Nonpartisan and Education-based News for Centreville
On a winter’a day, a pair of tundra swans descend out of a gray sky.”Tundra Swans” by Geoffrey S. Baker
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
The Feast of Stephen occurs each year on December 26. The feast day may be familiar; it is mentioned in the carol “Good King Wenceslas” (1853). There was in fact a St Stephen and a good King Wenceslas. Boxing Day also is on December 26.
“St Stephen Martyrdom” (1324)
St Stephen (c. 5-36 CE) was one of the seven deacons of the early Christian church in Jerusalem. He was known for caring for poor, often forgotten people by giving them gifts of food and other necessities. He was a Hellenistic Jew, and he preached about the synagogues’ slight of Hellenistic Jews and favor toward Hebrew Jews. The Sanhedrin, the supreme legislative and judicial council in ancient Israel, accused Stephen of blasphemy against Moses and God. “St Stephen Martyrdom” (1324) (10’’x20’’), by Bernardo Daddi (c.1290-1348) of Florence, is one of eight panels from an altarpiece in the church of Santa Croce. On the left side of the panel is a depiction of the trial before the Sanhedrin. St Stephen prays as he is found guilty. On the right side is a depiction of his stoning. He is acknowledged as the first Christian martyr.
Bernardo Daddi was a follower of Giotto who introduced greater realism in his painting. The human figures have more natural proportions, gestures, and expressions. His use of shadow gives them weight and mass. Fabrics drape naturally around their bodies. Their feet appear to be flat on the ground. Although faces are similar, he attempted to represent distinct individuals. His settings begin to have perspective. He attempted to paint a usable space. Although the leader of the Sanhedrin is too tall to stand up in the room, the door to the outside is tall enough to accommodate St Stephen and the others. Outside, a green lawn and a deep blue sky replace traditional solid gold as a background.
“The Martyrdom of St Stephen” (1671)
“The Martyrdom of St Stephen” (1671) (172”x109’’), by Flemish Baroque artist Peter Paul Rubens (1577-1640), offers a striking comparison between the early attempts at realism in the Early Renaissance in Italy and the full-blown realism of the 17th Century. On the left panel, Stephen preaches to the people about his concerns. He stands on the steps of a classical Roman building. Three of those around him listen intently. Perhaps the elderly figure in white with the elegant blue and gold on his robe is a member of the opposition. He listens intently, but with a hand held behind his back.
The stoning of Stephen is depicted on the central panel. Well-muscled men throw the stones with power. Stephen has begun to turn the ashen color of death. He looks up and cries out, “Behold, I see the heavens opened, and the Son of Man standing at the right hand of God.” (Acts 7:54-60) Before he died Stephen forgave his persecutors. In the right corner is Saul of Tarsus, keeping the discarded robes of those stoning Stephen. This act shows his consent to the stoning. Saul would become a major persecutor of Christians until his miraculous conversion on the road to Damascus. He was known from that time as St Paul the Apostle. The right panel is a depiction of the burial of St Stephen.
“St Stephen” (1330-35)
St Stephen was depicted as a young man wearing a deacon’s dalmatic robe. “St Stephen” (1330-35) (33”x22’’) is an early image by the famous Florentine artist Giotto (c.1267-1337). Giotto tried to give Stephen a compassionate expression because he was known to be compassionate. His dalmatic is decorated with elaborately woven bands of gold embroidery. He holds a book as tribute to his faith and his teaching. Giotto attempted to depict realistically Stephen’s fingers holding the book.
The two rocks on his head are symbols of his martyrdom, one of the things all artists had trouble integrating into their paintings. Stephen is the patron saint of deacons, bricklayers, and stonemasons.
In portraits of this period, the golden background was influenced by Byzantine painting. Gold ingots were pounded into thin leaves and applied onto a layer of bole, wet red clay. It could then be incised into elaborate patterns as seen in this work.
“St Stephen” (1476)
“St Stephen” (1476) (24’’x16”), painted by Carlo Crevelli (1435-1495), was commissioned by the Dominicans in Ascoli Piceno, Marche, Italy. They believed Stephen provided an excellent example of teaching and preaching to non-believers. Cervelli was trained in Venice, painted in the elaborate and highly decorative style of Venice, and was known for his extensive use of gold. The dalmatic decorations are an example of the richness of Venetian gold embroidery. The gold would gleam in the candle light of church services. Stephen holds a palm branch, a symbol of martyrdom, also of triumph, peace, and eternal life. Waving palm branches were part of the celebration of Christ’s triumphal entry into Jerusalem. The stones on his head and shoulders are necessary to identify Stephen.
“Wenceslaus fleeing from his brother” (c. 1006)
Wenceslas (907-935) (Vaclav the Good) was not a king, but he was the beloved Duke of Bohemia. He was raised as a Catholic by his grandmother Ludmilla. He was known for his concern and care for widows, orphans, and even prisoners. He spread the Christian faith throughout his kingdom, much to the displeasure of his mother and brother Boleslaus the Cruel. “Wenceslaus fleeing from his brother” (1006) is an illuminated manuscript from the Gumpold Codex, commissioned in 980 CE by the Holy Roman Emperor Otto II and his wife. It is a depiction of the murder of Wenceslaus on September 28, 905 by his brother and others on his way to pray in the chapel. The final blow was delivered by his brother. In the illustration, Wenceslaus tries to escape into the chapel, but the priest closes the door. September 28 was declared his feast day and is celebrated in the Czech Republic, Bohemia, and Slovakia. Wenceslas was declared a saint by the people of Bohemia immediately after his death, and the Holy Roman Emperor, Otto I, declared him be a king.
“St Wenceslas Chapel” (14th Century)
The St Wenceslas Chapel was built in the 14th Century by King Charles IV, and it is the main chapel in the Cathedral of St Vitus in Prague. His tomb and relics are decorated lavishly. Over 1,300 Bohemian gemstones set in gold decorate the lower wall. The 275 square yards of Gothic frescoes on the upper wall depict scenes of his life and the life of Christ.
“Good King Wenceslas” (1879)
John Mason Neale (1818-1866), an English Anglican priest, scholar, and hymn writer wrote the carol “Good King Wenceslas” in 1853. His scholarship included an interest in medieval literature and music. He wrote the lyrics to fit the music of the 13th Century Spring carol “The Blooming Time is Here” that he and his partner Thomas Helmore found in a Finnish song book from 1582. The carol was published first in a children’s book in 1849 and then in his “Carols for Christmastide” in 1853.
“Good King Wenceslas” (1879) is an engraving by the Brothers Dalziel. Their engraving company, founded in London in 1839, worked with such artists as Whistler, Rossetti, and Lewis Carol. The engraving was included in a hymn book published by Henry Ramsden in 1879. King Wenceslas and his page are shown trudging through the snow carrying food and aid to the poor people of Bohemia. In verse four, the page, about to collapse, says:
‘Sire, the night is darker now
And the wind blows stronger;
Fails my heart, I know not how,
I can go no longer.’
Wenceslas responds:
‘Mark my footsteps, good my page,
Tread thou in them boldly:
Thou shalt find the winter’s rage
Freeze thy blood less coldly.’
Boxing Day, generally considered an English holiday, is also celebrated on December 26. In Victorian Britain the wealthy gave their servants the day after Christmas off to visit their families. After all they had worked hard preparing and serving the Christmas dinner. When they left, they were given a Christmas box which held food, small gifts, and money. Churches put boxes out for parishioners to leave donations for the poor. The connection between St Stephen and Boxing Day encouraged people to give gifts to those in need, as St Stephen had done.
Beverly Hall Smith was a professor of art history for 40 years. Since retiring to Chestertown with her husband Kurt in 2014, she has taught art history classes at WC-ALL and the Institute of Adult Learning, Centreville. An artist, she sometimes exhibits work at River Arts. She also paints sets for the Garfield Theater in Chestertown.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Distinctive gable roofs and a refined color palette integrate the duplex seamlessly into the surrounding neighborhood.
Since today is the first House of the Week for the new year, it is fitting that a new house rings in this new year. As an architect who has designed houses for several urban design projects, I know how important it is to infill older neighborhoods’ vacant lots with new housing that blends seamlessly with the architectural style of the older housing. Vacant lots at corners are especially vexing for they begin to erode two streetscapes; this stylish duplex infills its corner site by using the same floor plan for both units by flipping the original plan for the other unit.
Thoughtful design details, from deep eaves to interlocked paver parking, enhance the home’s modern functionality.
At each end of the duplex, gable roofs with deep eaves take their cue from the neighboring historic houses and a center gable breaks up the long side elevation facing another street. Shed roofs offer protection for the entry doors and a sidewalk wraps around the duplex to the streets at each end of the property. The combination of the luxury vinyl shake siding, parged concrete block foundations with an exterior color palette of the yellow siding white trim and the blue accent of the entry doors create great curb appeal. Instead of concrete pads for parking, both units have parking areas of individual interlocked pavers. Each parking area is outfitted with an electric car charger.
Fences with lattice detailing enclose private outdoor spaces, creating cozy yet open terrace areas.
One side yard has been transformed into private outdoor rooms for both units enclosed by high fences. I especially liked how the wood fence was detailed with bays of both lower solid panels for seated privacy, topped with lattice panels to soften the enclosure. The grass stops short of the fence so future plantings can add color and texture. Along with the same hardscape pavers used for the parking areas, the demising fence wall defines the terrace area for each unit.
A balustrade stair enhances the airy feel of the open plan living area accented by sleek vinyl plank flooring.
The entry door opens into an open plan living-kitchen-dining area. The stair has a balustrade on one side to expand the spatial volume of the living area. The white ceilings and off-white walls makes the space seem even larger than it is and accentuates the beautiful high-end luxury vinyl plank flooring.
The layout optimizes seating with ample natural light from multiple windows framing outdoor views.
The sitting area of the open plan layout easily accommodates a full size sofa and loveseat that are positioned across from both the TV and also the two front windows and one side window for views of the neighborhood.
Quartz countertops and modern pendant lighting provide a practical yet stylish kitchen workspace.
The “U” shaped kitchen’s quartz countertop’s overhang accommodates four bar stools for breakfast, informal meals or a surface for homework. The custom large pendant lights with their transparent globes adds task lighting and texture.
The cook-friendly kitchen offers spacious countertops and a bright window with scenic views.
The kitchen with white cabinets, appliances of stainless steel with black accents and the wide window for views would please any cook.
Clever floor plan offsets define an inviting dining space for gatherings of any size.
The stair’s location creates an offset in the floor plan to define the dining area’s ample space for a table and six chairs.
Sliding doors connect the dining area to the terrace, seamlessly blending indoor and outdoor living.
The length of the dining area has space for an armoire for storage of china and glassware, serving pieces, placemats, napkins, etc. The pair of sliding doors expands the space for al-fresco dining on the adjacent terrace with its privacy fence.
A farmhouse sink, warm cabinetry tones, and bronze accents make this powder room polished yet functional.
The dining area blends into a short hall leading to this powder room and the laundry. The window, custom cabinet with the white farmhouse sink, the earth tones of the cabinetry and the large round mirror create a stylish powder room.
Smart shelving and workspace create a practical setup for laundry and storage needs.
The laundry’s stack washer dryer is next to a counter for folding clothes. Hampers on the open shelves below are handy for sorting clothes and storage of supplies.
The upper landing provides a functional yet elegant space for décor or practical use.
The stair leads to the second floor landing and hall with space for a shallow table. The second floor contains the primary ensuite, two other bedrooms and a hall bath.
Generous windows and tailored storage provide a serene retreat in the primary bedroom.
The spacious primary bedroom is located at one corner of each unit. The bedroom’s shape creates space for a chest of drawers next to the walk-in closet and a high chest next to the window for ample storage of clothes. The upholstered chair on the other side of the window creates a cozy spot for reading.
Crisp white finishes and black accents create a balanced backdrop ready for personal touches.
The primary bath’s white interior design with accents of black hardware is a pleasing backdrop for one’s color accents of towels, accessories or art.
A glass-enclosed shower with recessed shelving elevates the bath’s simple yet modern design.
The primary bath’s large shower has easy-care wall to wall solid surfaces with a recessed space for shampoo, etc. The shower’s glass front panel and door expands the space.
The flexible guest room offers the perfect balance of functionality and relaxation.
The middle guest bedroom is a flexible space that could also be an office with a daybed for guests.
Corner placement and triple windows flood this carpeted bedroom with natural light
Another guest bedroom is located at a corner of the unit so it has three windows on two walls for abundant daylight. All of the bedrooms are carpeted for quiet.
The hall bath’s design blends white cabinetry, bronze hardware, and a tub with glass doors for timeless appeal.
The compact hall bath’s interior design of white cabinets, warm bronze hardware and fittings creates an inviting space. The combination tub/shower has sliding glass doors with a deeper bronze frame to complete the sleek look.
This custom built duplex is brand new and move-in ready for either investors seeking turn-key rental property or homeowners who would live in one unit and rent the other unit; it is also available as a furnished rental. The architecture blends very well with the surrounding houses in the heart of Easton’s Historic District and close by the property is the Rails to Trails. The first floor plan layout combines the open plan living-dining-kitchen that today’s homeowners seek with the second floor’s primary ensuite, two other bedrooms and a hall bath. Contemporary materials and finishes give this duplex great style and I look forward to the Olde School Builders next project-Bravo!
For more information about this property, contact Jana Meredith, Associate Broker with Meredith Fine Properties at 410-522-4663 (o), 443-235-3404 (c), [email protected], “Equal Housing Opportunity”.
Design and Construction by Olde School Builders LLC, 410-690-3221, [email protected].
Photography by TruPlace, www.truplace.com , (301) 972-3201
Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
The sculpture of the Oysterman today takes centerstage in front of the newest CBMM building. Many may be unfamiliar with the story behind the sculpture, or its “provenance,” as we call the history of ownership of an artwork.
A few years back, when I was still Senior Curator at the Academy Art Museum (AAM) in Easton, MD, I frequently surveyed and reorganized the storage of its modest collection. In the courtyard stood the Oysterman. an impressive sculpture by Kenneth Herlihy, a talented sculptor living and working at the time in Rock Hall, MD, not far from Chestertown. The AAM sculpture was placed on the north side of the courtyard, surrounded by shrubbery and the tongs were overgrown; the waterman was placed in such a way that he seemed to be staring into the ground. The AAM was planning to reconstruct the courtyard, and the sculptures were to be reinstalled. And next the Oysterman disappeared into the basement storage while reconsidering new placement post-construction.
I contacted the artist Ken Herlihy (1929 – 2021). The Massachusetts-born Herhily had graduated from Harvard College Harvard Business School and made a career as fund manager in Philadelphia, before moving to Georgetown, MD, where he worked as a sculptor in marble and bronze.
Bronze is not an easy art medium, and the technique to create a sculpture in bronze is complex. The oldest method that is still in use is called lost-wax casting (also known by the French term cire perdue), see https://en.wikipedia.org/wiki/Bronze_sculpture. The mold an artist creates in bronze casting can be re-used and as such the artist can make a small number of multiples, each considered an original. Herlihy became quite accomplished in bronze; he worked with John Phillips Foundry of Phillips Casting in Germantown, PA. (see Ken Herlihy’s Sculptures by John T. Guthrie, produced by Chestertown RiverArts https://www.youtube.com/watch?v=Gf81NdK__xA )
Ken Herlihy made his Oysterman which – since 1996 – stands as a landmark in Rock Hall, the town he called home for so long. It stands as a monument to the oystermen that were so important to the area. Herlihy modeled his bronze sculpture after a real living person: Captain Stanley Vanant, who was an oysterman and boat builder for 81 years. Kate Livie dedicated an article to him, “A Kent County Boatbuilder of Chesapeake’s Golden Age” (The Chesapeake Log, Winter 2023).
Herhily’s CBMM Oysterman, proudly dedicated to the watermen of the Chesapeake Bay is shown bent over his oyster tongs with oyster shells scattered at his feet. It was made in 1989 and measures 16 x 5 x 4 feet. After consideration and consultation with the artist, who had donated the sculpture to the AAM, the artwork was transferred to the CBMM in 2021, a much better and fitting home, where it serves as a tribute to the watermen of the Chesapeake Bay.
Anke Van Wagenberg, PhD, is Senior Curator & Head of International Collaborations at the American Federation of Arts in New York and lives in Talbot County, MD.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Editor’s Note: In the spirit of the approaching new year and its opportunity for resolutions and personal change, this poem explores the poet’s journey toward self-acceptance and happiness.
This is the last poem from Spy Poetry for the foreseeable future until more funding is available. Thank you for being such careful and appreciative readers. I wish you joy in the year ahead and hope that your purse is always full.
In This Brief World
The last time I saw you, you were leaning on a pasture fence
as the sun went down, watching the Angus
gather for the night.
Were you storing up earthly images, as the Pharaohs stored food,
jewelry, and perfumes to take with them into the afterlife?
I, too, had been collecting.
My purse was heavy with life’s stones—sadness and guilt, the regret
of things undone, unspoken, the cumulative sorrows
of consequence. But I am not the person
I was, who thought that living was a quid pro quo—one ounce
of happiness for every pound of sorrow. Now I see
what one carries
is a matter of choice. I choose to carry things that are light—
the relief of self-acceptance, the feathery down of forgiveness,
whispy cirrus clouds
of momentary joy. I’ll walk through what’s left of my earthly time
spreading seeds of solace in sorrow’s soil, hoping they take root
and grow. You asked me, once,
when you knew you were dying, what it takes to be happy
in this brief world. A purse that’s full, I said,
but weighs nothing.
Deidra Greenleaf Allan has been published in American Poetry Review, Quartet Journal, Puerto del Sol, Poet Lore, Plume, and West Branch, among other print and online journals. In 2001 she was selected by Robert Hass as Montgomery County (PA) Poet Laureate. She has received a Leeway Emerging Artist Award and was a finalist for a Pew Fellowship in poetry. Her poem, “Apostrophe to the Living,” was selected in 2012 by Musehouse as its Poem of Hope poster. Allan holds an MFA in Poetry from the Vermont College of Fine Arts. Her chapbook, Each the Other’s Echo, will be published in early 2026 by Seven Kitchens Press.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Christmas with Grandma Moses
Anna Mary Robertson Moses (1860-1961) began painting at age 78. Her paintings of bygone American life were discovered in 1938, and her popularity continues to this day.
“Grandma Moses” (1953)
The Time Magazine cover on December 28, 1953, featured a portrait of Grandma Moses painted by Boris Chaliapin, along with the text “Christmas is not just one day.” Her smiling face was set in front of a snowy winter landscape with a church in the background. Moses painted all the seasons of the year and hundreds of scenes of farm life in rural America where she grew up. Among her 2000 paintings are celebrations of Christmas. She once wrote, “I forget everything, everything except how things used to be.”
“Let Me Help”
Winter snow scenes were among Moses’s favorites, especially at Christmas. “Let Me Help” is a depiction of the community gathering to help cut Christmas trees for the nearby church, and perhaps for the farm house up the road. There are at least three trees down. In the left corner a horse and rider pull a cut tree into the scene. In the center foreground, two figures cut down a second tree. A third tree already has been cut and roped to a horse for transport. The scene includes gaily dressed villagers, some talking, a pair with a sled and a dog, and a pair with an axe. In the distance, a barn, snow-covered trees, an evergreen forest, and the cold winter sky complete the scene. As always, Moses painted a joyful and peaceful memory of days gone by.
”Waiting for Christmas” (1960)
Waiting for Christmas” (1960) is an unusual painting for Moses. It is a close-up view of a bedroom in which four children are all nestled together in the heavy wood bed. They are covered with a “charm” quilt made with random shapes and no pattern. These quilts were popular in the 1870s and often contained fabric from other items used in the household. Fabrics were traded among quilt makers to obtain as many different designs as possible. Three of the children are asleep, but the child with dark hair and eyes is awake, waiting for Christmas. The head board is decorated with greens. A rumpled round woven rug is on the floor. Two red stockings are hung on the small wicker chair. A spinning wheel is set in the lower left corner of the scene.
Moses typically painted landscapes, and she used bright colors everywhere. The landscape in this painting is in a frame and hangs on the wall.
“Here Comes Santa Claus” (1948)
Moses’s Christmas images became so popular they were used on Christmas cards, other greeting cards, jam jars, curtains, and postage stamps. Hallmark sold 16 million Moses Christmas cards in 1947. “Here Comes Santa Claus” (1948) (15”x23”) is one of several paintings on this theme. The full moon lights up the snowy scene. Bright stars fill the deep blue sky. Moses painted from the sky down. Tall snow-covered trees link earth and sky. Down from the sky to the cozy house comes Santa Claus in his sleigh drawn by eight reindeer. Delightful.
KRI7286740 Down the Chimney He Goes, 1960 (oil on pressed wood) by Moses, Anna Mary Robertson (Grandma Moses) (1860-1961); 40.6×60.3 cm; Private Collection; (add.info.: Illustration for The Night Before Christmas by Clement C. Moore); Kallir Research Institute/© Grandma Moses Properties Co.
Please note: This photograph requires additional permission prior to use. If you wish to reproduce this image, please contact Bridgeman Images and we will manage the permission request on your behalf.
The same sky, stars, and trees are present. Moses features the roof top of the house on which Santa has parked his decorated yellow sleigh filled with packages. Some spill onto the roof. She manages to get all eight reindeer on the roof. Looking closer, the viewer can see a small section of Santa’s red suit sticking out the left chimney.
Grandma Moses was 100 years old on September 7, 1960. Governor Nelson Rockefeller declared her birthday, Grandma Moses Day. Life magazine published a photograph of her on its cover on September 19, 1960, with wishes for a happy 100th birthday.
“So Long till Next Year” (1960)
“So Long till Next Year” (1960) is a depiction of the end of the story as Santa waves to the viewer from his sleigh as he and his reindeer fly back to the North Pole. The landscape, including the trees, the house, and the sky, is repeated. This painting is one of the 25 Moses completed during the last year of her life. She would paint for five hours, and without an easel, in the kitchen or bedroom. She said, “I’ll get an inspiration and start painting: then I forget everything, everything except how things used to be and how to paint it so people will know how we used to live.”
Wishing everyone the very best of holidays.
Beverly Hall Smith was a professor of art history for 40 years. Since retiring to Chestertown with her husband Kurt in 2014, she has taught art history classes at WC-ALL and the Institute of Adult Learning, Centreville. An artist, she sometimes exhibits work at River Arts. She also paints sets for the Garfield Theater in Chestertown.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Design with Jenn Martella: A Christmas Card: “The Snuggery”
This restored Victorian exterior, originally a log cabin, reflects a harmonious blend of history and elegance.
Each year, I enjoy being a volunteer for the Christmas in St. Michaels Tour of Homes. The event is always sold out, so today I offer a Christmas Card to all of you who were not able to join the tour. I am delighted to feature “The Snuggery Inn and Suites”, one of St. Michaels’ most beloved houses, that was part of this year’s tour. The Snuggery Inn and Suites began its life as a two room log cabin on St. Michaels’ harbor and was built by Edward Elliott, builder and his apprentice, Darby Coghorn. In 1870, the house was acquired by Senator Henry Dodson who relocated the log cabin to its present location. As befitting a State Senator, the cabin was enlarged and remodeled but its charming Victorian exterior remains intact.
Remarkably, Dodson kept detailed documentation that has been an invaluable resource that has been passed down to subsequent owners and is now preserved by the current owners.
The zig-zag siding on the dormer adds architectural intrigue to the well-balanced massing of porches and bays.
The dead-end street has much more available parking and privacy now that the number of bed and breakfast establishments on this street has decreased from five to two, The Snuggery Inn & Suites and the Victoriana Inn next door. As I walked up the Town’s brick sidewalk, I admired this view of The Snuggery Inn & Suites with its very appealing massing of the full front porch, shed dormer with the middle bay projecting forward for added interest and the bay windows at the side elevation. I especially admired the unusual zig-zag siding pattern that gives the facades of the shed dormer great character.
This expanded elevation features thoughtful plan offsets and a pitched dormer that highlights its layered history.
The deep property extends to the next street and includes two other buildings. A narrow brick walkway along the other side elevation leads to a courtyard between the Snuggery Inn & Suites and a separate two-story guest house that is being renovated. This elevation is equally appealing in plan offsets and massing with the two-story expanded original cottage and subsequent additions including a pitched dormer.
Distinctive sawtooth siding meets shiplap, with a kinetic sculpture providing a modern artistic accent.
As I neared the corner of The Snuggery, I admired the juxtaposition of the shiplap siding with the sawtooth siding and the view of the two-story guest house beyond that frames the courtyard. I also admired how beautifully maintained the paint finish on the shiplap siding was and the Corten steel kinetic sculpture is a great accent.
The circular stone terrace, framed by tall cedars, creates a defined and intimate outdoor space.
The other two “walls” of the courtyard are tall cedars for privacy. The stone circular terrace with a firepit in the middle and the grouping of Adirondack chairs create a delightful outdoor room. I admired the clever seasonal decoration of the urns since their plantings are now dormant.
Red ribbons transform turned columns into festive candy canes, framing cozy seating and dining areas.
right side of porch
Some people deck the hall but this porch is decked out to celebrate the holiday season. The porch’s turned columns are turned into candy canes by the wide red ribbons that wind around the columns. The center front door creates cozy areas on each side of the porch. One side has a table and chairs for dining with red drapes and white snowflakes for privacy; the other side has a settee with white cushions and pillows in black, white and red against a backdrop of additional curtains. The metal red drum tables have woven sides so the sunlight can filter through them.
Exposed log walls and historical details connect the entry space to The Snuggery’s 19th-century origins.
One of the Owners greeted me at the front door that opened into the original part of the house, with the beautiful log and chinking walls. Wreaths, greenery over the angled fireplace, pine cones in a tray on the coffee table, the Merry Christmas pillow and the decorated tree create a festive look for B&B guests. The stair leads to the second floor guest ensuite and the half paneled, half glass doors are closed when the Inn has guests as the room beyond is part of the Owners’ Suite.
A tall Christmas tree complements original detailing while showcasing the home’s transformation story.
The room’s corner contains the tall tree perfectly proportioned for the space and behind it is a gingerbread cottage surrounded by a field of “snow”. For guests who are architectural history buffs, the Owners kindly created a board with information about the house’s transformation over two centuries.
The log accent wall adds warmth to this inviting ensuite parlor, perfect for relaxation or holiday stays.
The other side of the original log structure is now a spacious guest ensuite beginning with this sitting area with its accent wall of the original log and chinking exterior wall. The double half paneled, half patterned glass doors provide privacy when the suite is occupied. The corner tree between two settees, Santa pillow and another Santa standing in a wire tray above an antique metal bus that is now a festive end table would make any guest want to linger.
Ornate original trim details frame the cozy nook, complete with seasonal decor and natural light.
The cozy nook created by the double unit window between two closets is enhanced by the creche arrangement and wreaths over the windows. I admired the original doors, fluted trim and corner rosettes.
Decorated shelves and a festive mantel breathe life into this functional and visually striking fireplace.
The bonus to the ensuite is its own fireplace, now decorated for the season. The lighted candelabra, the nutcrackers, the gnome resting on the hearth and the swag of greenery creates a festive arrangement. As an architect, I especially liked the display of lighted architectural miniatures on shelves above the mantel. The ensuite’s bedroom and bath are located at the quiet rear of the house.
Cheerful holiday decor brightens this multifunctional space, connecting the parlor and kitchen seamlessly.
To continue my tour of the first floor, I walked through the front parlor to the first room in the addition, the Owners’ coffee and cocktails bar. Doors similar in style to the doors that separate the front parlor from the first floor guest ensuite provide privacy when needed. Both the silver tree and the ceramic one on the sideboard, the ceramic Santa head filled with red ornaments and the wreaths over the windows celebrate Christmas.
Personal touches, like stockings above the custom lockers, add cozy charm to the functional spaces.
What would Christmas be without stockings? I loved the Owners’ trio of colorful stockings over their lockers.
The bay window projection and whimsical details create a warm, inviting ambiance with courtyard views.
The Owners’ coffee and cocktails bar is next to the Owners’ kitchen and sitting room. The clear “bubble” ornaments in the farmhouse sink and the bicycle that is now a TV stand are delightful touches of whimsy The deep countertop provides room for bar high chairs, now adorned with their furry winter throws. I enjoyed the vista through the room’s bay window projection and across the courtyard to the two-story guest house.
Classic design elements meet practicality, with festive accents adding a seasonal spark to the space.
The kitchen’s color palette of cream colored cabinets, black appliances and earth toned quartz countertops are classic choices, with accents of holiday towels and accessories.
The centerpiece of the Great Room, this brick fireplace is flanked by high windows and festive family touches.
The fireplace is flanked by two high windows that combine daylight with privacy. Family stockings await being filled with goodies on Christmas. The tall Christmas tree in the corner is another focal point and by this time I wondered how many years the Owners have been collecting ornaments!
Holiday accents, like the detailed tree and quirky llama, bring personality to each corner of the home.
Pillows are great seasonal accents and I especially liked both of these-so many cars have been festooned with their choice of trees on their way home and the elegant llama has been enlisted by Santa to help deliver presents.
This alcove with bay windows invites light and cheer, boasting a gingerbread centerpiece and wreaths.
My fave part of the Owners’ Great Room is this cozy bay wall projection infilled with windows now adorned with wreaths. The Noguchi coffee table is adorned with one of the entries in the St. Michaels’ Gingerbread Contest. The Owners were the winning bidders and now the three bears with their basket spilling out with candy have a permanent home.
The Owners’ primary ensuite is located over this area and is reached by its own circular stair.
A mirrored wall at the stair landing creates visual depth and adds an unexpected contemporary touch.
Having explored the first floor, I went back to the “U” shaped stair with its landing’s “window” of a huge mirror on the wall that creates an unusual effect of walking up the stair and being able to see someone else starting down the stair!
Exposed attic beams and natural light create a serene, airy guest suite ideal for restful stays.
If I were a guest, I would gladly settle into this charming room at the front corner of the house. I loved the high ceiling plane created by the attic being opened up and leaving the original collar beam to float in the space. Another higher collar beam creates a flat area for great spatial volume. The row of windows at the front shed dormer and the double unit window in the gable wall flood the space with daylight and the soft muted tones are conducive to a restful sleep. I especially liked the radiator cover that has a dual use as a nightstand.
Each Guest Suite is equipped with a mini fridge that is stocked daily with fresh orange juice, bottled water, half and half and high quality yogurt.
Ample counter space and playful glass accents elevate the compact design of this ensuite bathroom.
The second floor guest bath is compact but the long lavatory counter can easily accommodate a couple’s toiletries and the window makes the room seem larger than it is. I especially liked the whimsical touch of more glass “bubbles” in the lavatory.
The two-story guest house offers versatile accommodations, blending historic charm with modern convenience.
When the current owners purchased the property, there was a one-story studio that they transformed by added a second floor suite. The stair that connects the two floors can either accommodate a family for the entire cottage or each floor can be used separately.
In addition, the Owners purchased the rear property that has access to the street at the rear so off-street parking, rare in the Historic District, can be provided to guests. The rear property also has an existing building that will become another Guest House to complete the complex.
Several years ago, I had featured The Snuggery when it was for sale. This important part of St. Michaels Historic District is so fortunate to have found Owners that improved the property without compromising its historic details. Their master plan for the property includes completing the two-story Guest House and the other structure at the rear of the property-stay tuned for a future article!
The Snuggery Inn & Suites is located at 203 Cherry St., St. Michaels, MD. For further information, visit their website, www.snuggerysm.holidayfuture.com, or email [email protected].
Photography by the Author
Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
Editor’s Note: Let us carry our tender hopes into the new year and whisper to whatever god we believe in to let them come to fruition.
Insha’Allah
I don’t know when it slipped into my speech
that soft word meaning, “if God wills it.”
Insha’Allah I will see you next summer.
The baby will come in spring, insha’Allah.
Insha’Allah this year we will have enough rain.
So many plans I’ve laid have unraveled
easily as braids beneath my mother’s quick fingers.
Every language must have a word for this. A word
our grandmothers uttered under their breath
as they pinned the whites, soaked in lemon,
hung them to dry in the sun, or peeled potatoes,
dropping the discarded skins into a bowl.
Our sons will return next month, insha’Allah.
Insha’Allah this war will end, soon. Insha’Allah
the rice will be enough to last through winter.
How lightly we learn to hold hope,
as if it were an animal that could turn around
and bite your hand. And still we carry it
the way a mother would, carefully,
from one day to the next.
Danusha Laméris, a poet and essayist, was raised in Northern California and born to a Dutch father and a Barbadian mother. She is a recipient of a Pushcart Prize and was honored with the 2020 Lucille Clifton Legacy Award. Laméris also served as the 2018–2020 Poet Laureate of Santa Cruz County, California. Her work has appeared in The Best American Poetry, The New York Times, Orion, The American Poetry Review, The Kenyon Review, Ploughshares, Poetry, and Prairie Schooner. Her debut collection, The Moons of August (Autumn House Press, 2014), was chosen by Naomi Shihab Nye as the winner of the Autumn House Press Poetry Prize and was a finalist for the Milt Kessler Book Award. Laméris’s second book, Bonfire Opera (University of Pittsburgh Press, Pitt Poetry Series), was a finalist for the 2021 Paterson Poetry Award and the recipient of the 2021 Northern California Book Award in Poetry. Her most recent collection, Blade by Blade (2024), is now available from Copper Canyon Press. She is currently on the faculty of Pacific University’s low-residency MFA program.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
As the Beatles would say, it would be “a long, cold, lonely winter” in this abandoned tenant cabin in Tuckahoe Woods.
“Abandoned” by William L. Thompson.
The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.
