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Servant's Bedroom
This bedroom is one of five servant bedrooms shared by a staff of between 10-15 domestic workers. Unlike many servant’s bedrooms of the period, this room features a window, a light fixture, and a heating vent. In many comparable mansions, servants slept in unlit and unheated attics.
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1979
After Mary Hill passed away in 1921, her heirs donated the house to the Archdiocese of Saint Paul and Minneapolis.
During the Archdiocese years (1925-1978), this room served as offices and records storage for an adoption agency, complete with fluorescent lights, room dividers, utilitarian carpeting, and cabinets along the south wall.
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A River Town
These windows overlook the Mississippi River, the reason Saint Paul exists.
This bend in the river was considered the height of navigation (meaning large boats could travel no further upstream) until the 1930s, when the channel was widened and deepened. Back when waterways were the most efficient way to get around, most of Saint Paul’s jobs centered around one thing: transportation.
James J. Hill would forge his career in transportation, rising from a shipping clerk to warehouse proprietor, manager of a steamboat line, and finally, owner of one of the most successful railroads in American history.
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Annunciator Board
The Annunciator Board used to hang on the wall of the Butler’s Room, and was connected to the home’s electric burglar alarm. Each little arrow indicates a door or a window, which would flip if a break-in occurred.
The numbered switches at the bottom of the Annunciator allowed the Butler to arm or disarm each door or window individually.
The Butler/Houseman was also responsible for arming the electric burglar alarm at night. Metal gates could be pulled shut on all the first floor doors and windows; if someone forced their way through the alarm would sound.
As far as we know there were never any break-ins.
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Art Gallery
The Hills had this room built specifically to display their art collection. James J. Hill maintained an active art collection beginning in the early 1880s and continuing until
his death in 1916, spending a total of over $1.7 million.
Brimming with European paintings, bronze sculptures, and oversized art volumes, James J. Hill’s “picture gallery” (as the family called it) epitomized the highest cultural aspirations of the times, and served as visible proof of the owner’s good taste and connoisseurship. The gallery was described by the New York Journal in the late 1890s as a “model art gallery of an American private palace.”
Pictures were hung salon-style, or side by side. The grooves on the wall are original and allowed for easy hanging of paintings. The Hills also displayed paintings and sculpture throughout the entire house, rotating the selection periodically.
Today, the Minnesota Historical Society and James J. Hill House use this gallery to showcase rotating exhibits.
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Art Ledger
James J. Hill used this ledger book to keep track of his extensive art collection.
Hill’s very first job was as a grocery clerk in his hometown of Guelph, Ontario, where he learned bookkeeping practices. This skill helped him obtain work as a shipping clerk in St. Paul.
Decades later, he cataloged his art in the same manner that he used to track merchandise in his warehouse, using black ink to track new purchases and red ink to track art that he donated or sold.
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Attic
The attic features a large finished fourth floor room. Equipped with a raised proscenium stage and a theatrical lighting system, it is possible that the Hills once intended to eventually convert this space into a ballroom or performance space; however, the space was used primarily for storage.
The attic was also used as a playroom by the Hill children. Grandchildren recall this area had gymnastic equipment, a piano, and trunks with costumes.
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Basement Hall
The basement represents the working side of the house–in theory, the Hill family would never need to come down here. The floor and lower walls are marble, a practical choice (for those who could afford it) valued for its durability and ability to be easily wiped clean.
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Basement Stairs
These stairs lead to the basement. The basement represents the working side of the house, containing the kitchen, pantries, laundry room, boiler room, and other utilities. In theory, the Hill family would never need to come down there.
The stairs here are just one portion of a Servant’s Stairs that originally wrapped around a manual cargo lift (used for trunks and furniture), and that continued unbroken from the basement to the third floor Servant’s Wing. The original stairway was altered by MNHS in the 1980s to be able to fit a much larger modern passenger elevator in the space once occupied by the lift.
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Basement Stairway
This stairway, used by the servants, originally connected all four main floors, running from the basement up to the third floor servant’s wing. The stairs were slightly modified to accommodate a modern elevator in the 1980s.
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Bathroom
The James J. Hill House originally had 13 bathrooms, including one attached to Mary Hill’s bedroom. The bathroom behind this door was once accessible from Mary’s room as well as the second floor main hall.
Grandchildren recall always running upstairs and going to grandmother’s bedroom by going through her bathroom and dressing room. Today it is only accessible through the hallway.
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Bed
Today, the James J. Hill House is only partially furnished. After Mary Hill passed away in 1921, the house itself was donated to the Catholic Church, and the home’s furniture and belongings were divided amongst surviving family members.
The handful of original furnishings seen today have been donated to the Minnesota Historical Society, often from Hill descendants.
The bedroom set on display in Mary Hill’s bedroom once belonged to her son Walter Hill.
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Bedroom
Behind this door lies a closet that may have also served as a bedroom
for a nanny, governess or tutor when Walter Hill (whose bedroom is directly across the hall) was young. Today it is used to store exhibit equipment.
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Bellows Room
This room was originally intended to be used for coal storage, but was turned into a bellows housing for when Hill decided to install a pipe organ in the Art Gallery above.
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Blanket Chest
This ornate wooden chest was used to store blankets for cold winter carriage rides. Master Woodcarver Johannes (Iohannes) Kirchmayer personally carved this chest, as indicated by his initials (“I.K.”) left on the piece.
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Boiler Room
The Hill House was originally heated by a massive coal-burning furnace.
Two locomotive-style horizontal boilers heated water that filled pin-style radiators in metal-lined “radiating chambers.” The heated air rose through the ducts from these chambers to vents around the home.
Fresh air came into the chambers through air intakes under the porches and in the window wells on the north side.
Around two tons of coal was burned on an average winter day. Hill was assured by the E. P. Bates Company that the plant would heat the house evenly to 70 degrees, even if the outdoor temperature dropped to -40 degrees.
The original boiler was dismantled in the 1930s. A natural gas boiler is now used, hidden inside exterior brickwork and boiler fronts that have been reconstructed from the original blueprints to display the heating system as it appeared in the 1890s.
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Breakfast Room
The Hill family ate most of their casual meals in this room, with The Dining Room reserved for more formal meals. Grandchildren recalled that after Hill’s death in 1916, Mary Hill never used the formal Dining Room again.
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Brick Floor
The brick section of floor marks where a coal-burning laundry stove once sat. It was used to heat flatirons.
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Bronze Bull
Isidore Jules Bonheur
Isidore Jules Bonheur (1827 – 1901) was one of the 19th century's most distinguished French animalier sculptors. Bonheur began his career as an artist working with his elder sister, the famed painter Rosa Bonheur in the studio of their father, drawing instructor Raymond Bonheur.
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Butler and Valet's Room
Most of the domestic staff hired by the Hill family as cooks, maids, and laundresses were women, as was customary at the time. These women slept in bedrooms on the third floor.
However, the family did employ two male staff, a Butler and a Valet, who lived in the house. The Butler and Valet slept in this room in the basement (today the room is occupied by equipment from our modern elevator).
Additional male staff such as coachman and hostler slept in the family’s carriage house (located on the alley behind the houses across the street) or the gatehouse out by the sidewalk.
The Valet was a personal servant attending to the needs of James J. Hill and other male family members.
The Butler, also referred to as Houseman, had a wide variety of duties, including answering the door, cleaning and house maintenance, stocking the wine cellar, polishing shoes, stoking the boiler, and arming the electric burglar alarm at night.
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Butler's Pantry
This room was called the Butler’s Pantry, sometimes also called the China Closet, as serving dishes, china, and crystal we stored here. This room is also where much of the dishwashing occurred.
After the kitchen staff finished cooking in the basement Kitchen, they sent the food up to the Butler’s Pantry usings a dumbwaiter located just around the corner. Here the Waitresses and Pantry Maids kept food hot with gas place warmers or chilled in iceboxes until needed.
A speaking tube connected to the kitchen for easy communication among the staff. After artfully arranging the food on serving dishes, the Waitresses brought food to the table through this door or the service door into the Dining Room.
Today, one half of this room has been restored to its original appearance, while the other half has been turned into a modern, functional kitchen used for special events and rentals.
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Candelabra
This pair of art nouveau-style silver candelabra created by Tiffany and Company of New York. The Hills purchased much of their jewelry, flatware, and china from Tiffany’s.
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Carpets
The carpets seen today are modern institutional carpets. Originally, most of the Hill House floors were covered in a series of 147 Persian, Chinese, Indian, Turkish, and Turkoman rugs.
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Ceiling Mold
Papier-mâché molding—utilizing a mixture of paper pulp and plaster pressed into molds—was used on the ceilings in both this room and the Drawing Room (across the hall).
Papier-mâché was perfect for ceiling ornament, as it was very strong, and yet (relatively) lightweight. Receipts from the construction reveal that 957 pounds of papier-mâché was used in the Drawing Room ceiling.
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Ceiling Molding
Papier-mâché molding—utilizing a mixture of paper pulp and plaster pressed into molds—was used on the ceilings in both this room and the Drawing Room (across the hall). Papier-mâché was perfect for ceiling ornament, as it was very strong, and yet lightweight.
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Chandeliers
The Hill House contains 16 cut-glass chandeliers originally created by the Mount Washington Glass Company of New Bedford, Massachusetts. They were the only all-electric lights in the home; most of the other light fixtures were dual gas and electric.
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Coal Vault
Coal was delivered by wagon to the back of the Hill House, where it was dumped through a manhole cover into an underground vault attached to the Boiler Room. From here it would be shoveled to feed the boilers.
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Cold Storage
The cold storage room was used to keep perishable food.
Built by the Wickes Refrigeration Co. of Chicago, the room included a refrigeration compartment and what Wickes called a “freezer” that used a combination of chipped ice and salt to keep the room cold.
The Wickes Company catalog promised temperatures of 42° F on the lower shelf, 45° in the middle, and 48° on the upper shelf in the summer. A separate drainage system carried away melted water.
During the years that the Archdiocese of St. Paul occupied the house, the cold storage room was modified for use as an archive, so only a few original elements remain. Today it is used for museum storage.
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Constructing
240 Summit Avenue
James J. Hill’s new home was modern in every respect, incorporating the latest technology and engineering. Construction took just three and a half years, using the labor of over 300 workers.
Completed in 1891, the total cost of the project was $931,275.01, in an era when an average working man’s wages were $400 per year.
Built like a modern skyscraper, the structure of the house is made of Carnegie-steel beams, reinforced with concrete and brick. The wood and plaster interiors and red sandstone exterior are merely facades⁠—with most of the exterior stone is only four inches thick. Except for bricks made in Chaska, MN, nearly all of the materials came from out East, brought by rail.
It included both gas and electric lighting (it was the first fully-electrified home in Saint Paul), plumbing, and an advanced gravity-fed heating system.
During the early phases, beginning in 1888, approximately 100 workers were on the site daily. Of the workers we have records for, most were paid between $2–4 a day.
The highest-paid worker on record was the master woodcarver who was paid $1.00/hour. The lowest paid was the “Water Boy,” paid $1.00/day. However, we only have records for the workers paid directly by James J. Hill.
Most of the workers were actually hired by sub-contractors, and probably paid much less. Nearly all of the artisans who built the Hill House were from the Boston area, whereas most of the “unskilled” laborers were local, often pulled from Hill’s railroad crews.
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Cook's Uniform
This outfit was worn by a hired cook around the year 1910.
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Daughters Wing
This wing contained rooms for five of the seven Hill daughters: Clara, Charlotte, Ruth, Rachel, and Gertrude. The two daughters who did not have bedrooms here were, Katie who passed away as an infant in 1876, and Mamie, who married in 1888. The daughters shared two and a half bathrooms and a central sitting area.
During the years that the Archdiocese of Saint Paul and Minneapolis owned the house, the Church installed this glass wall and converted these rooms to offices. As we’re a museum today, we also have to have office space—this is where our offices are now!
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Daughters Wing
This wing contained rooms for five of the seven Hill daughters: Clara, Charlotte, Ruth, Rachel, and Gertrude. The two daughters who did not have bedrooms here were, Katie who passed away as an infant in 1876, and Mamie, who married in 1888. The daughters shared two and a half bathrooms and a central sitting area.
During the years that the Archdiocese of Saint Paul and Minneapolis owned the house, the Church installed this glass wall and converted these rooms to offices. As we’re a museum today, we also have to have office space—this is where our offices are now!
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Den
James J. Hill used this room as his home office, often working well past midnight. It has a separate entrance to allow business associates to arrive and depart without disturbing the family.
Hill often enjoyed a late-night snack in this room. The 1902 servant’s regulations assigned John, the butler, the task of serving Lithia Water—a type of mineral water popular at the time as a health tonic—in the den at 10:30 pm. Celia Tauer, who worked as Second Cook in 1910, recalled frequently bringing Hill an onion sandwich late in the evenings. Hill believed that onions before bed helped ensure sound sleep.
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Dining Room
This room, the most expensive in the house, was built to impress.
While the family dined in here for their evening meal, it was built specifically to be grand enough for formal dinner parties.
Over the years it hosted countless leaders of business, church, and state⁠—including Archbishop John Ireland, Wall Street financier J. P. Morgan, lumber baron Frederick Weyerhauser, and, in 1899, President William McKinley and most of his cabinet.
Grandchildren recall that after James Hill’s death in 1916, Mary Hill never again used the formal Dining Room.
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Door Divider
This door divides the family section of the third floor from the staff area. Historically, this door would have always been bolted and locked. Even the door itself is divided: the family side is made of oak, and the staff side is made of pine, which was five times cheaper.
The glass section in the middle was added years later by the Catholic Church, when they used this hallway as a dorm for nuns enrolled in the “Normal School” (a school where nuns could earn their Minnesota teaching license) that operated in this house.
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Doors
These massive oak doors across the vestibule would normally be kept closed. During receptions, dinner parties and dances, the massive oak doors swung open, disappearing to become panels in the wall.
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Dragon Sconces
These two dragon-shaped fixtures were decorative gas lights. The gas burned was coal gas from the St. Paul Gas Company. These were the only gas-only lights in the house; all the other fixtures were dual gas and electric, with the exception of the chandeliers, which were electric-only.
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Drawing Room
This room was a multi-purpose space used for a variety of formal entertainments: dances, receptions, dinners, teas, etc. The room hosted the weddings of four Hill daughters, as well as James J. Hill’s funeral.
Otherwise, the furniture was covered with dust sheets and the room was kept closed. Like the Music Room across the hall, the style is a “Louis XV” French Revival.
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Drying Room
Laundry was usually dried on clothes lines in the backyard, but the house had a walk-in drying room that could be used during inclement weather.
The adjacent drying room included eighteen cedar racks on runners. Wet laundry would be dried by the hot water pipes located beneath the racks.
A “dirty linen” chute allowed laundry to be received quickly, but returning clean items back upstairs probably took the Houseman a little longer.
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Dust Chute
Each floor had a dust chute that emptied into the basement. This allowed the upstairs maids to quickly dispose of dust that could then be gathered and removed in the basement.
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Dust Chute
Each floor had a dust chute that emptied into the basement. This allowed the upstairs maids to quickly dispose of dust that could then be gathered and removed in the basement.
The first floor dust chute is discreetly hidden behind a panel in the wall, which opens when pushed. (In fact, it was so well hidden, that for years the Minnesota Historical Society didn’t know it was there until a staff member bumped into it.
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Elevator Shaft
A manual cargo lift was once located near the location of the present elevator, with a separate staff staircase around it. The lift was used only for trunks and furniture.
In 1917, a small Otis passenger elevator replaced the manual lift. The addition was intended for elderly Mary T. Hill, but must have been welcomed by the domestic help moving between third floor bedrooms and basement work areas.
The area occupied by the modern elevator also contained a bathroom for Walter Hill, accessible from the family side of the hallway.
The original elevator shaft, servant’s staircase, and Walter’s bathroom were all altered in order to construct a modern elevator during the restoration of the home in the early 1980s.
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Engagement Ring
James J. Hill presented this engagement ring to Mary Mehegan in 1864. The diamond is set in a gold band with enamel. The original ring box is from T. Kirkpatrick, New York, where the Hill family purchased a number of pieces of jewelry.
In 2017, the ring and setting were appraised at a value of $400 (in modern money).
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Exit
This door led to the outside terraces. Today it is an emergency exit connected to the fire escape.
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Fireplace
This fireplace (1 of 22 in the home) has a unique backplate, depicting two eagles battling snakes. This was a gas fireplace, used more for aesthetics than heat. Gas came out of small holes in the ceramic log.
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Fireplace
This fireplace (one of 22 in the home) has a unique backplate, depicting a lion’s head. This was a gas fireplace, used more for aesthetics than heat. Gas came out of small holes in the ceramic log.
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Fireplace
This fireplace is one of four wood-burning fireplaces in the home (the others are in the Den and Main Hallway). The other sixteen upstairs fireplaces were gas fixtures. However, while gas fires were convenient, wood fires were still prized for their aroma and ambience.
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Fireplace
This fireplace is one of four wood-burning fireplaces in the home (the others are in the Library and Den, and across the stairway in this same hall). The other sixteen upstairs fireplaces were gas fixtures. However, while gas fires were convenient, wood fires were still prized for their aroma and ambience.
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Fireplace
This fireplace is one of four wood-burning fireplaces in the home (the others are in the Library and Den, and across the stairway in this same hall). The other sixteen upstairs fireplaces were gas fixtures. However, while gas fires were convenient, wood fires were still prized for their aroma and ambience.
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Fireplace
This fireplace is one of four wood-burning fireplaces in the home (the others are in the Library and Main Hallway). The other sixteen upstairs fireplaces were gas fixtures. However, while gas fires were convenient, wood fires were still prized for their aroma and ambience.
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Fuse Box and Switch
The James J. Hill House was the first electrified home in St. Paul. Switchboards and fuse boxes were found on every floor. Porcelain switches were mounted on a marble backboard. Today only the original wires (no longer in use) remain.
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Gilded Ceiling
The ceiling is covered with a thin layer of real 23k gold. Amazingly, the gold ceiling is the least expensive thing in this room!
The room contains only about 7.8 ounces of gold, in the form of gold leaf spread across the ceiling in layered sheets, each thinner than a human hair. This process is known as gilding.
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Glass Punch Bowl
T.G. Hawkes Company of Corning
This punch bowl was purchased by Mary Hill in 1892 from Davis Colamore & Company, Ltd., a New York importer of china, glass, and cutlery. It was originally produced by the glass company T.G. Hawkes Company of Corning, and received a gold medal at the Paris Exposition of 1889, the first American company to be recognized at such an event.
To create the intricate design, a blank was first blown without a mold, before an artist marked and cut the pattern with tiny rotating disks. After the final cutting, the glass was polished with wood wheels and then by hand.
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Guest Bedroom
This was a guest bedroom. Today, it is used as a rotating exhibit space. (At the time it was photographed, the exhibit focused on fashion history.)
Historically, this room often served as a bedroom for Mary Frances (“Mamie”) Hill bedroom during her visits.
Mary Frances, or Mamie as she was usually called, was the oldest of the Hill children. By the time the Hills moved to Summit Avenue, she was 23-years-old with a home of her own.
Mamie began her education at Visitation Convent Academy in the 1870s, the first of the Hill daughters to attend school there. In 1888, she married one of her father’s employees, the lawyer and railroad manager Sam Hill (no relation).
In 1901, Mamie and Sam Hill moved to Washington state, where they built a mansion dubbed “Maryhill,” that today remains open as an art museum. By 1903, Mamie and Sam had decided to live separately, and Mamie subsequently maintained homes or apartments in Washington DC, New York City, Lenox, MA, and Tarrytown-on-the-Hudson, NY.
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Guest Bedroom
Two guest bedrooms were located along the Summit Avenue side of the house. This one was used by Mary T. Hill as a sitting room in her later years. This is how the room appears in the historic photograph taken after Mary’s death in 1922.
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Heating Chamber
Behind this door lies one of the 26 metal chambers used to radiate heat throughout the house.
Each chamber featured pin-style radiators along the ceiling, which were heated with hot water from a central boiler.
Fresh cold air entered the house through sub-basement ventilation tunnels, and was warmed in the radiating chamber. The warm air rose through the vents to registers throughout the upper floors.
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Hot Water Boiler
Unlike the two larger boilers, this boiler was not part of the heating system and was used year-round. It provided hot water for the laundry room and bathrooms.
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James J. Hill Statue
Bronze, Enid Yandell, 1909
Enid Yandell ( 1871-1934) was a female pioneer in the male dominated field of sculpting. College educated, she studied sculpture under MacMonnies and Rodin in Europe.
She first gained national recognition after a display at the Chicago World’s Fair in 1892. This statuette of Hill was created in April of 1909 at the artist’s studio in New York. Mary Hill makes several mentions of its creation in her diary.
“New York. Papa and I spent the forenoon in Ena [sic] Yandells studio. She began a little statuette of Papa.” - Mary T. Hill’s diary, April 8, 1909
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James J. Hill's
Great Northern Railway Desk
Today, the James J. Hill House is only partially furnished. After Mary Hill passed away in 1921, the house itself was donated to the Catholic Church, and the home’s furniture and belongings were divided amongst surviving family members.
The handful of original furnishings seen today have been donated to the Minnesota Historical Society, often from Hill descendants.
James J. Hill’s bed is one of the many pieces of furniture that we do not have. In its place sits the desk from his downtown office in the Great Northern Building.
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James J. Hill's Bathroom
Of the thirteen bathrooms in the house, James J. Hill’s bathroom is the closest to its original condition. With hot and cold running water, showers, tubs and flush toilets, the bathrooms were modern and hygienic. Floors were raised to allow space for water pipes.
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James J. Hill's Bedroom
This was James J. Hill’s bedroom! It was not uncommon for married couples of the Hills’ social and economic status to have separate bedrooms.
James J. Hill’s valet, Joseph Craigin, would have spent time in James’ bedroom helping him dress and taking care of his clothing. The two master bedrooms were connected by sliding pocket doors.
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James J. Hill
This is a digital reproduction of a portrait done by Francisque Edouard Bertier in 1887, painted alongside a matching portrait of Mary T. Hill (which can be seen in the opposite alcove).
Hill’s ledger shows he paid $4000 for the set. The original portrait of Mary T. Hill is in the MNHS Collections; the portrait of James J. Hill is owned by Hill family descendants.
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James Jerome Hill
(1838-1916)
James J. Hill was born on a farm in southern Ontario on September 16, 1838. Hill's father died when the boy was 14, so Jim Hill began clerking in local shops before setting off to seek his fortune.
He began his career in transportation in 1856 as a 17-year-old clerk on the St. Paul levee. He quickly advanced within the shipping industry, opening his own warehouse in 1865, and soon expanding into selling firewood and coal sales and managing steamboat lines.
After 20 years working in the shipping business on the Mississippi and Red rivers, Hill and several other investors purchased the nearly bankrupt St. Paul and Pacific Railroad in 1878.
Over the next two decades, he worked relentlessly to push the line north to Canada and then west across the Rocky Mountains to the Pacific Ocean. Renamed the Great Northern Railway in 1890, Hill called the railroad the "great adventure" of his life. The Great Northern reached Seattle, WA, in 1893.
By the turn of the 20th century, Hill was one of the most powerful business leaders in the US. In addition to his railroad empire, Hill owned cargo ships on the Great Lakes and Pacific Ocean, was a major player on Wall Street, and had many banking, timber, mining, and agricultural interests.
At the time of his death, his net worth was estimated to be $63 million, with assets worth over $200 million.
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James Norman Bedroom
When the Hills moved into this home in 1891, James Norman Hill (1870-1932) was in the middle of his second year at Yale University. He struggled academically, partly due to ongoing bouts of rheumatism (related to a childhood bout of measles) and eye trouble. He did manage to graduate in the spring of 1893, and returned to St. Paul.
Immediately after graduation he was hired by his father as president of the Eastern Railway, a small branch of the Great Northern that terminated in Superior, Wisconsin. In 1899 James Norman was made Vice President of the Great Northern Railway.
James Norman had good people skills, and was considered bright and articulate, but his work was hampered by ongoing health issues. Slowly, his younger brother Louis began to supplant him as the obvious successor to his father’s businesses.
In 1905 James Norman became a director of the Northern Pacific and moved to New York City.
He became an early investor in The Texas Company (later renamed Texaco), which made James Norman quite wealthy in his own right. In addition to the Northern Pacific Railway and Texas Company boards, he was a director of Chase National Bank of New York, Colorado & Southern Railway Co., Great Northern Iron Ore Properties, and Midland Securities Co.
In 1912 James Norman married Marguerite Sawyer Fahnestock, an east coast divorcee, in a quiet ceremony in London with none of the Hill family members attending. Apparently because she was a divorcee, Marguerite was never received at 240 Summit. The couple lived in New York City. They had no children.
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Johannes Kirchmayer
Self-Portrait
This is the face of Johannes Kirchmayer, the Master Woodcarver for the James J. Hill House. He often left a self-portrait in buildings he worked on. He also left his initials in 13 spots around the house, indicating that he had personally carved those areas.
JohannesKirchmayer was born in 1860 in Oberammergau, Bavaria, a town widely renowned for its woodcarvers. In 1880, after apprenticing in his town’s most famous craft, he immigrated to the United States. By the mid-1880s he began regularly working with Boston-based interior design firm Irving and Casson, whom James J. Hill hired to work on his home.
As Master Carver, Kirchmayer was the highest paid workman on the project, paid $1.00 an hour. His team of woodcarvers (paid between $0.40–$0.60 an hour) worked from designs drawn by Kirchmayer. Collectively, the team spent 32,333 hours carving.
The James J. Hill House is Kirchmayer’s earliest documented work. Some of Kirchmayer’s best-known work is at St. Patrick’s Cathedral (New York City), St. Paul’s Cathedral (Detroit), and Cranbrook mansion (Bloomfield Hills, Michigan).
Shortly before his death in 1930, Kirchmayer received the “Craftsmanship Medal for Distinguished Achievement” by the American Institute of Architects. It is the only time the award has been given for woodcarving.
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Kitchen
On most days, this kitchen was the workspace of at least six women: a Head Cook to oversee meals for the Hill family, a Second Cook to prepare meals for the 10-15 servants, two Waitresses (who helped prepare food as well as serve), and two Pantry Maids who did the most menial tasks.
If the Hills were hosting a large event, more help would be temporarily hired for the occasion.
It is believed that Mary Hill requested the wood floor for the kitchen, as it would be easier for the cooks to stand on than the marble found throughout the rest of the basement.
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Ladies Staircase
This door by the entry offered discrete access to a back staircase leading to the Hill daughters’ bedrooms on the second floor.
When entertaining, a “ladies’ parlor” was typically set up in one of the daughter’s bedrooms, where female guests could fix their hair and makeup and prepare for a formal entrance down the main staircase.
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Laundry Chute
This panel once covered a chute that allowed dirty laundry to drop down to the Laundry Room in the basement.
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Laundry Room
In this labor-intensive area, one laundress and an assistant worked at washing, drying, and ironing the large amounts of laundry the household generated.
At first, soaking, scrubbing, and rinsing were done by hand in the laundry tubs. In 1912, an electric washing machine was purchased with a capacity for 36 shirts or 15 sheets.
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Light Switches
Here are three original light switches from 1891, each controlling a different ring of lights in the chandelier. This turn-style of switch was most common in the early days of electricity.
By the 1920s, toggle switches, which had a sturdier design were less prone to breaking, became more common. This early style of switch is why we still “turn” lights on and off.
The button was part of an electric call system used to summon a domestic servant. A bell rang in the basement, and a callboard in the servant’s dining room indicated where help was needed.
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Lighting Sconce
The Hill House was equipped with both gas and electric lighting. However, during the early years, gas lighting was both brighter and more reliable than electric lighting.
Most of the fixtures in the house were what were known as “gasolectroliers,” which contained both systems. On these sconces, electric lights hang down and gaslights point up.
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Linen Closet
This room, one of three linen closets, was used to store extra sheets and other linens. The room has interior windows to allow more natural light to come into the space.
From Mary T. Hill’s diary:
“Busy all morning seeing in a particular way to Linen Closet.” Friday, January 25, 1901.
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Look Up!
The skylight is original—natural light being the best available source of illumination in the 1890s. The retractable canopy, which allowed for control of the sunlight on especially bright days, has been re-created based on original plans.
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Louis' Room
At the time the family moved into this home, Louis Hill (1872-1948) was enrolled in Yale University’s Sheffield Scientific School.
He graduated in 1893 and began work immediately for one of his father’s subsidiaries, the Eastern Railway, located along the shores of Lake Superior. During this time Louis studied the ore deposits in the Mesabi Range.
He convinced his father to purchase more Mesabi property and to buy the tiny railroad that linked the area to the Great Northern route. This proved to be a spectacularly profitable move when large scale iron ore mining began after 1906.
On June 6, 1901, Louis married Maud van Cortlandt Taylor, who came from a distinguished east coast family that had moved to Saint Paul for a few years in the 1890s. Architect Clarence Johnston designed the large Georgian-style home for the couple next door to the Hill House, at 260 Summit. The couple had four children.
From 1904-1905, Louis began taking over the railroad management from his father, and in 1907 he succeeded him as president of the Great Northern Railway. Louis also succeeded his father in the Chairmanship of the First National Bank of Saint Paul.
Louis was the driving force behind the establishment of Glacier National Park in 1910, along the Great Northern route. The revival of the Saint Paul Winter Carnival was largely due to his taking over the events in 1916 & 1917.
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Loving Cup
Mary Hill commissioned the gold loving cup to commemorate her and her husband’s 50th wedding anniversary. Sadly, James J. Hill passed away a little over one year before they reached this anniversary.
On that date (August 19, 1917) Mrs. Hill wrote in her diary, “This is our Fiftieth anniversary. Papa expressed a desire to see to-day more than once. God willed otherwise....”
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Maid Uniform ca. 1910
By the mid-1800s, it became a status symbol to have a staff all dressed in custom-made uniforms known as livery.
After the growth of cotton textiles and the invention of cheaper dyes, black became the standard color for servant livery, due to its ability to hide soot stains. For female staff, a black dress was usually worn with a lightweight white cotton apron and pinafore, which could be washed separately.
Livery was only worn by “upstairs” staff–that is, workers who might be seen by the family or guests. Staff whose work was largely out-of-sight (such as kitchen staff or laundresses, who remained downstairs were usually not required to wear uniforms.
Maids, waitresses, and other “upstairs” servants were usually required to purchase the uniforms out of their own pay. By the turn of the 20th century, different household jobs were expected to wear subtly distinct uniforms.
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Main Stairway Landing
The Grand Staircase was designed both to allow passage to the second floor, and also to provide a showcase for female guests to make a “grand entrance” to parties after having primped in one of the upstairs bedrooms.
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Mangle Machine
This gas-heated machine, known as a mangle, was for pressing sheets and tablecloths.
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Mantelpiece
This room is in a French revival style, often called “Louis XV,” as the style took its inspiration from 18th century French royal palaces. The woodwork is mahogany, painted white and highlighted with touches of gilding.
Mahogany was among the most prized woods for decorative woodcarving, as it has a straight, fine, and even grain, relatively free of voids and pockets, excellent workability, and is very durable. The central oval table, also mahogany, was custom made for this room.
Musical motifs can be found in the gold-plated heating vents, woodwork, and mantle frieze.
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Mary T. Hill's Bedroom
This was Mary T. Hill’s bedroom. It was not uncommon for married couples of the Hills’ social and economic status to have separate bedrooms.
Mary T. Hill’s personal maid, Margaret Weller, would have spent time in Mary’s bedroom helping her dress and taking care of her clothing. The two master bedrooms were connected by sliding pocket doors.
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Mary T. Hill
This is a printed reproduction of a portrait done by Francisque Edouard Bertier in 1887, painted alongside a matching portrait of James J. Hill (which can be seen in the opposite alcove).
Hill’s ledger shows he paid $4000 for the set. The original portrait of Mary T. Hill is in the MNHS Collections; the portrait of James J. Hill is owned by Hill family descendants.
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Mary Theresa Mehegan Hill (1846-1921)
Mary Theresa Mehegan was born in 1846 in New York City to two recent Irish immigrants, Timothy and Mary Mehegan. Her father moved the family to Chicago in 1847, and to Saint Paul in 1850.
In the early 1860s Mary was working as a waitress at the Merchants Hotel, located close to St. Paul’s bustling lower levee. In the hotel dining room she met James J. Hill, who often ate his meals there because it was close to his workplace at Borup and Champlin.
The couple fell in love and became engaged in June 1864, marrying in 1867. She and James had 10 children between 1868 and 1885. Mary raised the children with assistance from nursemaids and governesses. In later years she was often visited by her grandchildren, some of whom lived periodically at the Hill House.
Mary was responsible for organizing the family’s social lives, the family charitable giving, and for managing various households the family maintained over the years. She hired and supervised a servant staff of about 10-15 women at the Hill House.
Mary was a great reader, letter writer, and diarist. Her letters, diaries and other records have been some of our chief sources in piecing together the story of the Hill family.
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Music Room
This room and the Drawing Room across the hall were designed as multipurpose entertaining spaces. Mary Hill received callers in this room (on Tuesdays, according to her calling cards).
It was here that the Hill daughters received piano lessons on a Steinway grand piano, custom decorated to match the style of the room. During parties, the Hills would frequently hire musicians, who would be stationed in this room.
Today the room is used as a museum gift shop.
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Nuns Making Preserves
Francois Bonvin
This is one of the few paintings from James J. Hill’s extensive collection that can still be seen in the house today. In historic photos this painting can be seen hanging in the Breakfast Room.
François Bonvin (1817-1887) was born in humble circumstances in Paris, the son of a police officer and a seamstress. Largely self-taught as an artist, he eventually won recognition as a leading realist painter, capturing the lives of ordinary people in a style reminiscent of the Dutch Old Masters.
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Organ Balcony
This small balcony was not designed primarily for seating. Its main function was to provide easy access to the organ pipes (tucked behind wood panels) for tuning and maintenance.
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Organ Balcony
This small balcony was not designed primarily for seating. Its main function was to provide easy access to the organ pipes (tucked behind wood panels) for tuning and maintenance.
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Organ Bellows
This accordion-style bellows would be filled with air whenever the organ was played, with bricks on top to provide air pressure.
Until 1895 the bellows was pumped manually.
The organist would pull out the “blowers signal” by the left-hand stops, and this would ring a bell signaling a servant below to start pumping.
In 1895 a “Boston water
motor” was installed that used water pressure from the city mains to pump the bellows in a piston and cylinder fashion, according to one organ expert who examined the system.
The “water motor” did not work very well, and around 1903 an electric motor was installed. All three systems now coexist, though only the electric motor is used.
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Oval Table
This mahogany table’s shape mimics the oval design in the ceiling. Many of the house’s original furnishings were custom-made by Irving and Casson, the Boston interior designers hired by Hill.
Today the Hill House is only partially furnished. Most pieces were removed in 1925 when family members gave the house to the Archdiocese of Saint Paul, following the deaths of James J. and Mary T. Hill.
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Pantry and Coal Room
A pantry and a room for coal storage were located in the adjoining rooms behind this door. The storage pantry held staples, vegetables, and preserved foods. Coal was delivered to the coal storage room for use with the coal-burning stove and fireplaces.
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Pantry
This door led to one of several storage pantries that held staples, vegetables, and preserved foods. This pantry also had stairway and dumbwaiter access to the first floor Butler’s Pantry.
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Pantry
This was one of several storage pantries that held staples, vegetables, and preserved foods.
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Pipe Organ Interior
Residential pipe organs were popular during the 19th century, even in middle-class homes, though rarely on this scale.
A mechanical action tracker organ, the instrument has 1006 pipes, 17 ranks, and a bellows located in the basement. The largest pipes are sixteen feet long, and the smallest pipe is about the size of a ballpoint pen.
The pipe organ has undergone two major restorations. In 1988 the pipe organ was restored by J. C. Taylor of Kaukauna, Wisconsin. Funding was provided by individual donors and an Institute of Museum Services (IMS) grant.
In 2018, the organ underwent an even more substantial renovation carried out by Dobson Pipe Organ Builders of Lake City, Iowa. This involved completely disassembling the organ, shipping all of its parts from St. Paul to Lake City, and later reassembling it onsite at the Hill House, as well as replacing much of the original leather with period-correct replacements.
Private donors Martin V. Chorzempa and Dr. George and Joan Fischer funded the 2018 restoration.
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Pipe Organ
Residential pipe organs were popular during the 19th century, even in middle-class homes, though rarely on this scale.
A mechanical action tracker organ, the instrument has 1006 pipes, 17 ranks, and a bellows located in the basement. The largest pipes are sixteen feet long, and the smallest pipe is about the size of a ballpoint pen.
No one in the family played the pipe organ, but professional organists
performed recitals and played during family weddings and Hill’s funeral. Early concerts hosted by the Schubert Club were held in this room using the pipe organ. Gertrude’s “coming out” party in 1902 featured a special recital on the organ.
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Portieres
The rooms off of the main hallway are connected by sliding pocket doors. Additionally, each doorway has a set of heavy silk brocatelle curtains known as portières. Originally, the fabric cost $75 a yard (the equivalent to well over $2000 in today’s money).
Portières were popular in upper-class Victorian homes, demonstrating wealth and luxury while also keeping in heat, and providing the ability to section off a room without closing the full door. The Hill House portières were reproduced from surviving samples of the original textiles.
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Portrait of James J. Hill
and Mary T. Hill, 1913
Henri Caro-Delavaille (French, 1876-1928)
These portraits of James J. Hill and Mary Theresa Hill were painted by renowned French portrait artist Henri Caro-Delvaille in 1913.
Hill disliked his original portrait by the artist (currently displayed in the Library), and had Caro-Delvaille return from Paris to paint the portraits seen here. Caro-Delvaille and his wife lived at the house for several weeks while the works were being created.
In her diary, Mary Hill commented, “For an artist, he is a most agreeable man. And such a Dancer—dances Spanish dances wonderfully well.” (May 13th, 1913)
Decades later, Caro-Delvaille’s son recalled an amusing anecdote he had heard from his parents:
One evening my mother was reading in the room that was being used as a studio, and where my father’s unfinished painting of Mrs. Hill was resting on an easel. [James J. Hill] came in the room and did not notice my mother since she was alone. He looked at the portrait of his wife for a long time, then took a brush from a palette and began brushing out the wrinkles out of the face of the portrait! Mother said, “Why! Mr. Hill!” startling him, and causing him to say gruffily, “She does not have those wrinkles,” and he stomped out of the room.
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Portrait of James J. Hill
and Mary T. Hill, 1913
Henri Caro-Delavaille (French, 1876-1928)
These portraits of James J. Hill and Mary Theresa Hill were painted by renowned French portrait artist Henri Caro-Delvaille in 1913.
Hill disliked his original portrait by the artist (currently displayed in the Library), and had Caro-Delvaille return from Paris to paint the portraits seen here. Caro-Delvaille and his wife lived at the house for several weeks while the works were being created.
In her diary, Mary Hill commented, “For an artist, he is a most agreeable man. And such a Dancer—dances Spanish dances wonderfully well.” (May 13th, 1913)
Decades later, Caro-Delvaille’s son recalled an amusing anecdote he had heard from his parents:
One evening my mother was reading in the room that was being used as a studio, and where my father’s unfinished painting of Mrs. Hill was resting on an easel. [James J. Hill] came in the room and did not notice my mother since she was alone. He looked at the portrait of his wife for a long time, then took a brush from a palette and began brushing out the wrinkles out of the face of the portrait! Mother said, “Why! Mr. Hill!” startling him, and causing him to say gruffily, “She does not have those wrinkles,” and he stomped out of the room.
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Punch Bowl
This silver punch bowl and ladle given to James J. Hill by the City of St. Paul to celebrate the completion of the Great Northern Railway in 1893.
The punchbowl was presented at a
banquet held at the Aberdeen Hotel in St. Paul, June 9th, 1893, attended by all the “Big Guns of the West.”
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Quarter-Sawn Oak
Various shades of white oak from New Hampshire predominate on the first through third floors. The oak used is quarter-sawn, which means it was cut diagonally so that the annual growth rings of the tree are perpendicular to the surface rather than parallel.
A tree has rays that radiate from the center like spokes on a wheel. In quarter sawing, the cut is made parallel to these rays, in effect slicing through them.
In oak especially this produces beautiful grain patterns. This is a more difficult and more wasteful way to cut wood, making quarter-sawn wood significantly more expensive. It is clear that the wood in the Hill House was selected for the beautiful grain patterns.
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Reception Room
The Reception Room served as a waiting area for daytime guests while staff fetched the appropriate family member, or as a space for short, social “calls.” In her oral history, second cook Celia Tauer remembered having her job interview here.
The heavy, dark, ornate furniture that occupied the Reception Room (as seen in the 1922 photograph) came from the Hill’s former home at 9th and Canada in St. Paul, and represents an earlier, high Victorian style. The quarter-sawn oak has a much darker stain and the woodwork contains Moorish elements in its carved motifs.
Although none of the original furniture remains, the Reception Room’s purpose remains the same: to welcome visitors to the Hill House.
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Schoolroom
Identified on the original blueprints as a “gymnasium”—a word that, through much of continental Europe, was used to denote a classroom—this is where the younger Hill children were taught in the 1890s by tutors and governesses.
In later years the schoolroom served a new use for the changing family. “Found a billiard table in ‘School Room’ when I came home Saturday,” noted Mary T. Hill in her diary after returning from a trip in 1899.
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Sconce
Most of the light fixtures in the Hill House were designed for a combination of gas flames and electric lighting. The “missing bulbs” are actually where the gas jets were originally located.
When the Hill House was completed in 1891, it was the first electrified home in Saint Paul.
At the time, combination gas/electric fixtures were common, allowing homeowners the option of using either form of lighting. Electric lights were novel and clean, but early electrical systems were often unreliable, and the first incandescent bulbs were quite dim. Gas was more reliable and produced a brighter light, but also left a smoky residue on ceilings and walls.
Most of the light fixtures in the house are dual gas/electric. The only exceptions are the 16 cut-glass chandeliers, which are all-electric, and the four dragon-shaped decorative sconces at either end of the main hallway, which are gas-only.
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Sconce
The lighting sconces in this room, like others in the house, are combination gas and electric. The library gas sconces were perfect for reading, thanks to the addition of Welsbach mantles—a mesh of cloth bonded to metal oxides that produces exceptionally bright light when heated by flame.
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Second Floor Hallway
The second floor of the home consisted mostly of bedrooms: two master bedrooms, five bedrooms used by James J. Hill’s daughters, and two guest bedrooms. The floor also contained four bathrooms and several closets.
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Security Grate
These metal grates were part of the security system. They can be found on all the first floor doors and windows. Typically the Butler would lock the grates at night, and open them in the day. All of them are retractable and can be hidden in cupboards.
If someone ever forced their way through, it would sound an electric burglar alarm. An indicator board called an “annunciator” in the Butler’s bedroom would indicate where the break in occurred.
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Servant Screen
This privacy screen covered the doorway to the Butler’s Pantry on the south wall, through which waitresses would bring the food.
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Servant's Bathroom
Behind this door is a bathroom used by the domestic staff.
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Servant's Bedroom
This bedroom is one of five servant bedrooms shared by a staff of between 10-15 domestic workers. Unlike many servant’s bedrooms of the period, this room features a window, a light fixture, and a heating vent. In many comparable mansions, servants slept in unlit and unheated attics.
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Servant's Dining Room
Behind this door was a room used as a dining room by the domestic staff. The dining room has a coal-burning fireplace, as does the servants’ sitting room next door. Today the room is used for storage.
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Servant's Wing
This wing—five bedrooms, one bathroom, and two workrooms—was used to house women who worked in the house as domestic servants. Between ten to fifteen women slept in these bedrooms, two to a room, with the exception of the first cook, who had her own bedroom. This wing also has two sewing rooms where the seamstresses worked.
Domestic work at the turn of the 20th century was highly gendered: most jobs inside the house (e.g. cook, maids, waitress, laundress, etc.) were exclusively female professions.
In contrast, most jobs outside the house (e.g. groundskeeper, gardener, power plant staff, coachman, hostler, etc.) went to men. The male staff at the Hill House lived in either the Gatehouse out front, or in the Basement.
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Sewing Rooms
The large seamstress room and the adjoining sewing room on the third floor were work areas for women who came in to do mending, alterations, and dressmaking for the Hill family.
Accomplished at needle arts, Mary Hill began a Saturday sewing class in 1900 possibly held here or at St. Mary’s Church in Lowertown St. Paul. During World War I, Mrs. Hill helped organize knitting for Belgian war relief and later for soldiers at Fort Snelling.
Unlike the cooks, waitresses, maids, and laundresses, the seamstresses did not live in the Hill House, but commuted from their own homes. At the time, this was known as “Day Work.”
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Side Porch
James J. Hill allowed select visitors to view his collection—provided they had been issued a pass by Hill’s secretary, John Toomey, at the Great Northern Railway office.
Visitors could ring the bell on the side porch, and the Butler would admit them through this door. Distinguished visitors traveling in the area, practicing artists, student groups, and ladies clubs all were issued passes at different times.
Shown here is one such pass, granted to lumber magnate and fellow art collector T. B. Walker in March of 1909.
Like Hill, Walker also maintained a private art gallery in his Minneapolis mansion, which eventually became the public art museum today known as the Walker Art Center.
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Side Porch
This room has a separate entrance, leading to a side porch, to allow business associates to arrive and depart without disturbing the family.
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Silver Vault
When not in use, silver and other valuable tableware was stored in this vault. Originally, there was no handle; when a special key was inserted into a discrete hole in the wall, the hidden door would automatically pop open.
Today the vault contains some original silver pieces that have been donated to us by Hill Family descendants, including a British Gorham tea service, and the extra table leaves.
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Skylight
This area overlooks the skylight for the Art Gallery below. The flat glass ceiling now has an added layer of UV safety glass.
This is one of the few areas where you can see the underlying structure of the house. Although the Hill appears from the outside to be made of massive stone blocks, the exterior stonework is only a facade a few inches thick.
The home is actually built on a structure of Carnegie steel I-beams, concrete, and bricks. The skylight area also provides a glimpse of the underside of the roof, which consists of slate tiles tied to the rafters with wire.
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Sleeping Porch
This display case, used today to exhibit various original Hill family belongings, covers the door to a side porch known as a “sleeping porch.” Inaccessible from the street (and therefore secure) and originally featuring wire screens, it is often mentioned in Mary Hill’s diaries as a place where she could escape the heat of the house in summer.
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Stage
This stage was used by the Hill children for amateur theatrical productions. It was equipped with dressing rooms off to the side and sophisticated lighting system.
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Steamer Trunks
Both of these steamer trunks—designed for long distance travel by steamship and rail—accompanied their owners to New York City in 1896. The owners—Lena Peterson and Rachel Hill—lived very different lives, but they both were part of an increasingly interconnected world made possible by steam travel.
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Storage Room
This room is believed to be where the Hill family stored outdoor sporting equipment. Today, it is used to store museum equipment.
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Stove
Through at least 1910, the kitchen had a coal-burning stove. It is not known exactly when present gas stove was added; it may have been during the later years of the Hill family’s residency, or possibly during the early years that the Archdiocese of Saint Paul and Minneapolis owned the house.
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Switchboard
The cabinet along the north wall once housed one of several “switchboards” throughout the house. The precursor to the fuse box or circuit breaker, a row of switches (now removed) activated electric power for rooms on each floor.
The James J. Hill House was the first electrified private residence in Saint Paul.
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Switchboard
This electric switchboard controlled the lights in the attic. Three dimmer switches allowed for control of the stage lights.
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Table
The dining room table, when all 17 leaves are inserted, can seat 22 people. Originally the table and full set of chairs cost $709.61 (equivalent to more than $24,000 in today’s money).
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Table
This mahogany table, like many of the house’s original furnishings, was custom-made by Irving and Casson, the Boston interior designers hired by Hill.
Today the Hill House is only partially furnished. Most pieces were removed in 1925 when family members gave the house to the Archdiocese of Saint Paul, following the deaths of James J. and Mary T. Hill.
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Terrace
Mary had access to the second floor terrace from her bedroom. A small electric switch to the right of the door allowed Mary to disengage the burglar alarm on this door, so that she could use the porch at any hour of the night (the Houseman would arm the burglar alarm system at 10:30 pm each night)
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The Hallway
This hallway served many functions: as a passage to other rooms, an impressive entrance for visitors, and even as a ballroom. At 88 feet long and 2,000 square feet, the Hallway is the size of many single-family homes today.
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The Library
The family used this space for leisure activities and cozy gatherings with family and close friends. The family played cards, games, and did jigsaw puzzles here, in addition to reading and writing letters.
The woodwork in this room is Mexican mahogany, with cherry beams in the ceiling. The wallcovering is Lincrusta Walton, a type of heavy, embossed paper from the inventor of linoleum. The stencil design in the ceiling is reproduced from the original.
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Third Floor Hallway
The third floor of the Hill House was strictly divided between family and staff areas. Historically, the door between these two wings would have always been locked, and separate stairways were used by the staff and family.
The east wing of the third floor was used by the family, and contained the bedrooms of the Hill sons, the schoolroom, gun room, a trunk room for storage, another large linen closet, and three bathrooms.
In keeping with the rest of the house, woodwork in this wing is of quarter-sawn white oak with decorative crown molding. The west wing, by contrast, was used only by the domestic servants, and contained five staff bedrooms, one bathroom, and two work rooms.
The woodwork in the staff area was pine (which was five times cheaper than oak) and contained no decorative elements.
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Tillie Isaacson's
Sewing Machine
Tillie Isaacson worked as an assistant dressmaker for the Hill family from 1900-1903. In an oral history interview, Tillie remembered being paid $1.75 a day to sew and mend for Mary T. Hill and the daughters:
“They would go to Paris, buy the fashions or make drawings and then bring them home for us to copy. But we also repaired some of their old clothes, too. I put in tucksby the dozens every week.”
Tillie was given the Hill’s 1896 Willcox and Gibbs when she married in 1903—typical of the kind of gift Mrs. Hill made to valued servants when they were leaving to marry. That year Mrs. Hill purchased a new Singer sewing machine.
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Vault
This vault was used by James J. Hill to store valuable items and important documents.
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Venetian Gilt Leather
Venetian gilt leather, known as cuoridoro, is a rare type of wall covering popular in Renaissance Europe.
The leather in the Dining Room is a copy of a pattern from the Venetian home of the painter Titian. Ever the fussy customer, James J. Hill ordered the coloring altered after work had been completed.
Upholsterer Charles Yandell, who had revived the craft of gilt leather (once considered a lost art), charged Hill $21 per yard for the initial work, and $65 per for the alterations.
Although known as “gilt” leather, no gold is actually used. Instead, silver foil is applied to the leather, and then coated in a varnish that gives the silver a gold hue. Additional glazes are used to add other colors. Afterwards the leather is tooled with small leather punches to create intricate textures.
Initially, this leather would have shone with vibrant shades of gold, blue, red, and silver. Over the years the colors have faded significantly as the underlying silver tarnished and the varnish degraded. The leather has also become cracked due to over a century of heat and humidity changes.
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Walls
The walls are covered with Lincrusta Walton, a heavy, embossed paper related to linoleum. The surface is painted with three layers of colors—yellow, light green, and dark green—to enhance the texture and depth. Lincrusta Walton was invented in England in the 1860s.
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Walter's Room
The youngest Hill child, Walter (1885-1944) was six years old when the family moved to Summit Avenue. After elementary education along with his sisters Rachel and Gerturde at home from private tutors, Walter attended a number of boarding schools out east. Unlike his brothers, Walter was not accepted into college, due to poor grades.
Walter developed an interest in farming and livestock, and in 1910, his father got him started managing a 3,000 bonanza farm, Northcote, in Kittson County.
James J. Hill built him a 24-room home with a swimming pool on the farm. After his father’s death in 1916, Walter left Northcote and sold the estate parcel by parcel, and subsequently purchased ranching land in Livingston, Montana. He divided his time between his Montana ranch and New York City.
In 1908 Walter married Dorothy Barrows, and they had one child. The couple divorced in 1921, and Walter married and divorced three more times. These later relationships were heavily reported on in the tabloid press at the time.
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What type of art did Hill collect?
Hill maintained a fashionable mix of European paintings and sculptures in various styles, but was especially fond of the artists associated with the French Barbizon School, a group of mid-nineteenth century landscape painters.
These artists – Corot, Courbet, Daubigny, Millet, Troyon and others – turned away from the symbolic, historical, and mythological subject matter that was popular at the time, instead painting peaceful scenes of rural life in the fields and forests around the village of Barbizon, south of Paris.
The Barbizon focus on realistic, “everyday” scenes, and their increasingly loose brushwork and softness of form laid the foundation for the Impressionist movement a generation later.
Today these works can be seen at the Minneapolis Institute of Art.
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Wheelbarrow and Coal
An average of two tons of coal were burned every day during the winter to heat the home. Records show that 241 tons of coal was purchased for the Hill House in 1901. Different types were used for heating, producing hot water and cooking. The average price was $5.50 per ton.
The Houseman was primarily responsible for stoking the fires during the day and banking the fires at night. Additionally, a “fireman”—a skilled boiler engineer—visited each morning to check on the operations and perform regular maintenance on the boilers.
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Where did all of the art go?
These walls were once packed floor to ceiling with hundreds of paintings and sculptures collected by James J. Hill.
After the death of James J. Hill in 1916 and Mary Hill in 1921, the art collection was divided among family members. The family donated many works to the Minneapolis Institute of Art, an institution that had been greatly supported by James J. Hill.
These bequests formed the seed of the museum's collection of 19th-century European artwork. The rest of the artworks have either found their way into other museum collections, or remain in private hands.
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Why is this lamp plugged
into the ceiling?
This mansion was the first fully electrified home in St. Paul. Like other homes of its time, it did not have any electrical outlets in the modern sense, only light bulb sockets. Early electric appliances had a screw base identical to light bulbs, and were powered by light sockets. Two-pronged electric plugs were invented in 1904, and did not become commonplace until the 1920s.
In historic photos of the Hill House interiors, lamps can be seen plugged into various chandeliers and wall sconces.
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Wine Bottles and
Fruit Press/Sausage Maker
Mary Hill enjoyed making wine from Concord, Delaware, and Black Hamburg grapes grown in the backyard greenhouses and at the family’s North Oaks farm ten miles north of Saint Paul. The Butler, Axel Johnson, helped make the wine, which was fermented in ceramic crocks in the basement hall.
Two bottles of Mary Hill’s homemade wine are on display, as are a wine storage jug and a fruit press/sausage maker, all of which were used by Mary Hill. The bottles are reused bottles of Lithia mineral water, which James J. Hill drank every night before bed (he believed it helped his sleep).
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Wine Cellar
James and Mary Hill were not heavy drinkers but, like most wealthy families, they had a
cellar that was well-stocked with fine wines and liquor to use when entertaining guests. Only the Butler had keys to the wine cellar.
When not entertaining, the Hills enjoyed homemade wine from grapes grown in the backyard and at the family’s North Oaks farm ten miles north of Saint Paul.
Mary Hill frequently sent bottles of her homemade wine to friends and family as gifts, a practice she continued even after Prohibition went into effect in 1919.
In one letter to her daughter Gertrude after Prohibition began, she wrote, “If Mike [Gertrude’s husband] got his wine through, he is in luck. I hear they open trunks and many other packages in search of fluids of that sort …”
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Wood and Meadow (study)
Louis Warren Hill, Jr.
Gift of Mari Hill Harpur
James J. Hill’s love of the arts was passed on to his children and grandchildren, several of whom became accomplished painters, photographers, and filmmakers. This painting and the one across from it were painted as a study piece by James J. Hill’s grandson, Louis W. Hill, Jr. (1902-1995).
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Woodwork
The woodwork in this room was the most costly in the house: the woodworkers, paid between $0.40 and $1 per hour, spent far more time in this room than anywhere in the house, carving intricate designs that never fully repeat.
The wood used is a rare mahogany from St. Thomas in the Virgin Islands that cost between $0.30 to $0.35 a foot (for comparison, the cheapest wood used, pine, was $0.03 a foot). Once highly prized, this type of tree became commercially extinct by the 1930s due to overharvesting, and remains an endangered species today.
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