Mercer Museum
by Diana Cercone
At 100 years old the Mercer Museum has never looked better. It still holds the same thrill for visitors today as it did when Henry Chapman Mercer first opened the doors to his seven-story-tall museum in 1916. Cast of poured-in-place concrete, the rising fortress is a Bucks County landmark filled with artifacts that tell the history of the County.
For it’s not just about Bucks County, says Douglas (Doug) Dolan, president and executive director of the Mercer Museum and Fonthill Castle, both of which are part of the Bucks County Historical Society. It’s a keyhole to America’s past and a beacon to its future, and for that matter to the whole world.
But, then, that’s one of the Mercer’s major strengths—and it’s global draw—says Doug. This he tells me as we sit at the long, highly polished wooden reading table in the Spruance Library. The two-story-high room was once Mercer’s private library. You can still see the original door that led into the Museum’s Central Court. Not surprising, Mercer created an architectural marvel, as he also did with the rest of the museum, Fonthill Castle and the Moravian Pottery & Tile Works.
If you’ve never been in the library, it’s a must, says Doug. “It gives you a peek into the mind and actions of this great man.” And, if you’ve never been to Fonthill, he says, “It gives you a peek into what it is like.” Adorning the medieval-like archways and columns are his colorful ceramic tiles. It’s a perfect room to read in or to find a few minutes respite from a hectic day. (The library is open to visitors with the price of Museum admission. Check website or call for library hours.)
The library also gives us a glimpse into Mercer and to his mission, says Doug. As with his vast collections, Mercer didn’t miss a chance to tell a more personal history of his beloved county in the library. Pointing to the ceiling, Doug says, there are nine mosaic vignettes that depict the various waterways of the County and the towns that sprouted up along their ways: Appleboro, Bristol, Morrisville, New Hope, Yardley, just to name a few. “They’re all there,” he says. “The library pays homage to history—as a library should.”
Mercer understood this. Probably more than any one of his time. He was not a man contented to view history as only a thing of the past—but saw it as a link to the future and to an understanding of where we came from. Born 160 years ago into two wealthy and prestigious Doylestown families, the Chapmans and the Mercers, young Mercer’s passion for history, architecture and art was encouraged by his mother and his two aunts, Fanny and Lela, and through their many trips to Europe together. Though he later attended Harvard University and after graduating obtained a law degree from the University of Pennsylvania, he never practiced. Rather he continued his studies and travels in pursuit of his avocations. He also became one of the founding members of the Bucks County Historical Society as well as holding a position in the archeology department at the Museum of the University of Pennsylvania.
During his travels here in America, in Europe, Germany, Egypt and the Yucatan in Central America, Mercer became a constant collector of anything and everything that told the history of mankind: paintings, tools, textiles, musical instruments, artwork and artisan crafts and children’s games.
But it was during the Industrial Revolution where Mercer’s passions coalesced into a mission. Now in his 30s, he was determined to step-up his collecting, in particular, pre-industrial tools—those made and used by hand. To this end, he collected a bountiful and prodigious mix of objects he found not only in America but also similar items he found in other cultures. Even on expeditions to other areas such as China and Africa, which, though he did not personally travel to, he had funded.
For these, he knew, told the story of the artisan crafts and cultures that had produced them for centuries and, with the coming of factory-made goods, were in danger of not just being left behind but of breaking the timeline of man’s ingenuity and craftsmanship.
He collected more than 40,000 objects in all. Among the oldest artifacts in the collection are a whale oil lamp over 2,000 years old and Native American implements dating to 6000-8000 B.C. To share them with the world, Mercer designed and built his museum. And he had a most radical way of presenting them. Departing from the usual manner of museums presenting historical artifacts in display cases, Mercer hung his from the rafters, ceilings and along walls—even a Conestoga wagon. He built adjacent rooms and alcoves that looked out onto the Central Court. Some display life-size vignettes to show how the tools were used and by whom, such as tinsmiths, hat makers, engravers, shoemakers and farmers. Three rooms alone are devoted to the culinary arts.
Mercer was the consummate storyteller, letting his objects speak for themselves. For even if a visitor is several generations removed from an artifact or from another culture or cannot read the descriptive notecards printed in English, says Doug, he still will understand it.
Though Mercer could probably have set his museum elsewhere—in Boston, New York or D.C. perhaps—he chose to set it in Bucks County, Doug says. He knew people would come, and come they do. Each year sees more than 60,000 visitors from every state in the Union and from around the world. On the day I was there, a young couple in their early 20s from Norway had just entered behind me.
It may not have been Mercer’s intention when he had convinced the Bucks County Historical Society to purchase the large parcel of land adjacent to the Society’s home (what is now referred to as the Elkins Building) running along Pine and Green streets, but it’s hard not to think that this Renaissance man did not envision its future. For by purchasing the parcel, he would set the stage for what is now called the Doylestown Cultural District, comprising of the Mercer, the James A. Michener Art Museum and the Bucks County District Central Library. All less than a mile from two more landmarks: Fonthill Castle and The Moravian Pottery & Tile Works. (In 1985 the Mercer Museum was designated a National Historic Landmark.)
Today, it’s still Mercer’s vision that informs the Museum, says Doug, who divides the Museum’s 100 years into three phrases. The first he calls the Mercer Period, ending in 1930 with Mercer’s death. For about the next 35 years, “the Museum entered into what I call the Rip Van Winkle Phase,” Doug says. Nothing much was done and it was seen as a sleepy, little museum and easily forgotten by the community.
“But, then, in the late ’60s and early ’70s,” he says, “people rallied around and said ‘There is something here—a real treasure.’” And so begins The Awakening Phase, bringing with it a new way of thinking of the collection. With the approach of the country’s Bicentennial, the Mercer was viewed as housing an extraordinary cultural collection and one of unparalleled Americana. A new energy permeated and by the mid-1970s, the entranceway had been moved to Green Street, a parking lot to accommodate visitors constructed and green space preserved with the bonus of the “traditional” sledding hill. Other improvements were implemented, including rest rooms and a museum shop. Still to move into the 21st century, new tools were needed to continue Mercer’s vision, says Doug.
One such major tool is the New Wing of the Mercer. Opened in 2011, the New Wing includes a 3,000 square-foot, climate controlled, state of the art Exhibition Gallery as well as a learning center and space to accommodate interactive programs, educational programs and events. Even WiFi-access. While only objects in Mercer’s permanent collections are displayed in the Central Court, the New Wing offers changing exhibitions, about three to six each year. Many are traveling exhibitions or those mounted by the Museum, curated both from the Museum’s collections and loans from other museums or private collections. Mercer believed strongly in the power of objects to tell stories, says Doug. In the New Wing, Mercer’s legacy lives on. For each exhibit tells its own story—expanding our knowledge and understanding of America and of our global connections.
“Mercer had great faith in the community he grew up in and that founded the Historical Society,” Doug says. “And I think he would be very proud of the generations that followed his contemporaries and continued his legacy. They have added to the collection and growth—making it into a world-class museum.”
Longtime member of the Mercer and past board member Nancy Kolb sums up the Mercer experience saying, “It’s the type of place that gets under your skin and into your soul. A great resource and an endless source of inspiration. A true community—and national—treasure.”
Today the Central Court continues to garner “the oohs and ahhs” from first time visitors, says Doug, providing them with an extraordinary experience that stays with them. For returning visitors and families, it’s a source for endless exploration. But what the New Wing has done, he says, is to change the local population’s perception of the Mercer. It’s a huge boon for the community, he says.
“It is no longer thought of as a place where you bring out-of-town guests, Aunt Martha or the once-a-year tradition of visiting during a family reunion or holiday. Now they get up on Saturday and wonder what’s happening at the Mercer today,” he says. “And do I need to get there before the exhibition changes?”
For example on view now through November 6 in the New Wing is “Long May She Wave: A Graphic History of the American Flag.” From an 1861 Rodgers Battle flag from the Civil War-era to political campaign buttons to original art flags to an American flag guitar signed by all the members of the Dave Matthews Band and much more. The exhibition was collected and curated by award-winning graphic designer Kit Hinrichs. It’s an exciting assemblage of hundreds of American-flag related objects and artifacts that capture the public mood and attitude of their era, albeit in times of peace and war, in celebration, at play or in protest. The stories they tell are not to be missed.
Not counting the current flag exhibition, there have been 23 exhibitions in the New Wing since its opening, with more planned, starting with the annual presentation, Under the Tree, throughout November and December. (For a complete listing of exhibitions, visit www.mercermuseum.org).
In May the Mercer Museum, along with Fonthill Castle, became a Smithsonian Institution Affiliate. There are only 210 museums nationwide to receive such an honor.
“This is huge,” says Doug. “It’s like getting the Good Housekeeping seal of approval. The Mercer has been held to the highest standards and found worthy of the Smithsonian.” Continuing he says, “It is a recognition for all the people in the community who care for this great treasure. It is an affirmation that the Mercer holds a world-class collection and is cared for by a world-class community. I think the community should feel very proud.”
The affiliation also gives the Mercer another new tool. Says Doug, “We get to look behind the curtains of the Smithsonian, including having access to their staff, to draw from for our exhibitions. It’s a rich resource.
“Coming in on the Centennial year, I think Henry Mercer would be very proud.”
Diana Cercone is an area freelance writer who specializes in food, art and travel.