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Originally published in the Historic Nantucket, Vol 39, no. 2 (Summer 1991), p. 23-25
Greater Light's Rippling Reflection
Text by Gayl Michael Photos by Diane Ucci
A summer home owned by two Quaker sisters from Philadelphia is Nantucket's contribution to the eclectic movement that flourished after World War I within the United States.
Greater Light is a study in contrasts, a constant reminder to Nantucket of worldwide architectural and artistic dynamics. Since 1973 the Nantucket Historical Association has preserved the property as an alternative to Nantucket's residential traditions. It therefore seems appropriate to examine the social and cultural forces, as well as personal tastes, that created this controversial treasure on Howard Street.
In retrospect, the great escape to the security of a cocoon after World War I might have been the major motive of those who summered on Nantucket. Here was a spot, a tiny, outwardly frozen piece of dream-memory come to life for a brief moment each year for inhabitants who would always be labeled "summer people." They all appeared alike, similar to the swallows that return annually to Capistrano, yet there were many who chose to be different, to surround themselves with various, unusual accou-terments and to live outside the Nantucket mainstream. But who were these Bohemians and could they be classified? Perhaps for lack of clearer understanding, we could label them eclectic.
The Age of Eclecticism had arrived much like a distant cousin newly arrived from a foreign land. A few physical characteristics bound this stranger to its ancestors but, for the most part, it set itself apart with new ideas and philosophies. Souvenirs and tales of beautiful and exotic places brought home by returning World War I military personnel from Europe, Africa, and Asia fired up America's desire to adopt parts of these strange and mysterious cultures, particularly in the area of architecture and fine arts. Such opportunities were no longer restricted to the very wealthy and powerful.
Middle-America began to feel connected to the global village; travel became a tangible reality. Support industries such as aviation and travel agencies rapidly developed while publishing houses took advantage of the opportunity to increase their number of publications centering on not only faraway places, but on home building, domestic furnishing, and gardening that explained and illustrated methods of creating one's own private exotic environment. But the most critical component to the rapidly changing cultural styles were fine art dealerships and auction houses who acted as central clearing houses for exploiting our country's fascination with foreign places.
The compulsion to collect art was shared not only by twentieth century capitalists, but by anyone who believed that was the other side of the mirror of daily life. Items were acquired in bulk, mainly from Europe and the Far East by gallery agents touring Europe. With contacts, they purchased silver, furniture, tapestries, sculpture, books, paintings, screens, sometimes entire rooms, or when lucky, complete estates. By creating interiors using artifacts and design elements from distant lands, the issue of aesthetics became less contingent on the historically applied rules of design and thereby removed itself from theoretical criticism.
The overwhelming desire to obtain foreign art objects by collectors caused many to view the flood of goods into this country to be a form of looting or cultural plundering. In hindsight, the act was actually one of preservation. Nevertheless, the imbalance of supply and demand opened the door for fakes to make their way into the market. Eventually good and poor reproductions made their way into outstanding collections. Oblivious to the distinction between original and reproduction, collectors knew the time was ripe to create enclosures for their treasures so that the objectscould be displayed and interpreted, sadly out of context.
Eclectic architecture burst forth with varying degrees of hype. Several structures stood as lone centennials to the era; two examples are William Randolph Hearst's San Simeon and Samuel Sloan's idea for an oriental villa, published inHome-stead Architecture. Other eclectic structures took comfort in themselves by being part of a development; Chestnut Hill, outside of Philadelphia, based its architectural style on the plastic and informal qualities taken from the country houses of England and France. Boston architect Arthur Little created his Manchester-by-the-Sea houses incorporating European as well as American vernacular architectural elements.
One of the most particularly revealing elements Little designed is his "barn-house." It paralleled Gertrude and Hanna Monaghan's Greater Light and prompts us to examine the contribution Greater Light makes to Nantucket and to the eclectic movement within this country. To answer knowledgeably, the background of Greater Light's designers and a connection of its eclectic counterparts must be discussed first.
Gertrude and Hanna Monaghan were two sisters, reared in Philadelphia as Quakers, but not in the manner usually associated with Quaker life. The Monaghans were well-to-do but did not correlate wealth with social prominence. They believed in education and travel. So, while in their teens, Gertrude and Hanna accompanied their parents on tours of Europe. Later, Gertrude entered art school while Hanna continued her education at a girls finishing school. After Gertrude returned from Europe, which she toured on a travel fellowship, she and Hanna were told by an artist friend that they should travel to Nantucket to take in its isolation and inherent charm. And so began the Monaghan's tradition of summering on Nantucket from the late 1920s into the 1970s.
During their Nantucket summer of 1935, the two sisters discovered the building they wished to buy and convert into their personal theater-in-the-round. Their desire to own a home on Nantucket was twofold. Besides the tiresome effort of continually searching for new accommodations each summer, the women wished to find a home for their collected treasures,"finds" from auctions, junk yards, and buildings slated to be demolished. Quite by accident, Gertrude and Hanna found on Howard Street a barn, occupied by several cows and pigs. Through their vision, patience, and hard work they transformed it into their consummate summer residence. This transformation would be intrinsically weaving their artistic and theatrical knowledge with their Quaker beliefs.
After purchasing the structure and removing its occupants, the sisters hired Magliore "Mack" Paradis to be the general contractor and to oversee deliveries of the treasures which the sisters continued to purchase during the winter months. Each season saw new changes and modifications to the old barn, and each change brought forth a chronic stream of criticism from Monaghan neighbors and the resident community. And since most everyone defends the right to be a critic, attacks on the structure still continue.
However, the purpose behind the Greater Light and its landscaping are rooted deeply in the acknowledged theories of design principles. The basic plan of the house follows the city planning of typical Mediterranean towns where a major public open space is surrounded and faced by smaller buildings with an ecclesiastic or municipal structure on one side. Greater Light's large hall with its Italian fireplace acts as the focal point, while the other rooms surround and open onto the hall in much same way as a piazza functions. The design elements of the Monaghans incorporated into the structure are reminiscent of the philosophy of the Arts and Crafts Movement of the early twentieth century.
Three parallel elements of this period are preoccupation with light, the notion of indoor/outdoor living spaces, and the use and development of gardens. The types of fenes-tration used in Greater Light illuminate the sisters' need to create the play of light and shadow and colors on surfaces, in addition to physically interpreting the religious connotations of the Greater Light. The windows vary in style and shape but they are all arranged to function as windows, the penetration of light and a view to the outside. One step beyond the pierced wall is the indoor/outdoor living space created by the patio on the lower level, which connects the kitchen, dining room, garden, and the stairs to the upper living space.
The Monaghans cherished the idea of moving from open to enclosed spaces, of being able to bring the outside in through the use of exterior building materials such as brick and wrought iron, and by creating a multipurpose patio space that bridged the interior space from the garden. Gertrude and Hanna were probably aware of the various types of garden plans used in landscaping Arts and Crafts buildings. One reference they might have used to design the grounds for Greater Light is Outside the House Beautiful, A Collection of Exterior Views Showing the Surroundings of the Home, by Henrietta C. Peabody, published in 1923. This source book contains illustrations depicting gardens that bring the outside in and create a private exterior space. There are photographs of fountains, waterfalls, trellises, and stone walls all used to create a natural organic setting, yet within man's control at all times. With the help of a friendly neighbor and her tireless grounds keeper, the garden at Greater Light was transformed into a perfect spot for quiet contemplation.
But how does Greater Light compare to other mainland eclectic structures built as residences? It incorporates both the vernacular of early Nantucket architecture with site planning and use of inherent materials and is presented in a scale that the soul can comprehend without feeling overwhelmed. The Monaghan sisters admired beautifully handcrafted objects and enjoyed each piece they collected for itself.
Far too many eclectic residences were built to be conspicuous: Olana, for Frederick Edwin Church; Beauport, designed by Henry Davis Sleeper in Gloucester, Massachusetts; in Boston the Isabella Stewart Gardner home and now art museum; San Simeon in California; and Cecil B. de Mille's home in Hollywood are all testimonials to wealthand power. Greater Light stands apart from these structures because it was created to express harmony and spiritual well-being in the mind and soul as well as the elevation of art for art's sake.
Greater Light is an unparalleled example of mid-twentieth-century eclectic architectural style that never developed on Nantucket due to the island's preoccupation with conformity. Gertrude and Hanna molded and shaped their bam to meet their desires, not the expectations of the community. Yet they appreciated island traditions and loved the "Grey Lady" for everything she represents.
Because the Monaghans chose to be different, they met with disapproval, or, at least, were objects of intense curiosity. They told the truth about themselves and were willing to subject themselves to whatever comments came their way. But they never wavered, and now we are left to judge whether their testimonial of the Divine Mind is valid on Nantucket. According to Xenocrates, the intuitive experience will reveal the truth. Regardless of its controversial role, the evolution of Greater Light is Nantucket history.
Gayl Michael is the Director of Development at the Historical Association and has written other articles for the quarterly.
