Heritage, Volume 5, Number 1, Spring 1987 Page: 16
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cert Hall could be built to house and display
its highlights, including the early
nineteenth century portrait of Guion's
grandfather, Governor Isaac Guion of
Mississippi (1802-1855), a colonial
Quaker chair, a tall case clock with handcarved
wooden works, and flow blue ironstone
china in the complementing patterns
of Khyber and Amoy. Paintings by
the Texas artist Vives-Atsara, Reveau
Bassett, and Frank Reaugh grace the
room, which also houses the Dorman and
Ruth Carolyn Winfrey Collection of Arturo
Toscanini, whose work is closely related
to the period of David Guion's music.
The Festival-Institute completes the
restoration and adaptive use of its historic
structures by furnishing them whenever
possible with appropriate antique furnishings
which residents in the houses might
have drawn. The David W. Guion Collection
helped to complete the furnishing of
the Menke House, which had included
only one piece of original furniture, a
primitive chest of drawers used in one of
the upstairs bedrooms. The David W.
Guion Room in the Festival Concert Hall
took its designs from the atmosphere of
his two major residences, the family
home in Dallas, which was a replica of
the home of Presdient James K. Polk, and
David Guion's home in the mountains of
Pennsylvania. On-site visits were made to
the family home in Dallas at the time
of the gift, and a photographic record
existed. These photographs, along with
historic photographs from both his Dallas
home and his three-story Dutch farmhouse
in Pennsylvania, provided the
inspiration for the room. Fortunately, detailed
drawings of his home in Pennsylvania,
which included the actual placement
of specific antiques, were found in
an antique storage trunk in the collection.
The David W. Guion Collection and
the Guion Room provide working examples
for the importance of interior furnishing
in the adaptive use of historic
structures and the creation of workable
spaces in a historic setting. Invaluable resources
for the study of furniture, paintings,
glass, silver, and decorative objects,
as well as historic settings and architectural
history, are provided in the FestivalInstitute's
Cora Maud O'Neal Decorative
Arts Library. Some of its rarest volumes
are stored in special library spaces in the
David Guion Room.
The Festival-Insitute is dedicated to
the growth and development of its campus
as a special place for excellence in
music, the arts, and the humanities in
The Menke House contains in the details of its
woodwork a rich heritage of historic artifacts
from other buildings. Upon entering the home
one sees four connecting rooms used for recital
Texas and the Southwest. It is rapidly
becoming a national cultural resource.
Through the restorations of the Clayton
House and the Menke House, and in
every building at the Festival-Insitute
site, trained craftsmen produce detailed
woodworking in an earlier style but original
in its conception. In addition, whenever
possible, important historic architectural
artifacts are incorporated in the
buildings, and the interiors of each building
are carefully researched and documented.
Based on this research and documentation,
special donations of furniture
and decorative arts complete the historic
structures. The Festival-Institute is proud
to have been cited for commendation by
the American Association for State and
Local History, and students, faculty and
visitors can derive pleasure, education,
and inspiration from these restorations in
the beautiful, rural, parklike setting of
Festival Hill for generations to come.
Lamar Lentz is curator of Festival-Institute at
Round Top, Texas.
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Texas Historical Foundation. Heritage, Volume 5, Number 1, Spring 1987, periodical, Spring 1987; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth45438/m1/16/: accessed August 19, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas Historical Foundation.