As a nation Americans have grown to feel a deep reverence for the homes of their ancestors, those stately colonial houses that were erected during the period of commercial prosperity. These mansions were built from about the middle of the sixteenth to the early part of the seventeenth century. Recently a wave of sentiment has swept through the country, awakening a desire to save the old mansions, many of which were fast falling into decay. Prominent among those which have been preserved is "Hey Bonnie Hall," a quaint house built in the Maryland manor-house style of architecture, with long, projecting ells, a type prevailing throughout the South. "Hey Bonnie Hall" is situated on Papoosesquaw Neck in Bristol, Rhode Island. It was built in 1808 by Honorable William deWolf, great-grandfather of the present occupant.

These Middletons and the family into which they married have been makers of history. They date back to the time of Charles V, of France, being among his followers. The name was originally St. Etienne, but for valiant services it was changed to deWolf. The Middletons have played an important part both in English and American history, and the English branch of the family still occupies its ancient Middleton Hall. The American line starts with the immigrant ancestor, Henry Middleton, who settled in Carolina and became a considerable landowner at a time when there were only three states in the Union—New England, Virginia, and the Carolinas. This is shown in the old atlas inherited from the immigrant ancestor and still treasured at "Hey Bonnie Hall." Henry Middleton became a politician and was an important agitator before the Revolution. For his distinguished services he was made president of the Continental Congress. He was not the only member of the family whose name has been handed down in history. His son Arthur was also very prominent and was one of the signers of the Declaration of Independence. The name "Hey Bonnie Hall," given to their country-seat in the Carolinas and transferred to the Rhode Island mansion, grew out of a pretty custom of Mrs. Middleton, who used to sing a little Scotch song called Hey Bonnie Hall over and over again to please her grandfather.

The house stands back from the road, being approached through a broad, colonial gateway flanked on either side by beds of old-fashioned flowers. The semicircular drive is shaded by magnificent trees, which hide the mansion from the main road so effectively that it is not until one is half-way up the avenue that a glimpse of the house is obtained.

The mansion itself is about one hundred and forty feet long, showing the most perfect type of Southern architecture. There is about it a dignity that is impressive and at the same time an air of comfort. The eastern portico is formed by two dignified Corinthian pillars, which rise to the very roof. The smaller columns at either side of the entrance door support a balcony protected by the porch roof. Verandas have been planned on either side of the house, facing north and south. The southern one overlooks the blue water of the harbor with the picturesque old town of Bristol in the background.

Old-fashioned flower-beds are scattered here and there over the smooth lawn, making a landscape picture that is most alluring. The entrance door opens into a spacious hallway that is about twenty feet in width. The staircase at the left is five feet in width, an unusual breadth, even for one of that period. It has treads of solid mahogany, with simple but substantial balusters on either side, topped with mahogany rails. This hall is used for a living-room and a hall combined and is well lighted by doors on either side showing well-proportioned fan and sidelights. Like many halls of the colonial period, there is a groined arch. This was specially designed by one of the Middletons who married Henry deWolf. This is supported at the corners by slender white columns, the woodwork being white pine.

In every room are found examples of the most impressive pieces of furniture designed by the old masters. Many were originally in the Southern home and brought over by their immigrant ancestor. Among them are some most artistic pieces, including Hepplewhite, Sheraton, and Chippendale. Two chairs of the latter make show shell pattern, one of the most popular of Chippendale's designs. Upon the Chippendale sideboard are specimens of thirteenth century silver, including some tiny spoons that date back to the Tudor period, and saltcellars engraved with the McGregor crest. In the china closet are rare specimens of Lowestoft, Chelsea, and Sevres, while on the wall are hung original Stuarts, and paintings by Benjamin West. In many colonial mansions of that period we find the well-designed windows opening off the broad landing, a feature which has been cleverly introduced into the Middleton mansion. The type and characteristics of this entrance hall are more in keeping with Southern architecture than are most houses of New England. There is little ornamental woodwork, but a great dignity and charm.

Two large, square rooms open on either side of the hallway, and the arrangement of the interior is on the exact lines followed in Southern manor-houses, a wing being introduced on either side of the main building. One of these is used for kitchen and servants' quarters; the opposite wing, connected with the house proper by a covered passageway, is used as a carriage-house and harness-room. This gives the house interesting and unusual proportions.

In the main building are two rooms, one on either side of the hall. At the right is the large living-room, and back of it the dining-room, both of which are filled with treasures,—wonderful old pieces that have been in the family since its earliest days, each having its individual story.

On the left are the double drawing-rooms and showing an elliptical arch that has a frieze motif with dentation ornamentation and reeded pilasters. The dividing arch is gracefully ended in the cornice. This is a feature in many colonial homes and is generally echoed in other rooms of the house. There are no carved wooden fire-frames in the lower story, but we find some of foreign marble that were set at the time the house was built. This is an unusual feature in houses of that date, where wooden mantels and elaborate hand-carving were the prevailing style.

Many pieces of furniture are historic. Some belonged to President Adams, an intimate friend of the deWolfs, who were frequent visitors at the Adams house in Quincy, Massachusetts. Over the fireplace is a charming portrait, the work of a master, showing a child in an early eighteenth-century gown. It pictures Mrs. Nathaniel Russell Middleton, when only six years of age. About the time of this painting she was visiting her uncle, and was present at the reconciliation of Lafayette and President Adams, which occurred during Lafayette's second visit to America. She was at that time a very beautiful child and attracted the attention of the general, who finding she was of French descent, took her in his arms and kissed her.

Every piece of furniture here is of the old-time type. The Hepplewhite chairs have been handed down from generation to generation, as has a great deal of the furniture that is used in this room, including the chair in which President Adams died.

The long, or east room leads out of the parlor and is filled with rare furniture. The most important piece being the French piano, one of the earlier makes. This was imported by Henry deWolf for his daughter Alicia. It was considered of such fine quality that it attracted the attention of celebrated musicians all over the country. Pianos in those days were rarely seen, for the old-time harpsichord and spinet had scarcely gone out of style. Even to-day it would be considered a wonderful piece of work, with its ornamentations of gold showing scroll patterns and musical designs.

Directly above the piano is hung the most famous picture in the house, a Madonna supposedly by the hand of the Italian master Mazzuoli, better known as Parmigiana. This Madonna was originally known as one of the world's lost art treasures, since its whereabouts were unknown for several years. There exists abundant historical evidence of its value, and prominent artists have pointed out the merits and the peculiarities that stamp this canvas as a Parmigiana, although definite proof is lacking.

The interior of the house is most interesting from an architectural standpoint. The proportions are well balanced, there is a dignity of design and a care in its finish that attracts experts. The value lies not so much in the workmanship as in the choice bits of design shown principally in the exterior, and that are well worth introducing into a twentieth-century home.

The upper hall has an elliptical arched window and a hand-carved balustrade. It is of the same proportions as the lower hall, and it, too, is fitted up as a living-room. Beautiful pieces of furniture are well chosen and well placed. A large bookcase showing torch ornamentations contains rare books that cannot be duplicated. In each one is a bookplate, the work of Henry Middleton. A certain charm pervades the second story of this mansion, which does not lie in the furnishing but in the architectural details of the window, the pilasters, the hand-carving of the balusters, all of which are simple but unusual.

Large, square chambers open from either side of the hallway, and like the rest of the house are furnished in seventeenth-century pieces. The fireplace, decorated with bow and arrow design, is of Scaglioni composition and was found in an Italian palace. The furniture of this room is unusually rare. There is not a single piece of ordinary make.

The bed is a fine example of Sheraton, showing a tester, and decorated in gilt bows and arrows brought out clearly on the white enamel. This bed, showing the cupid pattern, was purchased for the first bride of the Middleton house. It has within recent years been repainted, but the pattern kept intact. Unique are the drapings of this bed, the counterpane being very rich gold and white satin lined with white and edged with French lace. The same idea has been carried out in flounce and hangings. The chairs are also rare examples of Sheraton, and follow the color scheme of the room.

A second chamber in this house has a fine four-poster imported from Leghorn at the time when the house was built. It is a Chippendale and one of the best examples of that master's designs. A painting in this room is very valuable, being a picture of Lady Mornington, the mother of Wellington. It was painted by her daughter, Lady Berghurst, who posed her model with a gazette in her hand containing an account of the battle of Waterloo.

A most interesting collection of furniture belonging to the deWolfs shows earmarks of the old masters' designs kept in the group of houses that were built by this distinguished family. The most prominent being the house of Charles deWolf. It was a large, square structure with roof sloping on all sides, and containing low-studded and spacious rooms that were heated by fireplaces only. An odd feature of this house were the hallways, running at right angles and meeting in the center. Spanish furniture, richly carved and showing odd patterns, vied with French pieces in magnificence.

The walls of the double drawing-rooms were hung with paper showing birds of paradise in brilliant plumage. Between the two rooms were gorgeous portiÈres of gold and silver damask. On state occasions the table bore solid silver candelabra and goblets of gold, spoils of the early siege of Oyapoc.

Here General Knox of Revolutionary fame was a frequent visitor. After his death the splendid estate of ten square miles given him by Congress and situated in Maine was sold, and much of the beautiful furniture was introduced into the deWolf house.

A third house, which was destroyed by fire, was built by Captain Jim, the youngest son of old Mark Anthony deWolf, who built the first house for his family in Bristol. The builder was a most successful merchant, his estate at one time comprising nearly the whole eastern part of the town. The mansion was built at about the same time as "Hey Bonnie Hall." It is of plain exterior with simple lines and shows fine proportions.

Inside are twenty-eight rooms that were fitted up with the choicest pieces of Chippendale, Hepplewhite, and Sheraton. So wealthy was the house owner that when the fashion changed from English to French, and the Empire style came into vogue, this furniture was replaced by examples of the best designs and construction, including both European and American styles. Many of these pieces were worthy a museum.

On the walls were wonderful portraits by Copley, Stuart, Thompson, Alexander, and many other famous artists, as well as miniatures by Malbone and Hall. In many of these rooms the walls were decorated with veritable works of art.

These old colonial houses with their beauty of line, their harmony of detail, and their air of dignity, richly repay study by architects and house owners. More and more we turn to them as models for our modern homes. They are a rich heritage from one of the most important periods of the nation's history, and will ever be cherished for the memories they evoke. Truly American in every respect, they will remain forevermore as revelations of the sturdy spirit, the breadth of mind, the gracious hospitality, and the fine ideals of our forefathers who built them.