouldrrean

that it's sorravherebetween two and one-half and three

inches.

Could it be stone? I don't think it could be rrarble.

I've seen Ainsley Hall in Charleston, whichwas built

about the sarre period by Robert Mills, had square brick

pavers on the portico, so there are several materials,

but wemight find in the records exactly what was up

there.

"'oTlce.ul may be

. II copyrighr•.••• 7 U.S. Coder.

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Lewis:

Jones:

Chastain:

Neal:

capers:

Neal:

capers:

Neal:

capers:

Neal:

The steps there seemto have been woodthe first go-

round.

Yes, they were undoubtedly\\DOd.

Well, we've already talked about;the entrance door, and

I think we are in agreerrent on... that the detail should

be given scmeconsideration.

We'vehad a very... and I think that at one tirre I talked

to Charlotte about this.

I've always been very firm about the front door.

Whenwe got to this point, we decided to take a very

negative attitude, and do nothing at the rrornent.

That was after he talked to me,

Charles Peterson urged us to do exactly what Mr. Jones

is saying, renovate the front door back to its original

state.

Restore!

Restore it to its original state! Wewere hesitant

because that door and the sidelights are so popular I

everyl:x::>dyloves them. Theother reason was - and I

forget whobrought this up, but it was a practical con-

sideration - in that it let rrore natural light in the

hallway; and, of course, originally there was a windowat

the grand stair hall which'WOuldhave let light into the

space. That being closed up, the place is somewhat

darker inside.

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Jones:

Neal:

Jones:

C1lastain:

Jones:

Neal:

Jones:

C1lastain:

Jones:

Truly:

You'll get exactly the sane anount of light, because the

original door had a transomand sidelights, too. It was

just a different design.

It was not a glass door?

No. It was a woodendoor, but you had your transomand

sidelights whichwouldgive you a certain anount of

illumination. I found, with the help of Mr. Johnson this

rrorning, that the original door frarre, the one that's on

the exterior, is real, and that there were panels that

were, the recess there, the set-in, was original, and we

took off a flat ---

(TapeInterruption)

Andthat the main entrance door to the room, the orna-

mental door was here in the center of the room, and when

they put that door in, in 1908, they destroyed all evi-

dence of it. Becausewhat they did was, they widened

that into a big door.

In other words, you just think that was a typical --

Just like the door in the front hall.

Alxmta six by eight?

Well, it's a big door.

It's not a double door, is'it?

No, a single door.

Let me see that little sketch a minute. That's the thing

about that that puzzles rre , ever since we unearthed

it --- MDAHTICE

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Capers: It puzzles rre, too. I never did understand howthey got

into those two 'arched doorwaysfrom the hall into the

dining roomand into the so-called music room.... HON did

they get to them?

Jones: This door is related to this, though, that I'm sure that

the service stair carre from the outside, possibly on a

porch or sorrething, because they utilized the tightest

headroom. If you'll look at that, the headroomwas

really quite restricted, and this door's being under this

makesrre believe that that was ---

Truly: Now.,there were sorrestairs comingup from the basement

comingup this way, too.

Jones: I see no evidence of that.

Truly: Yes, they were there. I've seen part of them.

Jones: Well, were they period stairs?

Truly: I don't know,but on Hull's plans, that we've got a copy

of, it says "renove stairs."

Jones: I thought the stairs wewere talking about --

Capers: There were stairs.

Jones: Theywere underneath the main stairs.

Capers: No, there's another set of stairs on the other side.

Jones:

Theycarreup through presently what's the dining room.

I didn't knowthat. I haven't ---

Lewis:

Capers: Well, Hull's plans are available. Wedo have them.

Jones: I would like to have a set of them.

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Jones:

capers:

Jones:

Neal:

Jones:

Chastain:

capers:

Chastain:

Jones:

Chastain:

Jones:

Neal:

Jones:

Chastain:

I wouldlike to have a set of the "as is" docurrentsif

I could get them.

All right. I don't have anything but Hull's plans.

Ed, did you say that you all were doing sorre?

I'll get sorrefor you.

Well, I still think as a matter of function, Mr. Chastain,

that that door is important because --

I think all of us are puzzled by ---

I'm real puzzled by all the entrances and exits and holes

in the walls.

Wouldyou like ... I'm not trying to push things off ... but

wouldyou like to run this by the specialist, Charles

Peterson, and see if he concurswith that?

Anythinglike that you want to do suits rre fine. I think

that all these things are mentionednow. Myonly objec-

tion is just like your objections, Ed. I'm not trying to

change it, I just want it to be perfect. I just want it

as pretty as we can get it.

Whatabout the fireplaces?

I madea suggestion that we Lookfor old mantels, Mr.

Chastain. I'm convincedthat the mantels that were in

those two front roomswere'not the first period mantels.

You're thinking about every fireplace in the old building?

Well, I think they ought to be carefully studied.

Now,there were two of themup there that we just glanc AHat. I believe they were on the second f.Ioor, though.

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Jones:

Chastain:

Jones:

Chastain:

Jones:

T:r:uly:

Jones:

T:r:uly:

Capers:

Jones:

T:r:uly:

Jones:

Chastain:

Jones:

Neal:

YesI they looked like they might have been originals.

Theyhad wood,wood---

Woodenrosettes on them.

Right.

They look like they might be original m:mtels, noreso

than the marble ones on the first floor.

Whenyou say "first period," just what do you rrean?

That rreans what was put in the 1841 const:r:uction.

Not counting up to the 1857 renovation?

That was the gaslight period.

No. I meanthe first period. I hope that's what we're

going to get back to. There were sone alterations made

in 1857.

Weknowthat. That's the reason I asked.

That's whenthey put these later m:mtels in.

Whenyou say those m:mtels should be studied, are you

in a position to do that? As a part of the decorative

work?

Yes. Yes. I'm not in a position to buy them, but I'm

in a position to study them. Here's a m:mtel that's

exactly the period of the house. That's a very fine

marble m:mtel of the 1840s', and I'd like to see you try

to locate period m:mtels to go in there.

He suggested yesterday in our discussion - check rre if

I'm wrong, Ed - that to design and have madenewm:mtels

wouldn't work too well because we can't get proper '·1DAHNOTICE

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Jones:

Chastain:

Jones:

Chastain:

Jones:

Chastain:

Jones:

Chastain:

Jones:

Neal:

Capers:

Jones:

craftsmanship or materials.

If you have a marble mantel madetoday to simulate one of

these mantels in there, you'd be so tragically disappointed

in the result.

Well, now,would this be the location of the existing

mantels in this house, 'WOuldthis be a part of what we

might consider decorations?

No, this is considered architecture.

WhatI'm getting at is, of course, we'd ultimately have

to cane back to the contract that exists, but ---

I think it woulddrastically affect the decoration.

That's the reason I'm so intent on it. But it should

cone in your architectural contract. In other words, it

should COIIe through Mr. Wise.

Ulitmately, Mr. Wisewouldhave to install whatever was

found.

In other words, the problembeing to locate the mantels

WhatI "mgetting at is, in order to locate these, you

have IOC>resources ---

I knowwhere two of themare now. Oneis in ---

He's got all that stuff stashed away... all around the

country.

Well, he's been furnishing the White Housefor years and

the ~tro:[X)litan Museum.

HNo, I'll tell you what I've been doing.

with every dealer, every curator of every museum,I know

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Capers:

Neal:

Chastain:

Jones:

Capers:

Jones:

Wise:

Truly:

Jones:

Truly:

of.

Theyall knowhim.

He just ratholes this stuff.

Whatwe need to determine is hewmanyof these we need.

That's the reason I said we need to study, we need to

see what we can find. I would like very muchto find

close to a pair for the two front opposing rooms, you

knew. Andthen we'll consider what we locate as to

whether we can relate it to the room. It's got to be the

right size, it's got to fit in the chimneybreast,

everything is iJnrx>rtantin getting themexactly right and

then doing a detail and elevation of that wall, so that

wewill knew. All of that is a study so wewill get the

right results.

Don't you think that coal was probably used a gooddeal?

Coal fires? Andwe knowthat at one time Franklin stoves

were used, and they must have just hookedup to that ---

Manyof these fireplaces had hearth grates whichwere

designed for coal.

Wewere reusing the marble.

Whatkind of rroneyare we talking about if we actually

locate sane goodmarble rrantels?

Probably, if you find a marble mantel, probably less

than it wouldcost to have one made. I wouldsay --- MDA Ii }'

I don't even knowwhat it wouldcost to have one made.

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Jones:

Wise:

Jones:

Chastain:

Jones:

Lewis:

Wise:

lewis:

Wise:

Capers:

Wise:

Lewis:

Well, I tell you, with marhle conpanies today, it wouldn't

be cheap, would it, Mr. Wise?

No, sir. I have no idea what it would cost.

I can't answer your question exactly, Mr. Truly, because

it depends on where you locate it. If you locate it in

a small ..• I knowof the existence of one that's just been

taken out of a house in Goshen, NE!W'York, through Mr.

Barry Trace at the ~tropoli tan Museum... wing. I haven't

seen it, but he says it is a beautiful marrte.Lmadeout of

Pennsylvania marble which, of course, was called King of

Prussia •.. quite pretty. This manbe.Lin this book you saw

there is madeout of black and gold and is an Italian

marble1 but these were done and imported for this market.

Are you sure, are you going to study these, or is it

your idea that somebodyis going to study these IPa.ntels

IOC>reto see if any of them could have been original?

I would IOC>stcarefully examinethe mantels we have,

particularly no.N that they've been taken out.

Youdo not propose to removethese mantels?

They've all been removed.

They've all been removed?

Yes, sir.

They're there.

They're set aside.

In other words, the grate openings are there, the fire-M DA Hlace openings are all that are there. You've taken the

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Wise:

Lewis:

Jones:

Lewis:

Jones:

Lewis:

Jones:

capers:

Jones:

mantels out?

That is correct. Yes, sir. All the mantels and trim and

stone.•. wehave them.

Well, what 1"msaying is that we're leaving this as a

dangling point, and that's the reason I asked if, on the

changes, Mr. WiseI s office has got to put it in, because

whenwe say "study," we've got to determine right nowthe

easiest thing.

Well, you see, in spite of what Ed says, I don't have

these things stashed away! You'vegot to find them, and

youIve got to find themthat fit the chimneybreast and

are properly scaled to the room.

In your looking for furniture, wouldyou have an oppor-

tunity to touch on such things as mantels?

Oh, yes, definitely. I plan to do that.

In other words, at the rrorrent,you will be looking for

mantels.

Thenif I can get a three-fourths scale elevation of that

wall, I can draw in the mantels I get, sketch themin,

and be sure that they will work, you see.

Wehave sorrechoice... I asked Mr. Jones earlier ... suppose

we think that white will be prettier than black, or that

black will be prettier than white... but he's working

tcmard a period thing ---

Well, that depends, Charlotte, on whatwe find, what

we're able to locate.

NOTICE

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Chastain:

Jones:

Neal:

capers:

Jones:

Chastain:

Jones:

Neal:

Jones:

capers:

•

All right, sir, so at any rate, you're going to be look-

ing for mantels. Okay,what about the cornices and

ceilings?

Well, they're going to have to be created, if they're

foLl.owiriqnineteenth century precedent.

Well, he's suggesting here, you see, that what wehave

there nOVlI that Terrell was going to replace exactly "as

was," is inappropriate to the 1841Greek Revival period.

Don't forget the point about the ceilings.

I think sorreof it might be. I just saw it for a brief ... I

guess wewere in there thirty minutesI weren't weI Mr.

Chastain? My feeling about it was that sorreof it could

be original, sene of it was elaborated on in 1908, or in

a later addition it was altered.

Doyou think that it was a simpler cornice?

I think the chances are ... you see, this house is Greek

Revival, and it demandeda simple, direct approach. See

howsimple the door trim is, except for the ornanental

doors that cone in fromthe entrance hall.

I think that you're going to find that those lambs'

tongues and grapes were put in there in late nineteenth

century.

Probably were.

That wouldbe in 1857, and that's what we've determined

and that's why... see, they were put in because of the ga·.

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pipes, whenwe got gas lights, and weknewthat. I rrean,

that's what our records show, that gas lights wereput in

in 1857.

Jones: See, there's a cornice of 1840.

Truly: Well, the thing .•• I think it wasput there probably in

1857 I and it's too gaudy. I never did like it.

Jones: I think you'll find your earlier cornices sirrpler.

capers: Sirrple and white•••this gold stuff ..• but that wasplanned

there to cover the gas pipe whengas was put in in 1857.

Truly: I'm going to tell you, really. Now, this is one place

WhereCharles Peterson and I disagreed. Wedidn't fall

out, but we disagreed. Hekind .of liked that stuff.

Didn't he, Ed?

Neal: Yes. Well, based on his corrmentsand guidance, we left

it.

Truly: That's right, and that was all right with Irei I was

willing to take it, but I'm just as glad that it carre

dcwn, if you.want to knowthe truth about it.

Jones: I think that correct ornamentalplaster is an important

thing to the mansion, but ~ first reaction whenI saw

that was that there were alterations madeat a later

date. It wasn't all pure.'

Truly: That maybe. It was just too gaudyfor ~ tastes. Now

this is where•.. let Ire ask you this about these center-

pieces. Charlotte tells Ire that she had discussed with

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you the question about lowering those ceilings a little

bit so that we could have conduits for lights.

capers: Youknow, the board gave you all permission. Youasked

us about that, but I asked --

Jones: I prefer not to see the ceiling heights altered if it's

possible to get anything in without altering them.

Neal: We need about an inch and one-half or two inches.

Jones: Becauseyou changeyour relationship with these windows.

Yousee, these windowsare very tall here, they go very

close to the ceiling and ---

Neal: Wechecked that.

Jones: Andthat two inches maybe a very important part of the

cornices.

capers: You've got to get your cornices in.

JOnes: I think if you retain ... if you can bring your conduits in

and get thembetween the joists ... you've only got one

conduit to get in there ... that affects the center of the

room.

Neal: No, we do have someothers.

Jones: Well, you can run conduits around the roomin the comers,

and the cornices will cover it.

Neal: Well, in any case, we.•• in .other words, you feel like

that might be like the extra two inches on the end ofMDAHyour nose?

capers: Yes!

).

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Jones:

Truly:

capers:

Chastain:

Jones:

Chastain:

Jones:

That's right, that's right. My personal opinion is to

let's keep this historic Part of the mansionjust as

close to the original as wepossibly can.

'Whatis all this noise I keep hearing? Soundslike a ---

It's the return air!

Becauseour time is limited, I want to skip to one down

here because the matter of the scoring and the slag

cement is really sorrething that we've really kind of

touched upon. The captain's walk is awayfrom us for

awhileI and the side entrance is awayfrom us, but the

windowsare not. Now,you had sane comrents about the

wi.ndcscs that were there I Mr. Jones, that I'd like for

your to just repeat. Wedon't want to rerrovesomething---

The instructions in the specifications at present instruct

. Mr. Wise to take out those windowscompletely and replace

them.

Youmeanthat's the sash and all?

Everything. Accordingto Mr. Johnson's instructions.

Takeout everything, and I'm convincedthat those windows

are essentially first period I and that we ought to retain

them. The sashes, now, need to be replaced, but they

ought to be replaced with heart longleaf yellCMpine. I

believe we can get the materials to have themreconstruc-

ted with. The details of the mmtans should be in the

character of an 1840GreekRevival house, and those oug

to be replaced; but the windowsthernselves, the frarres

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Chastain:

Jones:

Wise:

Chastain:

Jones:

Chastain:

Wise:

Lewis:

and all, definitely not! I'm sure that they're first

period.

Well, what this is really saying, Terrell, is this is

doing less to the windowsthan anticipated and buying

less materials.

That's right.

Well, this is the truth, in part.

Yes, well, I knowit sounds simpler than it is. I recog-

nize this.

Of course, if Mr. Wisefinds that one of the sills is

rotted, I say wehave to replace it. But let's replace

it with heart longleaf yellow pine.

Couldwe give this direction, which is in conflict with

the specifications?

If he tells Ire to, yes, sir. Whatwe're doing, Jim, on

these particular windowsof whichyou speak, ~ are not

going to removethose right now. Wewere going to leave

those to maintain the weather on our building, see,

because if not, we'd be open to the elerrents. You'vegot

a short period of t.irne that this will be just kind of a

mootquestion.

Let Ire hastily run by you here what wewere thinking

on that. Wedid not know,because we had not tom into

the wall, to knowhowmanyof those frames might be de-

teriorated. To keep fromhaving a lot of additive change

orders, ~ had put in there that the frarres wouldbeNOTICE

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Wise:

Lewis:

Wise:

Capers:

Lewis:

Wise:

Lewis:

Wise:

Chastain:

Wise.

rerrovedas well as the windows. The trim we anticipated

saving, except for the base. Wethought we'd have to

rerrove the base in order to level the floor. Anticipating

that we'd have a "clerk of the works" there, we could

then take each of those windowsout and check them to see

if, in fact, those frames were used; then wewould have

somebasis to carneback and negotiate with Terrell.

Wewouldn't want Mr. Johnson to go downthere and take

them all out.

No. That was never our intention, to take the windows

out.

Don't take the windowsout, Pete.

Save the windows!

But we had to have something in there to be covered, be-

cause if you comeback with a change-order.... There are

the last two i terns on here that are touchy, and I think

one of the things we'd like Terrell to do is ask Mr.

Taylor, or Joe Scanlon, orsortebody what happens to us in

the difference in cost in Hondurasrrahoganyand poplar.

Youmeanwood?

Yes, just the cost of the proposition.

Let meoffer this suggestion on that. Let's don't rock

the boat on that right at this minute.

You're not going to run it tomorrow?

No, sir. Wehaven't given him the signed purchase order

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Chastain:

Neal:

Wise:

Neal:

Chastain:

Wise:

Neal:

Jones:

Chastain:

Jones:

Chastain:

back. Weivetold himhe's got a job, but let's get these

other little details workedout and try to get it all in

there.

Hardware,which is the last item, is pressing.

That is the rrost pressing.

Yes, sir, that is the rrost pressing thing.

Let Ire differentiate betweenthe original house and the

living quarters , family quarters. Weare looking to you

to help us. Of course, family quarters, too. But this

is a wholedifferent kettle of fish.

Haveyou got a schedule, or have you got a $15,000allowance?

Al.Iowanceis what I've got.

In the living quarters, the first family's quarters, are

you concernedabout the hardwarein that area in tenns of

its design as far as being compatible to the original

house?

I think that they should be compatible, and the best

quality we can get. Of course, there's very little good

hardwarema.detoday.

You're not talking , though, about trying to find, say,

find old pieces and have replicas madefor that portion

of the house.

No, I don't think that it wouldbe practical for the

newaddition at all.

The only place we're talking about pieces to be found,

or replicas made, is for the original building?..• .

AH

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Jones:

O1astain:

Lewis:

Jones:

Wise:

Neal:

Wise:

Original building.

NowI can we go ahead and makethe decision on the hard-

ware for the family portion so that he can get that stuff

on order, because that takes forever to get.

Howcan we cone to an understanding of what to do 111 the

newportion of the mansion?

Well, I think we ought to attempt to find sane newhard-

ware that's closely related to what's available in old

hardware. Of course I that's not easy to do now. Noneof

the mainhardwaremanufacturers makeit. I don't know

whether Corbin or Russell and Erwin makeit, or sane of

those others, nay makea lock that simulates 111 sane way.

It should be a rrortd.se lock and should have a simple trim

with a key escutcheon that relates to what... I found this

morningthat two of those locks in the entrance were

original, original to the rransion. I'd like to get per-

mission to have one of those taken out so that I could

take it with me to see if I can find sane that will match

it.

Now,the pressing point is to coordinate our hardware

with our metal door. Nowthis is sanething we'll need

out there. Youmight alleviate the press of time here if

you rrakea determination you're going to use a certain

size ---

That's just utilitarian stuff you're talking about, isn't·

it?

Right.NOTICE

Thl~ materla,1 may be"rotfcted by copyright,,~w(Title 17 U.S. Code)... OAH

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Chastain:

Wise:

Jones:

lewis:

Wise:

Neal:

Wise:

Jones:

Wise:

Jones:

Wise:

•

Is all of that located in the storage area?

Yes, sir.

I wouldn't worry about that. I'd go ahead and order

that.

Now,that's the garage you're speaking of?

Yes, sir.

Garageand basement.

Nowthen, beyondthat, there is one critical thing that

will be pressing, and that's the track for those doors,

because very shortly, if we start back with our plaster,

we've got to have that.

I'm glad you brought that up. '!hat's an item that I

definitely wantedto rrention. The tracks that you get

today, and the rollers you get today, are inadequate to

support those heavydoors. AsMr. Johnsonpointed out to

methis morning, those tracks are still in goodcon-

dition, the pulleys originally having been wood. If we

can get sorrebodyto rranufacture those pulleys in rretal,

say bronze, and replace those and leave the original

tracks in there, it will be muchrmre satisfactory for

those big heavy doors.

Mr. Jones, on your rollers ~ nowthis is not restoration,

but the practical side. Couldyou use nylon rollers?

Well. .. but I think. that most of the nylon rollers made

today are about that big.

No, I rreanthat these 'WOuldbe madefor this size, and1111 filar'1"j ,

protected t·y GOO 'uJaw/Tit'e 1

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Neal:

Wise:

Jones:

Wise:

Neal:

Wise:

Truly:

Jones:

Capers:

Lewis:

Jones:

Lewis:

Jones:

Lewis:

weight door, because it's mybelief that it would tend to

lubricate itself and makefor a muchmore functional

thing. Andthey're dead to sight, you can't tell what's

there, and use our track, but use a roller that's heavy

enoughto take the door.

I believe you can get those.

Yes, sir. I believe we.can get this simply by unscrewing

the bolt and screwing the other one back on.

Well, see what you can find.

Well, then, could you do this? Couldyou makea hard-

ware selection since it's basically removedfrom the

original house?

We'll have to take bids on that, won't we? Wealways do.

Yes, but we can't conmit ourselves to anybodyhere, and

we're not talking about but a handful of hardware. Why

don't we just buy it?

Wedon't want Mr. Jones to miss his plane, but ---

Well, as delightful as your companyis ---

Mr. Jones, just get up!

Did you say five o'clock?

Yes, I've got to be at the ai.rport; at five o'clock, and

I don't knowhowlong it tilkes.

Weshould have had you a year ago, Ed.

Well, I wish you had. I wish you had.

Well, I wish we had, too, because we've had to go uncharted

on a lot of these things.NOTIce

This materialorOfe"ted b may be

~ Y COpyright·Wv ITitle , 7 U.S, COde).

/

Truly:

Jones:

Neal:

capers:

wise:

Johnson:

Jones:

capers:

Jones:

Wise:

Jones:

Truly:

capers:

Jones:

You're going to get him copies·of all these things he

wants, aren't you? You're workingon that?

I would like to have... Ed said you're workingon sorre

docurrentarydrawings for historic Arrericanbuildings, and

I'd like to have a copyof this, if I my. Anddo you

think you can give mea quarter-scale, I rreana three-

quarter scale, as is, of the front entrance?

Yes.

That's the original plaster rrolding fromthe music roan.

Pete, I believe the pipes were behind this, weren't they?

This was in the foyer, here.

It's a little earlier detail than that. Yousee, that's

a late •.. that's about 1860.

That's an 1857 one•.. I think that's earlier.

This? Not necessarily, not necessarily. It could have

been an earlier one. I think the painting and the gild-

ing has changedits character. ]'X) you have enoughof

these that I could have one of these? Or is this all

you've got?

No, sir. Surprisingly, we've got every piece that's corre

out, havenI t we, Pete?

Good! Good!

You're learning to be a restoration authority.

MDAHHe is! He's really impressedme!

(TapeInterference)

My suggestion is that you don't have any rrodels or an OTICr•.· e'"$ rnar-·w"8'ma ••.•.

DrOtecreo bY"'"'''11\> ITitle ,; UCO/JVright

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Wise:

capers:

Jones:

Truly:

Wise:

capers:

Truly:

Wise:

capers:

Jones:

capers:

~.

rmlds madeat all until this is ---

Whatwe've done',we've gone in and cut each cornice and

madea template of it as it existed. We'vetaken pic-

tures of it, and this had to comedown... and this was

individual pieces that cane down... so we've got a good

bi t of it, and not all of it is in as good shape as this,

because a lot of it had been fractured.

This is a whole lot prettier than this, isn't it? This

is a heavier work.

It's an earlier detail.

This gilding is a better looking gilding than that one

is.

Let mehasten to say that mysecretary helped regild

this. She finished it just before I brought it over

here.

That's whyit looks so fresh --

That's whyit looks clean.

Andwhenwe get through with what 'Wedon't need, 'We'll

put them in a little plaque back there, and the people

that were involved in this ---

I'd love to have one of them.

I'm so excited about this! .

Edward, let mehear fromyou. Giveyour wife mybest

regards. Bring her next time.

/1;ID'AHNoTlce

r"is material may be" (It~t!';d by COpyright'.,' ,r,tlP.17 U S r-:••_

• • 'VVUCI).

/

ise:

If I can get Chastain to take rre to the airport ---

I'll be glad to 'run you to the airport.

Jones: Well, I've got a little talking to do to him. I appre-

ciate it, though.

(Transcribedby MaryH. Mingee)

MDAh

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