The simple and elegant Calvin Coolidge Room is a classic Victorian bedroom, the kind of place that Coolidge, born in Vermont in 1872, grew up in. The dominating feature is a magnificent mural of townsfolk gathering in the village of Warren in the 1920's. There is a king-size four poster bed, a wood-burning fireplace, and a handsome "Tumbling Blocks" quilt, a replica of one that Coolidge made as a boy. A hidden door leads to the bathroom, which has a large marble steam shower, a very deep Jacuzzi and silver star wallpaper with presidential ribbon bunting. A big white, columned porch is a perfect place to watch a parade go by, or to just sit quietly on a summer afternoon with a good book.

Rate: $575.00 • Click here to see a room comparison chart

Since 1965, David Sellers has lived in Warren, Vermont and has long been interested with its spaces and architecture. Concerns for future village activities have colored his thoughts over the years.

Early on, Dave noted that unlike most Vermont towns, Warren had no Village Green. Traditionally the town green had been a cultural hub and focus for the communal life and a center of architectural energy which both consciously and unconsciously had generated building placement and design. A number of years ago Dave sought to bring this source of energy to Warren by proposing the construction of a green in the heart of the village just to the north of the Warren Store, which with the former Pitcher Inn was the active center of town. Unfortunately, this plan was never implemented. When the opportunity to rebuild the Inn came his way, Dave was presented with a new opportunity to express his views of the importance of giving the town center a focus.

Historical research has shown that the major public events took place on a green with the center of activities located in either a raised combination band shell or a speaker's platform. On many of Vermont's village greens these band platforms are still proudly used. In Barre, Norwich, South Royalton and Bristol this remains the case, just to name a few. Many photographs show alternating locations of activities centered in the second floor balconies of hotels with crowds gathered in the street in front.

Clearly the "new" Pitcher Inn has to have a second floor balcony to provide the important missing components of village public life. It is not difficult to imagine an important public figure exhorting his followers to spirited debate of political issues or just enjoying a day of merriment. Frequently campaigning politicians spoke from just such balconies.

So... aware of Dave's and the State's history of important balconies at the town center, I was pleased to be asked to contribute. Given the birthplace of our 30th President, there was never any doubt as to the theme of the room and how its story should be told.

The muted tones of the mural are reminiscent of an old daguerreotype, designed to show the historical precedents of the balcony. I asked the muralist, Sarah Lee, to make the event intentionally ambiguous.

The activities shown are representative of any of the ceremonies that might have taken place partially on this porch. It could have been an important campaign speech, a dedication, a Fourth of July awards ceremony or any type of situation requiring a gathering of the town's inhabitants.

The interior is an amalgam of the type of architectural interiors that Calvin Coolidge experienced growing up in a rural Vermont farmhouse with touches of federal symbols that were part of his presidential life.

Coolidge (b. 1872 - d. 1933) was born in Plymouth, Vermont and was surrounded with a simple form of Victorian design. Simple, because the excesses of Victorian richness seen in wealthy urban locations were not privy to Vermont. Neither wealthy nor urban, Vermonters had been accustomed to simplicity by necessity and the harshness of the environment. The Vermont homestead of the period tended to have hard wood floors with area rugs showing a perimeter of the floor setter art in dealing with corners. Often the walls had a dark varnished wainscoting that terminated about three feet from the floor in what was called 'the chair rail'. The purpose of the chair rail was to provide a stop so the backs of the chairs would not come in contact with the walls, marring either expensive wallpaper or plastered walls. In cities materials were imported, but frugal Vermonters used local materials. Cherry, being an abundant wood in Northern New England, would not be atypical in use here. The wood was finished naturally to avoid the gloomy aspects of Victorian design and indicate the transition of Dave's work encompassing past, present and future.

Dave has divided the Inn into three parts with the Northern third being faithful to the part of the Inn's original facade that was converted from a residence. The central part with the main entrance and the balconies represents the present and the southern structure is a symbol of the future. Being one of the balcony rooms in the present or central structure dictated modifying or interpreting the past in a more contemporary manner, hence the light woodwork. An even more powerful example is the blanket chest at the foot of the bed.

Before central heating, a good supply of blankets was essential to keeping warm during the harsh winter nights. They were kept handy in a chest with a cushion that was also a convenient place to sit while pulling on long warm stockings (yesterday for working on the farm, today for skiing). With its drawers the chest is much more reminiscent of the clothes drawers in a modern hotel room (which is in fact its purpose), but an even greater adaptation to the present is its high-tech electronic installation.

Thrifty Vermonters were less susceptible to changes in taste than their urban cousins as they lived strongly by the adage of "patch-it-up, use-it-up." Hence fine pieces of furniture acquired by dowry or payment for services would last long past its "stylistic" life. For this reason, early colonial pieces would be seen mixed with Federal, Greek Revival or Victorian equipments. A Windsor chair (the desk chair) dating from the 18th century was a design popular in England and brought early to the colonies. Calvin Coolidge would have grown up with and been familiar with the style. This chair, as well as the bed, was built in New England using 18th century tools and techniques similar to furniture one can find at his birthplace in Plymouth. The Sheraton bed is a faithful copy including its use of several different kinds of wood depending on the structure and use imposed it. The different woods (maple, birch and ash) are then stained to match the cherry posts to create a unified look exactly as the best pieces were done throughout New England in the generations prior to the Coolidge era.

- Duncan Syme