Supporting Community History & Heritage

 

            My ultimate takeaway from my experiences interning for Todd’s Inheritance Historic Site is twofold. Firstly, learning how to conduct research, cataloging artifacts, and handle delicate items with very little support, knowledge, resources, or guidance is a tremendous endeavor. While the team of volunteers at Todd’s provided as much support as possible to my work, most of the project was carried out with very little oversight. This kind of experiences forces a researcher to pick up skills ad hoc and improvise when necessary; having the responsibility of handling and identifying family heirlooms so they can more accurately be presented for the public’s enjoyment is a serious task that must be treated with a solemn respect. Secondly, I have come to truly understand and appreciate the struggle involved in community-supported museums, archives, and historic sites like Todd’s Inheritance. The stewards of sites like Todd’s do not have access to vocational training on archival administration and material handling from accredited universities, expensive climate controlled environments, extensive archival records detailing the history of the property, or large financial investments from state resources or intellectual organizations. However, they make do with what they have access to and they do a tremendous job of respecting the property and materials’ histories while also creating an extremely accessible and welcoming environment for the general public to visit and learn about their community history and cultural heritage. Small, volunteer-run sites are invaluable to the preservation of community history as they ultimately will always have the best interest in their preservation since they have virtually no ulterior motives. I look forward to continuing my work collecting, itemizing, cataloging the historic items housed at Todd’s as a volunteer and supporting this small slice of preserved history.

Todd’s Inheritance also provides demonstrations, re-enactments, and lectures that provide opportunities for community interaction with the history, as well as improvement of accessibility to the general public. This photo shows the volunteers presenting a demonstration on Defenders’ Day to commemorate the Battle of North Point and the siege of Baltimore in 1814.

Bare Bones and Unknowns

 

            Given the extreme lack of support provided to the volunteers working to preserve and maintain the property and all the artifacts contained within, the work I was conducting proved to be quite challenging. The state government provides little financial support or vocational training in historic preservation, so they rely heavily on community volunteer work and visitor donations. Due to these restrictions, there has been virtually no organized collection or catalog to itemize and record all the artifacts that they are in possession of. This was the primary challenge in my work as they could only provide limited records or understanding of the objects I was cataloging, which is no fault of their own since they are all undertaking this herculean effort purely out of their generosity and their passion for cultural heritage. Many objects either had production line stamps detailing the maker and year of creation or that information was already known by the volunteers through the aid of the surviving Todd family members. However, some items required background research to ascertain the approximate era/year of origin and who the maker was. This involved examining every possible surface, texture, or material of an object for tiny details, and some of these objects were very large and heavy pieces of furniture. For example, one item that required this approach was a Sentinel Analog Wall Clock with no observable significant details and relatively little knowledge provided by the volunteers; I was able to identify it as a Sentinel series produced by Sessions Clock Co. in 1911 through following the details I was able to observe. Additionally, some of these objects were in very poor condition, due to wear over years of use or mishandling, which hampered efforts in identifying them from deterioration of details and weakened their structural integrity.

Three Hundred Years On The Patapsco Neck

            During the summer of 2025 I was given the wonderful opportunity to intern at a very small historic site in an isolated corner of Baltimore County, Maryland. I worked as a paid intern at Todd’s Inheritance Historic Site which is a colonial-era farmstead located at the very end of North Point Peninsula near Fort Howard. This area has a rich history rooted in the War of 1812 and specifically the siege of Baltimore and Fort McHenry. The three-story farmhouse was originally rebuilt in the 1820s after being burned down by the British invasion in 1814, but the area was first settled by the Todd family in 1664. The property was held in an unbroken line of succession for over three hundred years until in 1975 it was sold off and fell into serious disrepair. In 1997, the house was saved from sale and possible destruction by a coalition of community members dedicated to preserving the historic significance and cultural heritage of the property, and in 2001 the house was awarded a Historic Site designation by the Maryland Department of Natural Resources and kept under the stewardship of a group of dedicated community volunteers. Over my three months of work, I collaborated closely with these volunteers to identify, organize, catalog, and digitize over 200 various items on display in the house spread across four different rooms. This detailed work involved categorizing the items, determining their provenance, their year/era of origin, the materials they consist of, as well as the size dimensions of each item and photographic documentation. Many items originated from the Todd family heirlooms and thus had to handled with utmost care and respect as a member of the Todd family still resides locally and is heavily involved in the project of historic preservation and documentation.

Reflection on Internship

     I came into this semester after being out of college for nearly 4 years. In the time spent out of college, I I focused on developing vocational skills to bridge my scholarly interests and my desire to do field work in preservation. Taking the time to reflect on my work while completing the requirements for the internship has allowed me to be more connected with the work I do. Despite the exciting nature of my work, it's still a 9-5 job. The general rigors of construction, early mornings, working in terrible weather, wear on a person. However, being able to record and share information about the work has been an exciting and engaging prospect. I hope to be able to share more challenges and triumphs of projects I engage in going forward with more likeminded colleagues. 

    The hardest part about this internship has been time management between the other courses. As I said before, this is my returning semester to college, as well as my last, so I am out of practice when it comes to college work. Due to poor planning on my part, I never completed my lab course requirement and was only able to get into a GES lab course. Working on the internship simultaneously with three other courses proved to be more work than I expected. Despite this, I'm thankful for the Public History department to allow my current job at Hestia Restoration to be included in the internship. Mathew Benning, the owner and my boss at Hestia, wants to establish a link between the history department at UMBC as a potential option for more interns. I believe it would be an exciting learning experience for both us at Hestia and the students willing to get their hands dirty doing some real restoration!

Reflecting On My First Internship Experience

Last week, my internship at the B&O Railroad Museum concluded and it has been a long journey of many different types of experiences, good, bad, ugly, and insightful. It showed me what it is that curators do on a day-to-day basis as well as the difficulties of being an intern in the public history field today. My internship at the B&O Railroad Museum has helped me build up my existing skills and learn practical skills that will help me for future internships and professional opportunities.

In my freshman year for a first-year seminar course, I wrote a final paper that focused on a career path I want to pursue after college, its job market and salary, educational requirements, and what does it mean to do that job. From that paper, I had an inkling of curatorial work being 90% office work, a percentage of exhibition development, and a percentage of networking for the department, museum, and object acquisition. And through my internship it has turned out to be pretty accurate and more intensive for the intern as much of the office work gets given to you and the more hands on, developmental tasks to the museum’s curatorial team. The human labor aspect of both groups ultimately comes together for a final project but it’s underestimated how much of being a curator is behind the scenes, and rather boring. I am hopeful I can have a career as a curator that I can make it my own or feel like it’s my own within its constraints.

Coming into my internship I had experience writing labels and doing research for labels. This internship put these skills to the test and put into perspective the sometimes specific or niche information that certain museums require for their label information. I had more experience with artwork labels which allow for a more flexible description of the artwork as it can take on many different forms depending on what you want to focus on (formal qualities, the artist, art movement, theme, relationships, etc.). At the B&O Railroad Museum where it focuses on B&O railroad history and railroad history in general that luxury is limited as history and object context are more important. It was a task to get used to as researching information and understanding it to put it into label form was challenging for me as someone with little prior knowledge of railroads, art specific material culture experience, and where to look for information I am lacking with to help clarify the label’s information. The Assistant Curator was able to guide me through the process that was more aligned with history and material culture research, label writing, and questioning to uncover and better understand a method of working with (non-art) objects that can succeed in various contexts.

Overall, my internship at the B&O Railroad Museum has been a challenge and a fruitful experience that has strengthened my skills in writing, research, and exhibition development through my projects with the upcoming B&O no. 3316 “Washington,” the American Freedom Train (AFT) exhibit, and other smaller side projects with object descriptions, accessing archival materials, and cleaning up existing exhibits in the museum. This is an experience that I would not have had if not for blindly applying to a museum outside of my field of study and emphasizing my prior skills I built up through course work at UMBC and in my study abroad program. And I have walked away with a valuable memory, experience, and opportunity to add to my resume.

The Elusive Mural of the B&O no.3316 "Washington"

Courtesy of B&O Railroad Museum

 As a continuation from the previous post and after that specific research task for the B&O no.3316 “Washington” observation-lounge car, I was given my next assignment that was by many staff members at the B&O Railroad Museum called a “wild goose chase.” This post will outline my experience with this assignment and the interesting outcomes of it.

The B&O no. 3316 “Washington” has an Art Deco inspired lounge that fits into the modern art period the car was made within (built in 1949) and has a main wall feature, a photomural. In the front end of the no. 3316’s lounge is a photomural—a large scale print of a photograph on a wall, usually colored—of cherry blossoms at Tidal Basin in Washington DC. The photo is a perfect shot of the basin, the Washington Monument, the cherry blossoms across the water and their branches over the frame. Railroad fans know of the cherry blossom mural in the “Washington” but it is a relatively unknown fact online as information to find anything about it is non-existent. The B&O Railroad Museum’s archives have photographs and information around the context of the piece but do not know who made it.

So, my assignment from the Assistant Curator was to find out additional information about the photomural but especially who made it. Before me there were two-three attempts from staff members and an intern which made this task daunting if not impossible hence my start to a wild goose chase. I chose to instead look at it as a treasure hunt to be more optimistic, and this optimism paid off as I found a singular article from 1949 by the Railway Age Magazine that described the specific details of the new B&O “Columbian” trains at the time and a partial list of companies and businesses that helped different aspects of the train cars. Each car of the “Colombian” has a mural for a major sightseeing location in the cities they stop at. These murals were done by the Kaufmann & Fabry Co. a Chicago based photography studio who are best known for their photographs of the Chicago’s “Century of Progress” World Fair in 1933. It’s an intriguing connection between innovation and railroads that could only be made by the existence of these murals.

In light of the discovery, I had the opportunity to write drafts of the label to be used for the no. 3316’s “Unlocked Series” which felt like a reward and an honor to be given the chance to do. I wrote around four labels for different points of emphasis: some art history, some historical context, for the middle schooler, for the railfan, and by the request of the Assistant Curator one for myself which felt like it was against my training around labels (a motto “It’s for others not you!”). I focused on the process of making a photomural from photograph to wall decoration which further connected me to the time period the “Washington” was made in. I am looking forward to seeing the final label with the cherry blossom mural.

The Good, The Bad, and The Brittle: My Battle with 19th-Century Diaries and Boxes of Bureaucracy

    For my internship at Loyola Notre Dame Library, I processed over forty different collections varying in size, subject matter, and dates. The oldest and smallest collection both happened to be the Adelia M. Hall diaries collection. This collection consisted of two small personal diaries from a female evangelical who traveled the world in the mid-nineteenth century. The diaries had small news clippings and letters held within the pages from her travels. This collection required a lot of preservation precautions as well as some translation and transcription work. The preservation precautions were to prevent further damage to the almost two century old leather binding of the diaries. I used gloves when handling the diaries and was extremely careful with each individual page in order to keep from ripping or bending the pages. Unfortunately, over the course of the travels and the years in storage, the diaries had seen much better days. The leather was beginning to crumble and the pages were extremely brittle. Much of the news clippings and some of the entries were in Spanish. Since I know an extremely small amount of Spanish, I had to work hard to transcribe the Spanish and then translate it to English in order to understand the subject matter of some of the entries and the news clippings. 

The largest collection was the Notre Dame University Curriculum Committee records. This collection was the most frustrating and obnoxious collection I processed. Not only was it extremely large (roughly fourteen boxes if I remember correctly), but there was an immense number of duplicate materials scattered throughout the collection. I had to go through everything and separate the documents based on date and type (meeting minutes, proposals, finalized curriculum, etc.) and then go through each pile to weed out the duplicates and recycle any copies. The LNDL Archives policy was that items only needed a maximum of two copies in the collections (unless otherwise decided by the Head of the Archives, Jenny). The only reason we would keep more than two copies would be if there were valuable and varying notes taken on different copies and the notes were worth saving. Many of the items (specifically the meeting minutes) had dozens of unnecessary copies. We recycled A LOT of paper while I processed this collection. We also had a slight delay in the processing of this collection because of two reasons. The first being that the air conditioning in the building went out so we brought out the fans to cool us down and they immediately blew a few of my piles around and I had to redo a small section of the collection. The second (and most annoying) was that seemingly almost every other collection had a couple of items that needed to be moved to this collection. Even after I finished the collection, either myself or one of the other interns would find meeting minutes or proposals or something else that should have been a part of the Curriculum Committee records and I would have to dig out the boxes again and find where the items went (many of which we discovered were copies and just needed to be recycled). While my supervisor, Jenny, complimented me on my speediness and effectiveness of the processing of this collection, it felt like it would never end. 

Lastly, the most interesting collection I processed was the Scrapbook Collection. It was composed of about a dozen different personal scrapbooks made by either students or faculty of the different universities. The scrapbooks were adorable and incredibly interesting to look at. The old photos and ephemera put in the books were so fun to go through. I really enjoyed this collection. 

Polishing off my Internship!

 

Towards the latter half and ending of my internship, I was left to manage the remaining boxes which consisted of patents, books, and many, many carousel slides. Technically, slides, photographs, film strips, and x-rays were considered objects, but I was given the task of going through these still since most were mixed in with documents.

This part was one of the most interesting parts of the entire internship, since these slides and images covered such a wide range of content. Most were images of surgeries that Branemark participated in, and I’m not usually a squeamish person but some of these images were unlike anything I’ve ever seen before. Since osseointegration could be used not just in dentistry, but in restorative and plastic surgery in general, he helped people all over the world who had facial deformities, missing facial features, and missing limbs. I did end up seeing someone have their entire nose removed and replaced with a prosthetic, I can only assume due to the tissue being unsalvageable for a rhinoplasty, but an entire intact human nose just sitting on an operating tray is a crazy sight to see. Some people were missing nearly half their facial features, and had custom made prosthetics that could be removed and looked like a complete and normal face. I had never seen anything like it before!

I also loved seeing the random assortment of slides and photographs thrown in there of Branemark meeting with colleagues, the interiors of office buildings and conference halls from 20 or so years ago, nature pictures, and even just casual photos of Branemark with family and friends. There were even a couple of photos from a visit to Australia of Branemark and company hanging out with kangaroos! I found it really interesting that he kept so many tiny pieces that made up over half his entire life and his career in these binders, slides, and boxes, and that I was able to look through them and see a small part of who he was.

Along with these slides, photos, x-rays, and film strips were both handwritten and formal surgery plans and notes for each patient, which I also would go through one by one and digitize. The process for scanning film, slides, x-rays, and the like is different than documents, and I was simply told not to worry about digitizing those.

Once I finished with the boxes of slides and whatnot, I had the easy task of going through patents. Branemark had patented some of his osseointegrative bone anchored screws and other tools in around twenty-five different countries, and renewed them over the years, so I had a wide array of patents to go through. My supervisor and I ultimately decided that the best course of action would be again to create a chart with information on all these patents, with country of issue, year, etc. on it, and to rehouse the patents into protective slips within a binder.

My final tasks for this internship were to find places for this massive collection to go within the museum’s storage, and to create finding aids for everything. My finding aids went binder by binder essentially, with the binder title, year of creation, content overview, content language, some background on the collection, who had donated the collection, what legal restrictions may apply to the content, and where it was kept. Working on these while finding homes for everything turned out to be the best plan of attack and really helped me keep track of where everything ended up going.

I really enjoyed my time working with this collection! I worked with such a large scale collection full of interesting things, and I got to spend pretty much every day just hanging out with a friend of mine while we both worked together in our office. Also, the museum hosted multiple events with free food through the University of Baltimore Maryland, so I ate a lot of free cake and cookies throughout. Overall, I am so grateful I was able to continue to work within a collections setting, and be able to get more firsthand professional museum experience!

An awesome picture of Branemark wearing a cowboy hat with a sword!

 

History for All

 

An example of the new silhouette figures that illustrate activities performed by enslaved people at Riversdale House.

In the past year that I have been involved with Riversdale House Museum, I have had opportunities to participate in conversations about the museum’s future and even witness firsthand some of the changes the museum has made to move towards more inclusive interpretation. 

In recent years, increased attention has been given to the way slavery shaped the history of this country. Riversdale’s tour content and interpretive signage generally focused on the white inhabitants of the property, the Stier-Calvert family, and the many expensive furnishings with which they decorated the home. Meanwhile, the tour and interpretive content gave only a passing mention to the enslaved men and women whose efforts allowed the Stier-Calverts to lead their opulent lifestyle. 

In the time since I began working at Riversdale, the sequence of the tour has been rearranged in a way that reflects the museum’s commitment to highlighting African-American history. The tour now begins in an outbuilding referred to as the dependency, where stories of enslaved residents are discussed in depth. Previously, the dependency was the final portion of the tour, at which point visitors’ willingness to engage had often diminished, having already seen the “main attraction” of the house itself. 

Additionally, the museum recently installed wooden silhouette figures throughout the house which depict enslaved people and the tasks they might have carried out on a typical day. Since there is little written documentation about what the daily lives of the enslaved men and women of Riversdale could have looked like, these silhouette figures help visitors envision what their roles might have been. In this way, the figures reinforce the fact that enslaved individuals were essential in shaping the story of Riversdale as we know it. 

 

There is still much more work to be done, with many more changes planned or in the process of being planned. I hope to continue assisting Riversdale in providing the public with an interpretation of its history in a way that is inclusive of all the voices who were part of the story.

Trials, Tribulation, and Transcription

 When working at a historic house museum, one can generally expect to encounter a large number of primary source documents relating to the inhabitants of the house. Riversdale House Museum is no exception, and its most notable residents, the Stier-Calverts, were such meticulous correspondents that museum staff continues to transcribe and digitize the family’s many letters today, more than a century and a half after they were originally written. I have been fortunate enough to assist with the transcription of some of these documents, and have experienced a whirlwind of emotions, many of which would not be appropriate to describe in this blog. 

Transcription is defined as the act of transcribing, or making a written copy of words. I assumed this part of my job would be a piece of cake. I’ve been making written copies of words since I was in the first grade, right? Wrong. Horribly, horribly, wrong. Transcription of historic documents is incredibly difficult, frustrating, and leads to false hope when you think you have correctly interpreted the word only to realize you are wrong, still. The handwriting of the nineteenth century can vary wildly from what we are used to. I will include below an example of one of the documents I was able to partially transcribe before I handed it into my supervisor to give the finishing touches.

This document is a note dated January 13, 1862,  from “Jackson Brother & Co.,” addressed to Charles Benedict “C. B.” Calvert, the son of George Calvert and Rosalie Stier Calvert. 

What I was able to decipher:

“Hon. C. B. Calvert, 

Please…for two, or three… on a/e of any note due…

Give this your usual prompt attention if you please… will oblige very Resfy Jackson”

The complete text:

“Hon. C. B. Calvert,

Dr Sir

Please send us a check for two, or three hundred dollars, on a/c of note due us.

Give this your usual prompt attention if you please.

And oblige

Very Respy yrs

Jackson Brother & Co.”

As you can see, I was able to interpret a good chunk of this letter, but was missing some key bits of information that tell us what the letter was about. Surprise, surprise, it was about money. Some things never change.

Locust Siding, Still Focused on the Gable End

     With all the compromised material taken out, we began to reframe and sheath the framed portion of the gable end. The gable end has an inward slant, out of plumb about a half an inch over 8’. We believe this is likely due to the reduction of brick course thickness as the building gains height. My boss has noted that much older masonry structures were built with an intentional inward tilt, leading to both gable ends slightly leaning towards each other, from foundation to top of the gable ends, to put compression on the building as most masonry buildings struggle with bowing outwards against lateral force. From the base of the structure we estimate the building is 3 brick courses thick, potentially four including the chimney and fireplace portion, to match the thickness of the log walls. Upon reaching the second floor, the brick course is reduced to 2, where the floor joist sits upon a shelf. 

    The original reveal of the siding was flush with the existing rake board. In order to match this reveal, we needed to use 1”, 5/4” or true 1”, pressure treated material. My boss decided to invest in using locust as the wood material for the german siding as the wood is extremely durable in both hardness and rot resistance. Because this material will mate with the roof surface, it is best to use such a durable material. The siding is 1” thick, with the bevel reducing to approximately ½” where the siding laps over another. 

Once the sheeting was replaced, we put Tyvek up as a moisture barrier for the structure. In order for moisture to continue to wick down the tyvek, we put spacer strips made out of tar paper so the back of the wooden siding would have an air gap to dry out. The roof sheeting of the kitchen addition was laid to make accommodation for the siding size, as well as appropriate flashing, so the first courses of siding were barely visible as they had to travel inside the attic of the kitchen. The siding was laid with stainless steel nails with a larger shank size to accommodate the hefty weight of the locust. In order for the nail heads to be flush to the surface size, we pre-drilled the boards and countersank the surface creating a divot for the nail head to fit into. 

As the courses progressed, we reached the location of where a new louver window would be installed. The previous window was badly deteriorated and allowed no airflow through the attic. To allow complete air circulation from the front log structure down the ell addition, we decided to install a permanent louver window. Once again, because of the compromised location of this louver window, we used Sapele wood, a mahogany derivative, which we had leftover material in 1” from our previous work. We were careful to ensure that the louvre openings overlapped one another to prevent driving rain from entering the attic through the window. Once completed, we had to install the heavy window, precariously supported by me on a roof while my boss secured it inside the attic framing. Several attempts were made to ensure the window was plumb and square as it marked the end courses of siding around it which needed to be flush and tight.

Finding Meaning in the Absence of Information

Courtesy of the B&O Railroad Museum

This fall, I am interning at the Baltimore & Ohio (B&O) Railroad Museum in their Curatorial Department. My internship mainly revolves around research tasks for objects in the collection, information to be used for exhibitions, and writing labels for objects and people to be used on the museum’s online collection and future displays. It was only until late September, early October that I became involved with a major curatorial project at the Museum.

The project that I have been working on with the Assistant Curator focuses on the B&O no. 3316 “The Washington” observation-lounge car that was a part of the B&O’s Columbian on their Capitol Limited line that operated from the 1923 till 1971 when it became a part of Amtrak. The Columbian premiered in 1930s and in 1949 new Pullman-Standard (Company) cars were made for the Columbian with the no. 3316 “The Washington” making up these new train cars. The no. 3316 has been undergoing restoration after years of neglect in the B&O Railroad Museum’s train yard and will be restored by early 2026 to be showcased as a part of the Museum’s “Unlocked Series” which gives visitors an opportunity to go into the train cars and learn more about their history in the context of their services, the B&O, and railroads broadly.

One of the main focuses of the Unlocked Series for the no. 3316 is to educate visitors on the Pullman Porters, African American service workers for the Pullman Company on their trains (and broadly became a catch-all term for any African American service worker on trains), who worked on the trains in the Columbian and the Capitol Limited. I was tasked with researching porters that would be showcased in the train car. Issues became apparent as very little information was available about many individuals the curatorial department wanted to include. If there was information, it was mostly through tertiary sources rather than primary sources or reliable secondary sources, and only available through on-site archives in institutions outside of Maryland and the B&O Museum. 

The few weeks I had on this task were frustrating and made me aware of the limitations of history around Black and POC labor. It’s frustration in that fact that very little was put into documenting these individuals as people than employees and frustration in the idea that research can unfortunately be a fruitless endeavor due to archival silences, absence of publicly available information, and lack of collective memory for this part of history. Eventually, frustration becomes acceptance, and this acceptance makes you realize that with certain things nothing can be truly known, it doesn’t want to be known, or it wants to be known by what little or lot of information it has. Often the lack of something is just as important as the depth of something—especially with histories within histories.

Plantation Preservation & Inclusive Interpretation: Behind the Scenes at Riversdale House Museum

 My name is Stephen Toth and I am an undergraduate history major in my senior year here at UMBC. This semester, I am interning at Riversdale House Museum in Riverdale Park, Maryland, a historic house museum owned and operated by the Maryland National Capital Park and Planning Commission (M-NCPPC.) I have been part of the volunteer team since September 2024,working in the roles of Tour Guide and Visitor Support Assistant. In these roles I either give tours of the house or work the front desk of the visitor center, greeting visitors as they arrive and giving a brief introduction to the history of the site. 

Riversdale House was constructed between 1801 and 1807 at the behest of Henri Stier, a wealthy Belgian aristocrat who had fled to the United States due to threats to the security of the wealthy during the French Revolution. Stier returned to Belgium following the conclusion of the Revolution in 1805 and entrusted his daughter Rosalie Stier Calvert with overseeing the construction of the remainder of the house. Much of what is known about life at Riversdale in this period is drawn from the extensive writings of Rosalie Stier Calvert, which were compiled by Margaret Law Callcott in 1991 under the title Mistress of Riversdale: The Plantation Letters of Rosalie Stier Calvert, 1795-1821. After Rosalie’s death in 1821, the plantation remained in the Calvert family until 1887 when it was sold to developers who created the town of Riverdale Park which surrounds the grounds of the house today. The house itself went through a series of owners until it was acquired by M-NCPPC in 1949, though it did not open in its present format as a museum until 1993.

When discussing the story of Riversdale, it is also critical to mention that enslaved labor was used in the construction of the home along with the daily tasks of agricultural and domestic labor. Before the 2020s, much of the interpretive content was centered around the Stier and Calvert families. With the increased public focus on the role of slavery in shaping our nation in recent years, the interpretation at Riversdale has evolved to become more inclusive of the stories of the approximately 55 enslaved people who lived and worked on the grounds. This process is ongoing, and it is very exciting to see and be a part of these changes. I look forward to sharing more stories about my time here at Riversdale with you all. 

A mariachi band performs on the front steps of the Riversdale House as part of a Hispanic Heritage Month Community Day event on September 14, 2025.