Authentic T


wo blocks north of Old Salem’s Square stands an imposing struc-


ture that commands attention. In contrast to the eighteenth- and early- nineteenth-century homes and shops, the Belo house appears quite out of place. With its three stories, situated on an enormous lot, this grand Greek Revival mansion, completed in the early 1860s, is considerably larger and a dif- ferent style from its neighbors. Its size and design are significant, but the archi- tectural elements, particularly the cast iron decorations adorning the mansion and its yard, draw the most attention from passersbys. Because the Belo property is not part


of the museum’s holdings, and since its interior was gutted and the original materials removed in the 1960s, Old Salem’s focus has been on evaluating


History


the exterior architecture. These ele- ments are extensive: two- and three- story columns with cast iron Corinthian capitals support the porticoes and doz- ens of cast iron fence panels, posts, and gates surround the yard, identical fence


Ol d S a l em


Construction on the Belo House began in 1849. Below, the property’s ornate Bank Street entrance.


panels and lacy cast iron trim frame the porches, and life-size cast iron animals (a lion, a greyhound, and a Labrador) sit on the steps leading up to the elevat- ed lot. It is an impressive sight. Old Salem’s commitment to authen-


tic history demanded an investigation of these architectural elements. Myths abound concerning them. Most focus on their origins and credit Edward Belo and the craftsmen in his employ for their creation. They cite Belo’s extensive training as a cabinetmaker in Philadelphia and his ability to carve the wooden patterns required for casting. Additionally, he owned a small foundry on his plantation outside of town and periodically sold cast iron incidentals in his widely acclaimed store, lending credence to the myths. Consequently, the twentieth-century assumption was that Edward Belo cast all of the iron elements.


24 Old Salem Museums & Gardens


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