Bell Mansion: Hall & Sitting Room

4/4/25 27 Comments

Authored & Curated By

M.J.G.

In this chapter, we'll explore interior photos of the Bell Mansion in Lexington, Kentucky, taken during the late 1880s or early 1890s. The home suffered a fire in the 1880s and required extensive restoration. Here, we’ll examine how the interior appeared after the remodeling. Thankfully, the home still stands today and is rented out for events. Many of its original features remain in place.

Thanks to the University of Kentucky for granting permission to use their photos and documents for this study. They have an extensive library filled with remarkable history and can be reached at exploreuk.uky.edu.

Special thanks to Sabrina Hounshell of Seriously Sabrina Photography for capturing stunning interior photos of the house during a wedding. She kindly granted permission to use select images for this study.
Website: www.seriouslysabrina.com
Instagram: seriouslysabrina

Entering Through the Front Doors
Today, we step through these doors to explore the main hall and sitting room.

Walking up to the front doors, we get a close-up view of the distinctive strips of stained glass set between the large pane. Take a closer look at the left and right sides, and you’ll notice a unique crystallized effect in the vertical strips leading up to the bevel line.

William Gibson sold art glass featuring “Patent Crystalline” effects. He was commissioned to create several stained glass windows for the owner and to gild the lead on both sides with gold leaf.

As we step inside, we get a clear view of the art glass, which remains beautifully preserved and in excellent condition.

The typical 1880s art glass pattern, featuring mosaic glass and jewels, was highly popular during this decade. This door glass is particularly fascinating, with its two strips of art glass and large glass panels.

Above the door is the intricate stained glass transom, adorned with garlands and featuring the same patterned border we saw below on the doors.

The Main Hall
Upon entering the front doors, you’re greeted with this view. The walls and ceilings are devoid of paper or stenciling. It’s unclear whether these photos were taken soon after the work was completed, with some areas waiting to cure, or if the owners simply chose a minimalist approach for their interior wall and ceiling treatment. The woodwork in the hallway clearly reflects the 1880s trend in style. However, the couch and tables display an older, earlier style, aligning more with the home’s original vibe. Much like the exterior, the interior combines both old and new elements.

Heavily ornamented wood frames, very attractive in design, adorn the left side of the room, housing prints. A close-up view reveals the plaster cornice, which was replastered according to the notes. All of these rooms underwent replastering.

To the left are two large Empire-style tables, their tops tilted up against the wall. On top of the main pedestal of each table sits a large vase on one and a bowl on the other—an interesting way to display these objects. Further along, does anyone want to take a guess at identifying this device? Leave your thoughts in the comments below.

UPDATE!
After some tenacity and some great guessed, Powers has discovered what the mystery item is. It is a Megalethoscope!

The history of the Megalethoscope can be found here.

In the foreground, a vase sits atop the newel post. Through the doorway, the room at the far end could possibly be the family library, judging by the large glass-door bookcase. The bamboo portière is particularly fascinating, as it’s something that might surprise modern visitors to these homes. A section from *Harper’s Bazaar* on 12/26/1891, vol. 24, Issue 53, titled *The House Comfortable* by Agnes Bailey Ormsbee XIX – Halls and Walls, describes a Japanese bead and bamboo portière as an effective hanging for the door at the rear of the hall, serving as a screen, yet allowing light to pass through. Such portières can cost up to $4 a pair and are more durable than they might first appear. This bamboo and bead portière seems to be influenced by Japanese aesthetics.

This 1893 edition of *Rural New Yorker* provides instructions on how to construct a beaded bamboo curtain.

Typical juxtaposed carpets are laid over the ornate wood floor, along with furs, one of which is placed at the bottom of the staircase.

As noted in the architect’s plans, the staircase and hallway woodwork was to be made of cherry wood. The newel features an attractive spiral carving. The carpet runner on the stairs is secured with large-headed tacks instead of carpet bars. At first, I mistook these for patterns in the carpet, but upon closer inspection, you’ll notice they don’t align with the repeat of the carpet’s pattern.

The first floor features several crystal gasoliers. Through one of these, a glimpse of the art glass window at the top of the stairs can be seen, typical of the 1880s style. To the right, you’ll notice a large marble pedestal with a bronze statue perched on top.

Zooming in on the 1880s window today reveals a stunning display of Aesthetic Movement art glass.

The staircase in the home is in remarkable condition.

The drawings of the house provide an interesting glimpse into the proposed plans for the interior. Some of the patterns, however, were changed, like the balustrade on the staircase for example.

Now, let’s head into the room on the left side of the hall…

The Sitting Room
Like the hallway, the sitting room is a mix of modern and old elements, though the dominant woodwork and mantel make a bold statement. Above the mantel is a framed photo, possibly of Henry Bell, David Bell’s father. It appears that no mirror was originally installed in this wood frame. Note the wood interior shutter blinds. Some critics argued that if interior shutter blinds were used, they should close into a pocket or roll away to avoid giving the appearance of a school. However, that didn’t stop people from continuing to make use of them. Every decade has its critics.

A different photo hangs in this area today, but the entire frame of the over-mantel still remains. The portrait currently displayed closely resembles D.D. Bell, the same individual sitting in the chair in the photograph.

While the photographs have no inscriptions, it is assumed that this is David Bell’s daughter, Clara, lounging in the rocker.

The fireplace is filled with coal. The brass container on the right, resting on a fur carpet, appears to be filled with large pieces of coal. The fireplace mantel tile is beautiful and remains in place to this day.

Looking at the fireplace today, one would never have expected from the sepia photo that the tile would be such a beautiful blue.

Here is a close-up view of the fireplace tile and painting.

The embroidered arabesque tablecloths were popular in the late 19th century. The table, with its heavy Empire-style base, appears to have a remarkable shine to it.

It’s always wonderful to see homes “lived in” and displaying informal decorating. Here, we have a grand portrait of a family member, with cabinet cards of other family members and friends tucked into the sides of the frame and resting on the corners. The clock could be a French barometer clock, featuring temperature, barometer, and calendar functions.

Here is an example of a German version of this multipurpose mantel clock.

The interior art glass in the home appears to still be in place and in great condition. I was unable to get in contact with anyone to do side-by-side photos for this study to make comparisons, but from the few I was able to obtain, it’s clear the windows are truly beautiful.

To be continued…

Previous Chapter:

Bell Mansion: The Exterior

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