Wednesday, July 19, 2017

The Many Graves of Philip Schuyler

by Jessie Serfilippi



Philip Schuyler's grave
 in Albany Rural Cemetery.
There are many questions and myths surrounding the journey Philip Schuyler’s body took after his death in 1804. Some people believe there was a burial vault on Schuyler property that both he and Catharine were interred in. Others believe he was placed in the Van Rensselaer vault upon his death.
In reality, there was no Schuyler vault, and the Van Rensselaer vault was not Schuyler’s first resting place. This begs the question: where did he go?

When Philip Schuyler died at the Schuyler Mansion on November 18, 1804, he was eulogized throughout Albany and beyond. One newspaper laments: “At Albany, on Sunday evening, at 6 o’clock, P.M. after a lingering illness, Gen. PHILIP SCHUYLER, in the 73rd year of age,­­-- As an officer of Superior merit, a most valuable citizen, and enlightened and able statesman, his loss is deeply regretted.” The Boston Gazette reports his death “At Albany, on 18th inft. Gen. PHILIP SCHUYLER, aged 73.” While both of these newspapers cite him as being 73 at the time of his death, he was actually days shy of his 71st birthday. An Albany newspaper still incorrectly cites him as being 71, but spends half a column extolling him:

Albany, November 22, 1804.
IT is with deep regret that we announce the death of the Hon. MAJOR GENERAL PHILIP SCHUYLER, on Sunday evening last, in the 71st year of his age… A man eminent for his useful labours, in the military and civil affairs of our country. Distinguished by strength and intellect, extensive knowledge, soundness and purity of moral and political principles. He was an active, not a visionary patriot. He was wise in divising [sic], enterprising and persevering in execution of plans of great and public utility. Too intelligent to found his notions of political or civil government, upon the perfectibility of man, or upon any other views of the human character, than those derived from the experience of ages: And too honest to tell the people, that their liberties could be preserved in any other way, than by the wholesome restraints of a constitution and laws, energetic, yet free.
In private life, he was dignified but courteous; in his manners, hospitable; a pleasing and instructive companion; ardent and sincere in his friendships; affectionate in his domestic relations, and just in his dealings.
                                     The death of such a man is truly a subject of private and public sorrow.
On Wednesday his remains were entered, with military honors, in the family vault of the Hon. ABRAHAM TEN BROECK.

It is from this obituary that we learn two important facts about Schuyler’s death: he received military honors at his funeral and he was buried in the Ten Broeck family vault.

The military honors Philip Schuyler received upon his death were not unlike what deceased veterans receive today. Schuyler’s casket was draped with the American flag, then decorated with fifteen stars instead of today’s fifty. He also would have been honored with three volleys over his gravesite. This tradition originates from a signal used during ceasefire in battle to let the opposing army know all the dead have been removed from the field and the fighting may continue. It likely serves as a sign of respect for deceased veterans both now and during Schuyler’s time.

After the funeral, Schuyler’s body was placed in Abraham Ten Broeck’s vault, which sat some distance behind the Ten Broeck mansion on the north side of Albany. Schuyler was the first to be interred there. He was followed by Abraham himself in 1810, the Ten Broeck’s daughter, Margaret, in 1812, and Abraham’s wife, Elizabeth, in 1813.

While Schuyler’s body rested there peacefully for some years, that changed in the late 1830s. According to Theodore H. Fossieck, who writes twice about the vault and journey the bodies inside of it took for the Albany County Historical Association’s newsletters in August and September of 1989, the Ten Broeck’s vault fell into disrepair and collapsed in 1836.

Preceding the collapse of the vault was its journey through numerous different owners. The plot the vault sat on was sold three times between Elizabeth Ten Broeck’s death in 1813 and 1831. In addition to this, in the 1830s the City of Albany proposed the creation of three new streets in the area surrounding Ten Broeck’s former grounds, including the vault. The construction of these streets is what caused the grounds around the vault to erode, leading to its collapse in 1836.         

It is between 1839 and the late 1860s that the location of Schuyler’s body becomes somewhat of a mystery. The bodies in the Ten Broeck vault were moved by 1839, but the grounds of Albany Rural Cemetery, Schuyler’s current resting place, were not purchased until 1844. What lends further credence to the theory that Schuyler was not buried in Albany Rural until at least the late 1860s is that no General Schuyler grave site is mentioned in the first walking tour of the cemetery, which was published in 1858. It is not until 1871, in another walking tour of the cemetery, that Schuyler’s grave site is mentioned. So where was his body for about fifteen to twenty years?

A letter from a Schuyler descendant to the Albany Rural Cemetery board of trustees provides a clue. In yet another walking tour of the cemetery published in 1893, the letter, written in 1869, from this descendant, Mrs. W. Starr Miller, is included. In it she refers to “the funeral of the late Patron Van Rensselaer.” The funeral she writes about is likely that of Stephen Van Rensselaer IV, sometimes known as the “young Patroon” or “last Patroon,” who died in 1868, one year before the letter is written.

Letter from Mrs. W. Starr Miller as published
 in 1893 walking tour of the cemetery.
The Van Rensselaer Manor Home.

 
In the letter she laments finding “the old family vault broken up,” and relays surprise when she discovered that its “contents had all been removed.” Among those remains said to be moved were “Gen. Schuyler, his wife and son, John Bradstreet Schuyler [who] had been placed, and interred in the Van Rensselaer lot […] without note or mark as to the spot, save the diagram of the lot [in Albany Rural]!”

The old family vault she refers to is likely the Van Rensselaer family vault, which sat on the Van Rensselaer Manor property in Albany. When the property was later surrounded by railroads the family abandoned it, and it was eventually dismantled in the early 1890s. But even as early as 1868—at the time of Stephen Van Rensselaer IV’s funeral—the vault which held the remains of the family had crumbled beyond repair.

It is with the help of this letter that the journey Schuyler’s body took after his death becomes slightly clearer. It seems as if, after his removal from the Ten Broeck vault in the late 1830s, he was placed in the Van Rensselaer family vault. He remained there until it was pillaged, and was then removed to Albany Rural Cemetery at some point before 1868, when Mrs. Starr Miller was present for Stephen Van Rensselaer IV’s funeral, and was placed in the Van Rensselaer plot at the cemetery with no headstone to mark his resting place. While so far the exact year when this transfer took place cannot be determined, it was at some point between 1858—when the walking tour that does not include him is published— and 1868.
Monument to Philip Schuyler as pictured
in 1893 walking tour of cemetery.

In 1870 Mrs. Starr Miller was granted permission by the Albany Rural Cemetery board of trustees to move Schuyler’s body to its current resting place within those grounds. She then commissioned the monument which still marks his grave site.


Where Catharine Van Rensselaer Schuyler’s body is remains somewhat of a mystery. If she actually was in the Van Rensselaer vault with her husband at the time of his removal then it is likely that she—and her son, Johnny Bradstreet, who was said to be buried there, as well—is still in the Van Rensselaer plot in Albany Rural, where her daughter, Margaret “Peggy” Schuyler Van Rensselaer, her husband, and his second wife, are buried. Also buried there is Abraham Ten Broeck, whose grave is marked not by a headstone, but by a flag holder that declares him a veteran of the Revolutionary War.


Philip Schuyler’s body went on quite the journey after his death in 1804, leading him from the Ten Broeck vault, then to the Van Rensselaer vault, and finally to Albany Rural Cemetery. Hopefully this is his final destination!

Sunday, July 9, 2017

Back Hall

In the back hall you will find the rear entrance of the home which would have led into the working courtyard of the estate. From maps and descriptions, we know that this courtyard included two twenty foot by twenty foot wing buildings - a public office and a nursery; likely for plants rather than children - the kitchens, and the "necessary" (outhouse). Other buildings were interconnected with these by a covered walkway or "shed" which extended from this back entrance, but 19th-century changes to the property left modern historians with little evidence of where precisely these buildings may have been during the Schuyler's residence. They included a "lumber loft", "fowl yard" (chicken houses), a "small room to warm in", a gardening shed for tools and seeds, an ice house, and a coach house. Reference to a room with an "ash hole" beneath may imply that a furnace for smithing was also available, or that this building was intended for soaking wood ashes to make lye, needed in the making of soaps.

A scaled portion of a 1790s map of Albany
shows less than half of Philip's estate,
including a 2 acre enclosed yard where
the labor for the house was done by
enslaved servants and laborers.
This courtyard would have been the work space for many of the people enslaved by the Schuylers. This grueling labor involved long days working as carters, cart-wrights, laundresses, cooks, servants, smiths, and carpenters. Census records show between 8 and 13 enslaved laborers in residence at the property at any given time, and references in family letters imply that they did the majority of the skilled and semi-skilled labor that kept this household running. This back hall space was their entrance to the home.Shipping barrels are on display to demonstrate the types of goods the family was importing from Europe and the other colonies. [Read about the movement of goods by enslaved laborers Lisbon, Dick, and Bob]

The most famous feature of the back hall is the noticeable gouge in the railing of the staircase, purportedly the result of a historically documented attack on the house - when a force of Loyalist militia and British soldiers attempted to kidnap Philip Schuyler from his home in August 1781. While Philip and the family were unharmed, several defenders were wounded during the fighting and two of Philip's "life guards" (body guards) were taken prisoner. The gouge in the Bannister became infamous through a later family legend attached to this Loyalist attack which attributes the mark to a tomahawk. The story claims that the Schuyler's infant daughter Caty was left downstairs during the attack, and a throwing ax was thrown at 3rd daughter Margaret "Peggy" Schuyler when she went to retrieve her baby sister. Primary sources from both Philip Schuyler and the Loyalist band led by Captain Jans Waltermeyer however, make this story unlikely, and the true origins of the mark remain a mystery.
A legend, first told in a memoir of youngest daughter Catharine Schuyler Cochran Malcolm (Caty) in the 1830s, spread like wildfire during the 19th-Century as an explanation for a cut discovered in the banister of the Schuyler's former home. There are no contemporary mentions of the mark in the railing, or the story that spawned from it, during the Schuyler's residence (c.1765-1804). The earliest versions of the story relate it to the Loyalist kidnapping attempt in 1781 (see the British uniforms in the background of far left) whereas later versions turn the story into an Indian raid, which never occurred on the property.

With the Front Entrance at Your Back:

Going backwards will bring you to the Central Hall

Left will bring you to the Library

Right will bring you to the Dining Chamber

The staircase will bring you upstairs into the Salon

Other Rooms:

Formal Parlor

Family Parlor

Blue Chamber (Upstairs)

Yellow Chamber (Upstairs)

Green Chamber (Upstairs)

Green Bed Chamber

Schuyler describes parterre gardens in the French style to the
south of the house (image from OldHouseOnline). These gardens
would have provided a view to the guests of the Formal Parlor
and Green Bedchamber, as well as a recreational area where
guests could take strolls and have lively conversations in the
beauty of nature. Burgoyne described such walks during his stay.



This room was considered the best bedchamber of the house due to the elegant woodwork and furnishings, the sunlight it receives throughout the day, and the views - the rolling pastures which led to the Hudson River to the east, and the 200ft by 200ft formal parterre gardens which would have lain to the south. This room was used by Philip and Catharine but could also be given over to their most esteemed guests, inlcuding Benjamin Franklin, John Jay, the Marquis de Chastellux, and British General John Burgoyne.
Image result for john burgoyne american revolution
British General John Burgoyne
by Joshua Reynolds. Virtually
unknown for his military career
in England, John Burgoyne
was a famous poet and playwright
  before and after fighting
in the American Revolution.
Burgoyne's stay is particularly intriguing and well documented, as he was taken as "Prisoner Guest" after his surrender to General Horatio Gates at Saratoga. Much of the battle of Saratoga took place on Schuyler's industrial estate in Bemis Heights (Schuylerville) by his design, and since many of his buildings were burned as part of Burgoyne's attack, Schuyler remained at that property while Burgoyne, along with an entourage of other prisoners, French and Continental officers, aides-de-camp, and other personnel, were escorted to the Albany home and placed under Catharine's care. Despite their status as prisoners, Catharine treated Burgoyne and the other captured officers as esteemed guests, surrendered the nicest rooms in the house to them, fed them multiple course meals, and treated them with respect and dignity. This "gentlemanly" treatment was an expectation of warfare of the period, and benefited Schuyler and wealthy officers like him, who hoped to be treated the same should they be captured by the British. It also served to remind people of Philip's insturmental role in the 1777 campaign, in which he led the Northern Army prior to Gates being given command by teh Continental Congress in August.The chaos described on Catharine's behalf - as Continental (American) troops stationed in the farmland uprooted crops, stole fruits and vegetables, ate the laying hens, and milked the dairy cows, making it difficult for her to supply the visitor's inside - did not seem to phase Burgoyne, who later described the stay as pleasant and purportedly sent a pair of shoe-buckles back to 3rd daughter Peggy, as thanks for the friendship extended to him during his stay (the buckles in question are on display in the Visitor's Center).
Image result for schuyler house
Philip Schuyler's house in Bemis Heights (Schuylerville), as rebuilt by Schuyler after the Battle of Saratoga in 1777. The house still stands and is open to the public seasonally as part of the Saratoga National Battlefield Park operated by the National Park Service. Philip spent the fall of 1777 rebuilding while Burgoyne and co. were sent to Schuyler's Albany home.
Philip and Catharine would also invite guests to share more intimate meals with them in this room.

Philip’s personal attendant, an enslaved man named Prince, would have assisted Philip with his morning and evening toilette, pouring hot water into the wash basin, combing and powdering Philip’s hair (a lengthy process in itself), and assisting him with his garments. Catharine would have had a similar attendant, perhaps a woman referred to as "CatyBetty" (Caty's Betty) in letters and receipts.

The medicine chest on the floor is representative of Schuyler’s poor health, for which he was regularly treated by Dr. Samuel Stringer. Stringer’s treatments included bleeding and purging, the use of “Peruvian Bark”, an early form of quinine for fevers, opium as a pain killer, and an early oxygen machine for Philip’s use. [Read about Dr. Stringer in the Revolution.]

As You Exit:

You will pass through the Salon

Straight ahead you will find the Yellow Chamber

Diagonal from this room is the Blue Chamber

Left will bring you downstairs to the Back Hall

Other Rooms:

Library (Downstairs)

Dining Chamber (Downstairs)

Central Hall (Downstairs)

Formal Parlor (Downstairs)

Family Parlor (Downstairs)

Yellow Bed Chamber


Portraits of 4 of the Schuyler daughters & 1 of
the sons are shown throughout the house. Here
is the 3rd daughter, Peggy. The existence of
portraits of all of the daughters likely speaks
to the relative success of the women, and the
middle son of the family, compared to their
two other brothers.
The Schuyler’s five daughters, Angelica, Elizabeth, Peggy, Cornelia, and Caty may have used this room as a bedchamber from the 1760’s onward. If, that is, guests did not require the space, which resides on the brightest side of the house, and therefore would have been the second most desirable chamber (see the Green Chamber across the hall for more on this).

The girls were quite spread-out in age with the oldest and youngest daughters sharing a birthday 25 years apart. The same year that mother Catharine birthed her youngest daughter at 47 years old (1781), Angelica was home pregnant with her third child, and Elizabeth home pregnant with her first. The older girls would often return to visit, perhaps sharing their old room with their younger sisters. The cradle on display is believed to be original to the family.

Examples of the girls’ academic and artistic pursuits are visible in the room. Margaret (better known as Peggy) and Elizabeth were talented painters, while needlework was an important and refined skill for all young ladies of the family. On the chest of drawers against the east wall is Elizabeth’s day-box, used to carry sewing materials and other important items. Among English colonists, in particular, women's education could seem proscribed and ornamental. [Read colonial doctor and educational philosopher Benjamin Rush's Thoughts upon Female Education]. However, Philip, following in the traditions of his Dutch heritage, encouraged his daughters to read a broad variety of subjects, including history, geography, arithmetic, philosophy, and French. Later letters from the girls indicate that their education did not end with these subjects. Instead, the girls explored subjects such as German, Latin, finance, astronomy, and many more.

Read about the enslaved women who would have attended on Catharine and her daughters.

As You Exit:

You will pass through the Salon

The door to your right along this wall is the Blue Chamber

Straight ahead you will find the Green Chamber

Right will bring you downstairs to the Back Hall

Other Rooms:

Library (Downstairs)

Dining Chamber (Downstairs)

Central Hall (Downstairs)

Formal Parlor (Downstairs)

Family Parlor (Downstairs)

Blue Bed Chamber


This William Hogarth drawing shows men meeting in a home of
a common size for most 18th-Century people. If one was lucky
enough to have a second floor, that was typically used to separate
out a space for sleeping, but the space was still used by a whole
family. Even in wealthy households like the Schuylers', it was not
common to designate rooms or beds to particular family members.
This room interpreted as a bedchamber for the Schuylers’ three sons, John Bradstreet, Philip Jeremiah, and Rensselaer. [Read about eldest son, John Bradstreet Schuyler's flamboyant style.] However, within the 18th-Century, there was very little privacy, even in wealthy households where space was not an issue. It was not uncommon for the boys to lose their bed (singular, as it was common for young people to share a single bed with 2-4 other people), or even give up their room to guests. Mattresses on the floor represent one possible location for the boys as guests took over the beds.

The two “travelling beds” or "field beds" on display are of a style popular with wealthy travelers and high-ranking military officers, who would bring such beds and mattresses with them on long trips and out onto the campaign trail. The rope net under the mattress made it possible to disassemble the bed, which could then collapse and fit into a wagon. In the home, the labor of setting up and breaking down the beds, aided by the T-shaped bed key, visible on the left-hand mattress, fell to the enslaved servants of the family who would also be responsible for carrying luggage.

This mezzotint image shows a young girl, Charlotte
Mercier, playing with a "bilbo catch" style of cup and ball toy.  
Signs can be found in this room of the boys' play. See if you can find the 18th-Century toys, including a cup & ball or "bilbo catch", Jacob's ladder, and hoop & stick. As the boys grew up, play would have turned into leisure activities only available to the wealthy, like sport hunting, represented by the hunting boots and the fowling gun in the northeast corner. You may have noticed fire buckets, like the one near to the stanchions in this room throughout the house. Read about them here.

As You Exit:

You will pass through the Salon

The door to your left along this wall is the Yellow Chamber

Diagonal from this room is the Green Chamber

Right will bring you downstairs to the Back Hall

Other Rooms:

Library (Downstairs)

Dining Chamber (Downstairs)

Central Hall (Downstairs)

Formal Parlor (Downstairs)

Family Parlor (Downstairs)

Salon

This spacious hallway, referred to as the “Salon” or “Saloon” by the Schuyler family, served as the
venue for dancing, parties, concerts and other social activities. As in the rest of the house, guests could expect to be waited on by enslaved servants throughout the festivities.

Dancing, posture, and etiquette would have been part of the schooling for both the girls and boys of the family, in order to ready them for the social life that awaited them as adult members of wealthy society. The boys may have learned swordsmanship from the same instructors as dancing and posture since both involved intricate footwork. [Swordsmanship was more than a gentleman's sport in the 18th-Century. Read about it.]

Musicians may have been placed in front of the back window, leaving more space for socializing and tactfully redirecting visitors’ attention away from the view of the working courtyard behind the house, and towards the majestic view of the Hudson River offered by the East-facing windows at the other end of the Salon. As indicated by a 1766 painting by British military artist Thomas Davies, which you see reproduced and enlarged on the East windows, visitors would have been able to watch vessels sailing the Hudson from this vantage point, including vessels owned or hired by Philip Schuyler to transport goods to and from his farming estate and mills at Saratoga or to and from New York City. The trip from Albany to New York or vise versa, averaged about a week's journey. [Read more about trade goods and fashion items the Schuylers were importing from New York and Europe.]

Based off of landscape features shown on the far side of the river, this painting was painted from just in front of Schuyler Mansion. The Dutch building shown in the center pane is likely meant to represent Crailo, the heart of the Van Rensselaer estate belonging to Catharine's father. This building still stands today as Fort Crailo State Historic Site in the city of Rensselaer.

Like Philip Schuyler, Thomas Davies, the painter of this "View of Green Bush" served in the British military during the French and Indian War. That conflict had come to an end only a few years before he painted this image. While there is no evidence that Davies knew Schuyler personally, Davies would have been familiar with the officer on whose land he sat when he painted this image. Some historians posit that the man in the brown coat at the front of this image may be Philip Schuyler, painted in by Davies as a nod to the gentleman property owner.

[The first door on the right is a temporary exhibit space which is only open to the public when there is an exhibit installed. During the Schuyler's time, this would have been an additional bedchamber, but changes made to the home over the 19th-Century - including the addition of the servants' staircase seen here - has led modern historians not to interpret this space with historic furnishings. If the door is open, you are welcome to enter the exhibit space. For your safety, please DO NOT use the gated servants' stair at any time.]

With the Stairs at Your Back:

The first door on your left is the Blue Chamber

The second door on your left is the Yellow Chamber

The second door on your right is the Green Chamber

Going downstairs will bring you to the Back Hall

Other Rooms:

Central Hall (Downstairs)

Library (Downstairs)

Dining Chamber (Downstairs)

Formal Parlor (Downstairs)

Family Parlor (Downstairs)

Dining Chamber

This model, in the Visitor's Center, gives an impression
of the working courtyard which once stood, connected
by a covered walkway, to the back of the house. This area
would have been the working, and likely living area for
the people enslaved by the Schuyler family. The kitchen
was the second building on the north wall of the courtyard.
"Dining rooms" as we know them today - a separate space used only for meals and post-meal socialization - did not become popular in America until the 1790s. Since most houses in Europe and the Colonies were only one or two rooms, the concept of using one's limited space for a singular purpose was not even possible for most families. Though this space would have served other purposes in the early years of the house, the Schuylers would have been early adapters of the dining chamber.

The novelty of this type of space would have been only the beginning of the decadence of this room when the Schuylers entertained guests. Polished silver and wood work, shining mirrors, exotic fruits, and elegant twisted-stem glassware reflected a deep sense gentility. The silver epergne on the side board, which displayed fruits, desserts or garnishes, is an original family piece, engraved with Schuyler's crest. 

Volunteer Donald Hyman portrays Prince, a valet
and personal attendant enslaved by Philip Schuyler.
He is dressed in livery - the wool and silk uniform worn
by household servants who would be seen by guests.
The status of the family would have been further displayed by the presence of enslaved servants. The men, and sometimes young boys [read more about Hanover, a child born into enslavement at the house], clad in bright yellow livery coats waited upon the Schuylers and their guests at meals. The absence of windows along the east wall helped to hide the labor taking place in the courtyard from view, including the food preparation, which was done by enslaved women in a detached kitchen [read about uncovering the identities of these female slaves]. The door on the east wall would have led into a covered walkway that attached the working buildings of the courtyard and allowed food to be brought directly into this space.

On the same wall are portraits of middle son Philip Jeremiah and his second wife, Mary Ann Sawyer. Philip Jeremiah attended Trinity College (formerly Kings College, currently Columbia University) and became a New York State Assemblyman, and is often considered the most successful of the three sons. The second youngest daughter, Cornelia, is depicted on the south wall with her husband, Washington Morton, with whom she eloped in October of 1797. Morton claims that Cornelia leapt from a second-story bedroom window in order to elope with him, but other parts of the story (and common sense) suggest that this was exaggeration. All four paintings are by artist Thomas Sully, who was commissioned by the two couples in turn to paint portraits as gifts to one another. Sully also painted the portrait of president Andrew Jackson which is currently on the US twenty dollar bill.

Left; Sarah Rutsen Schuyler and Right; Philip Jeremiah Schuyler. Young Philip's first wife Sarah died in childbirth. The fact that multiple portraits are available of Philip J. while no portraits seem to exist of oldest son John B. or youngest son Rensselaer Schuyler, is an indicator of the comparative success of this middle son. Note also the changes in  hair and clothing styles from these Robere portraits (c.1795) to the Thomas Sully paintings (c.1810) in the dining chamber.


As You Exit :

You will pass through the Back Hall

Left will bring you to the Central Hall

Straight ahead, you will find the Library

Right will bring you upstairs into the Salon

Other Rooms:

Formal Parlor

Family Parlor

Blue Chamber (Upstairs)

Yellow Chamber (Upstairs)

Green Chamber (Upstairs)