Archive for the ‘Online Resources’ Category

July Collection Spotlight and From the Archives

Victorian-era bud vase circa 1890s. This piece is etched with beautiful leave and floral designs and would have complimented mantels or tables with a single bud.

In honor of our upcoming Fourth Annual Folly Flower Show, this July we highlight a beautiful etched glass bud vase, once owned by the Körner family. This delicate vase reflects the quiet elegance and sentimentality of everyday decorative objects in the late 19th and early 20th centuries.

Made popular from the Victorian obsession with “Floriography,” or the study of flowers, bud vases were a common decorative object for middle-class homes during the late 1800s. Typically made from opaline, satin, or clear etched glass, the small delicate vases optimized Victorian sentimentality as well as the rising consumer culture after the Industrial Revolution. Glass bud vases were often placed on mantels, bedside tables, or dining settings, where they added a subtle but intentional touch of beauty to the surroundings. Their small size made it perfect for conversations, without having to lean around large arrangements. Bud vases were both decorative and accessible, but not overly extravagant, and were a popular gift given during the late-Victorian period.

Slight in form with a gently flared rim and stable circular base in a trumpet style, the Körner family glass bud vase was designed to hold a single bloom or a few small stems, showcasing even the simplest flower as something worthy of prominence in a room. The vase’s surface is adorned with a graceful floral motif, likely achieved through acid etching or fine engraving. The soft, matte quality of the design contrasts with the smooth clarity of the glass, allowing the stylized flower and flowing leaves to stand out without overwhelming the form. This naturalistic decoration aligns with popular aesthetic trends of the Victorian and early Edwardian periods, commonly referred to as the Arts and Crafts Movement, when botanical imagery and delicate ornamentation were widely favored.

As an object once owned by the Körner family, this bud vase offers insight into the layered approach to interior design practiced within the home. Most likely received as a gift for a special occasion, this piece would have been beautiful in any room of Körner’s Folly. Jule Körner, known for his artistic vision and attention to detail, understood the importance of even the smallest decorative elements in creating a cohesive and inviting space. Objects like this vase contributed to the overall atmosphere of the house, demonstrating how beauty was woven into daily life. Though modest in scale, it stands as a meaningful example of how personal taste and design sensibility were expressed through everyday items.

From the Archives – 1974 Folly Flower Show and the Original Circle of 26

In the image above,  a newspaper clipping from “The Kernersville News” shows Mrs. Phillip Körner standing with a floral display during the 1974 Folly Flower Show. This arrangement, created by Mrs. Ira Atkins, was displayed in the Dining Room and received the blue ribbon prize. Körner’s Folly Inc. held special events, such as flower shows and other fundraising balls and parties to raise funds for and awareness of historic Körner’s Folly.

Körner’s Folly, Inc. set in motion the restoration efforts of “The Folly” in order to share its wonders with Kernersville, the Piedmont Triad, and beyond. The group helped raise funds for general upkeep and restoration, and even performed maintenance and repairs on the structure themselves, including replacing and painting shutters, mold remediation, and carpentry. The Körner’s Folly Foundation has this group to thank for the beginnings of the preservation and restoration of Jule Körner’s incredible building.

Those members of Körner’s Folly Inc. are as follows: Vernon & Nita Atkins; Mabel, Scott, and Judy Beeson; Solly & Becky Coltrane; Ed & Martha Crawford; Jim & Jo Fitzpatrick; Kenneth Greenfield & Amanda Ritchie; Sallie Greenfield; Chall & Vera Hayes; Ted & Betty Lou Kerner; Philip & Mary Ruth Körner; John Lain; Clarence & Imogene Lambe; Neil & Betsy Oerter; Wes & Darlyne Phillips; Billy Pope; Lawrence & Etta Pope; Hafford, Mary, Joyce, & Bill Porter; Tom & Helen Prince; Elizabeth & Mary Stuart Sparks; Ron Styers; Jim & Mary Turner; W.T. & Clem Walker; Richard & Mary Whitaker; Jack & Betty White; Margaret Wilson, and John, Bobbie, Jack & Polly Wolfe.

The image above was taken inside Cupid’s Park Theatre at Körner’s Folly during the 1970s. Members of the original 26 families sit or stand across the historic stage.

June Collections Spotlight and From the Archives

For our June Collection Spotlight, we invite you to explore the remarkable free-hand fresco paintings that grace the interior of Körner’s Folly, each one lovingly created by German artist Caesar Milch. Milch came to work with Jule Körner sometime after Körner’s marriage to Polly Alice Masten in 1886, and he remained a trusted collaborator for the rest of his life. A graduate of the Royal School of the Arts in Berlin in 1894 and an accomplished decorative painter specializing in figures and floral forms, Milch played a vital role in shaping the Folly’s richly ornamented interiors. Under Körner’s visionary direction, Milch helped transform Körner’s Folly into a vivid expression of Gilded Age design at its height, where painting and architecture came together to form a unique immersive artistic environment.

This hand-painted fresco by German artist Caesar Milch reflects the late 1880s fascination with immersive interior design, where walls became storytelling surfaces rather than mere walls. Drawing on European traditions of decorative painting, artists used techniques such as trompe-l’œil and layered washes to create depth, atmosphere, framing, and illusion within their designs, transforming domestic spaces into imagined landscapes. Originally created from a maritime scene of Holland Jule Körner sketched during one of his travels, scenographic displays offered both escapism and sophistication, aligning the home with ideals of travel, culture, and refinement. In spaces like Körner’s Folly, frescos such as these elevate the interior into a total work of art, where architecture, decoration, and narrative seamlessly intertwine.

During the late 1800s, American design embraced what is often called the “cult of ornament.” Pattern, color, and craftsmanship were highly valued, and interiors became increasingly elaborate. Freehand wall and ceiling painting fit perfectly into this aesthetic. Popular imagery included floral and botanical motifs, trompe-l’œil and architectural details, classical scenes and allegorical imagery, and intricate borders and ceiling medallions. These designs were especially popular in theaters, music rooms, and grand homes, especially in spaces meant to impress and entertain.

Specifically, freehand fresco-style decoration became fashionable in American interiors during the late 19th century as part of a broader shift toward highly personalized, artistic living spaces. As a reaction to mass production and the Industrial Revolution, affluent homeowners and designers began embracing hand-painted walls and ceilings that reflected European traditions, individual taste, and a growing appreciation for fine art within the home.

The roots of this trend lie in European fresco traditions, particularly those of the Italian Renaissance and later decorative arts movements in France and Germany in particular. As artists trained abroad, such as Caesar Milch’s time at the Royal School of the Arts in Berlin, ideas were brought from Europe, carrying these techniques with them. Fresco and fresco-secco allowed for richly detailed, custom designs that elevated interiors beyond simple decoration into immersive artistic environments.

Framed by an ornate plaster cartouche, the composition centers on a delicately rendered putto drifting through an illusionary sky, encircled by a garland of florals. Another example of a fresco by German artist Caesar Milch, he employs techniques associated with fresco-secco painting, painting on dry plaster, utilizing subtle tonal gradation, diffused edges, and a muted pastel palette. This design style was to evoke an illusionistic depth that dissolves the architectural boundary of the ceiling, a popular trend in highly ornate homes from the 1800s. Such compositions draw from Rococo and Neoclassical precedents popularized in 18th century France and Italy, and later revived in Germany during the 19th century. Imagery such as this putto were utilized as symbols of refinement and cultural sophistication in domestic spaces. In Victorian America, particularly in homes like Körner’s Folly, these hand-painted ceilings demonstrated both the skill of the artist and taste of the designer while transporting the viewer into a scenic view of the illusionary heavens.

Milch drew upon the popularity of ornamental painting during his work at Körner’s Folly, as well as in other projects completed through the Reuben Rink Company. His training took place at a time when decorative fresco and interior embellishment were at the height of fashion, shaping both his technique and artistic direction. Milch studied fresco painting and design under the guidance of Phillip Franck, a noted instructor of plaster drawing and ornamentation who began teaching in 1892 and later served as acting Director of the art school from 1912 to 1929. An accomplished author and influential figure in the reform of drawing and art education in Germany and Prussia, Franck left a lasting international impression on the study of ornamentation and design.

Milch’s work with the Reuben Rink Company reflects his academic foundation, with clear ties to those principles with his stylistic approach in creating highly ornamental designs. By the early 20th century, tastes began to shift in interior design due to changing philosophies with interior spaces, leading to a decline in elaborate painted decoration. However, surviving examples, like those of Körner’s Folly, offer valuable insight into a moment when interiors were conceived as immersive, handcrafted environments. These works remain important not only as decoration, but as expressions of artistic collaboration, cultural exchange across oceans, and the aspirations of America’s Gilded Age.

From the Archives: 

This photograph depicts Herr Caesar Milch in the late 1910s, a close personal friend of Jule Gilmer Körner and the freehand fresco artist for the Reuben Rink Decorating and House Furnishing Company. Milch collaborated alongside Körner for more than 30 years, remaining in his employ until his death in 1922. With the exception of the wall mural in the North Stairway, painted by Körner shortly after 1880, the surviving murals throughout Körner’s Folly are attributed to Milch’s skilled hand.

Milch joined Körner not long after Jule’s 1886 marriage to Polly Alice Masten of Winston-Salem. In her memoir I Remember, Polly Alice recalls, “Later, I cannot recall how soon after we were married but not long thereafter, Jule went to New York and brought back a young German artist (Caesar Milch) from Berlin, who set to work to decorate all the walls and ceilings up there (Cupid’s Park Theatre). He was at that job for many months and that was the beginning of a lifelong employment of Herr Milch, who was never out of Jule’s employment as long as they both lived.”

Though dedicated to his work in Kernersville, Milch periodically returned to New York and Germany to refine his craft. In 1893, he traveled to Berlin to visit family and further his artistic training at the Royal School of the Arts, a state institution established in 1869. By the turn of the 20th century, the Reuben Rink Company proudly promoted Milch as a graduate of this prestigious school, declaring he “has no peer in this country in the artistic field.”

The letter displayed here, written by Milch to Jule Körner during his time in Berlin in 1894, offers a personal glimpse into his artistic pursuits abroad and reflects his enduring connection to the Körner family and the Kernersville community. Unfortunately, some of the letter is missing, but most of it is preserved. Caesar wrote:

“Berlin, Germany
January 2, 1894
Mr. Jule Gilmer Kerner
Kernersville, N.C.

Dear Sir,

I received your letter and check and was very glad to hear from you. I suppose you know through my mother that I am in Germany. The business was pretty dull last fall in Brooklyn. How is your business? You are pretty busy now? Or have you good prospects this year? I left Brooklyn for Germany the first week of November and got home to Berlin Germany the 16th or 17th November last year. I think to stay here in Berlin until April or May. During my stay at Europe___.I like to study some ____. Berlin is a pretty ____ expensive [though].

From Dihart [sic], Michigan, we are going to the same school [Royal Art School of Berlin] and we room together not far from the school. Have you been at Durham since you got back from Chicago? Did you see the church work Mr. Tomlinson did last year? How you like it? Is it something to compare with your work? We have no vacation at the school and are on foot to see all the fine art gallerys [sic], private residence, theaters, and so on, etc. I was glad to hear that your wife ___ was delighted with her trip to Chicago and that you ____ everything well….

Hard hearing, at home [Brooklyn] and this place also, and now it has been restored, because I went to the dispensary of this place, my hearing seems to be now as well as it has been. I like to make me some inquiries about yours and your wife health? How are your brothers and their wifes [sic]? My grandfather died last year December 22, ‘93 and the funeral was a very fine one. We have it very cold now and plenty of snow. How is the weather at your home?

Please tell your brother Henry and his wife my best regards and I send to all I know at Kernersville my best wishes to New Year. I like to hear a few lines too. I am____

Please let me hear from you again. Please send me a Kernersville News to my address. I like to hear from the old home stead. Kindly regards to you and your beautiful and lovely wife Alice.

I remain,

Respectfully, Yours truly,
Caesar Milch
Care of Royal Art School
Kloster Ln. 57
Berlin
Germany

P.S. Please send your letters and newspaper to my mother’s address and in turn she will forward them.”

Körner’s Folly Celebrates Black History Month

This year for Black History Month, we are sharing a new virtual exhibit, titled “Who Was Aunt Dealy?”

Many visitors to Körner’s Folly have explored “Aunt Dealy’s Cottage,” the current (though temporarily closed due to COVID) gift shop and admissions counter, orientation theatre, and office space, and have had many thoughtful questions about the structure and its historic occupant.

This exhibit aims to provide more information and context about the life of Clara Körner, also known as Aunt Dealy, and her experiences. Clara’s life, spanning the years 1820 – 1896, offers a unique opportunity to explore the impact that slavery, Reconstruction, and a fast-changing society had upon the lives of Americans during this often overlooked historical period.

Click here to visit the virtual exhibit now.

Operation Restoration

Operation Restoration

Learn more and follow along during major interior restoration projects, including the North Entrance and Stairway and the Master Bedroom.

Here we will post exciting updates on the work, interesting trivia, and more. As of 2022, 14 of Körner’s Folly’s 22 rooms have been restored.  New rooms are being restored each year.  Each project brings unique and exciting information. Follow along with our progress as we continue Operation Restoration.

January 2022 – Summer Kitchen Restoration

Penny for your thoughts? Today we are looking at Penny tile samples for the Summer Kitchen restoration. Penny Tiles (also called Penny Rounds) have been around since the late 1800s, but have origins as far back as the mosaic floors found beneath the ashes of Pompeii. Thanks to the industrial revolution and the 1876 World’s Fair, the penny tile gained popularity in America during the Victorian Era. Pre-mounted sheets of 1″ ceramic mosaic tiles (in a range of geometric shapes like honeycomb, pennyround, and square) made intricate designs less time-consuming to achieve. Korner’s Folly has a wide variety of designs found throughout both complex and simple. Come see for yourself while on tour!

March 2021 – Historic Wallpaper Books

At Korner’s Folly, we are lucky enough to have two original wallpaper sample books that belonged to Jule Körner and are believed to have been used in decorating Körner’s Folly, and with clients of his interior decorating company, the Reuben Rink Decorating and House Furnishing Company. While these books do show signs of their age — they date to 1910-1912 –their colors are remarkably vibrant.
We recently pulled these books out to research an upcoming restoration project – the Den, Library, Children’s Playrooms, and Foyer will all be wallpapered as part of their restoration. Here are some selections of the pages. Notice the wallpaper samples show a variety of designs from geometric to florals. They also showcase different textures such as leather, brocade, and tapestry. Each unique wallpaper (or wall fill) comes with a suggested molding, border paper, and ceiling paper.
Would you choose any of these for your home? Which one is your favorite?

April 2020 – Jule’s Stairway Murals Uncovered!

With any major change to the house, there is always a chance for a discovery – and today we were not disappointed. As part of the North Stairway restoration, wooden wainscoting was removed from the plaster walls for repair and replacement. While we knew that Jule had at one time painted part of the stairway, (and have preserved the best example of this work under glass) we were delighted to uncover more evidence!

Jule painted the entire stairway with murals in 1885-1886 using a style influenced by Japanese woodblock prints and featuring a variety of native and exotic birds, flowers, and trees, with stylized fan motifs and decorative borders. These murals were based on sketches Jule made during his travels to Florida and Louisiana. As so often happened with Jule’s designs, he switched it up, and decided to cover the murals with the wooden paneled wainscoting visible today.

Check out the photos below for a closer look:

Körner’s Folly Historic Color Analysis: Hue Wants to Know More?

With Historic Körner’s Folly undergoing major interior restorative work, it is the perfect time to share what the restoration process to return this Victorian treasure to its prime looks like. Restoration, as defined by the National Park Service, is the process of “depicting the form, features, and character of a property at a particular period of time.”  One of the most important steps in this process is determining the historically appropriate color schemes. While Jule Körner built Körner’s Folly from 1878-1880, restoration centers on the house’s 1897-1905 appearance, when the house was at the height of family activity. Over the last 140 years, as with any house, the interior appearance has changed dramatically, making it difficult to determine the color scheme in our chosen restoration time-period.

The solution was surprisingly scientific! Between May and November of 2016, David R. Black, AIA/APT, conducted a comprehensive study of the paint colors in Körner’s Folly. His work resulted in an historic finish analysis that was key in concluding both the rooms’ color schemes and materials. He began by taking more than 400 samples from representative elements of wood trim, doors, window sash, and wall and ceiling plaster. From there, he evaluated the samples under a binocular microscope, created a chronology of colors for each room, and matched them with the Munsell Universal Color System. Through this analysis, Black discovered that Jule changed it up a lot! The renovating, reworking, and redecorating of the Folly resulted in varying compositions for each room – many having four to five different color cycles. Thankfully, with Black’s color chronologies, we now know the Folly’s 1897-1905 color schemes, aiding our restoration progress.

The Rose Room, Jule Körner’s daughter Doré’s room, was the first to undergo serious interior restoration work in 2014. With the historic finish analysis, we identified the exact colors of the room when it was occupied by Doré, giving us an appropriate color palette for other objects and patterns in the room. Jule renovated the room for Doré around 1905, when she was 16 years old, converting the guest bedroom to her own space. We learned that Doré’s father customized the room especially for her: he added floral trim to the existing silk wall panels; the room was changed from mint green to a light rose color; matching rose fireplace tiles were laid, and custom build in cabinets and a dresser were added.[/vc_column_text][vc_row_inner][vc_column_inner width=”2/3″][vc_column_text]The Rose Room is just one example of how the interior historic finishes analysis improves our understanding of Jule’s eclectic house. The Körner’s Folly Foundation intends on restoring all twenty-two rooms in Körner’s Folly to their original color scheme and Victorian grandeur. In the meantime, we are delighted to share a little more details about the behind-the-scenes work in this significant and long overdue restoration.

If you would like to help us restore the house, consider becoming a member of the Körner’s Folly Foundation, or make a tax-deductible donation.  Contributions to interior restoration can be made online through our donation page.

Collection Close-up

Collection Close-up

Looking for a deeper dive into history on your virtual field trip? Körner’s Folly is home to hundreds of Jule Körner’s original furnishings, paintings, and objects. We are fortunate that Jule designed the Folly’s furnishings on such a grand scale — without the benefit of their sheer size, many pieces might have been lost to time during the house’s many repurposes and various occupants — that most of the large pieces of furniture are too big to remove from the house! Today, an estimated 90% of the furnishings in the house are original, and add to our understanding of Jule’s design process, aesthetic, and the needs and wants of the typical upper-middle-class Victorian estate.

The Körner’s Folly Foundation collects, preserves, and interprets artifacts and materials pertaining to Körner’s Folly, the Körner family, and Kernersville’s history for visitors to understand and appreciate today’s town through a knowledge of its past through exhibits, interpretive rooms, and educational programs.

Here we will spotlight a wide variety of items in our historical collection, from the mundane to the extravagant.  We believe each object shapes our understanding of what it was like to live in the Piedmont of North Carolina during the Victorian Era.

Coverlet

Check out this beautiful, woven coverlet that was passed down through Polly Alice‘s family, the Mastens. It is believed to have been woven between 1835-1845. Coverlets were woven on a loom and usually made of wool and cotton. The wool was generally hand-spun and dyed with natural dyes (purple and black in this case). The cotton was most often machine-spun and left undyed (as seen in the cream sections here). They were used as the top most bed-covering, particularly to add another
layer of decoration and extra warmth in the colder months of the year. Designs were often repeating geometric patterns created by a second or third weft. Specific designs were often handed down through family members and shared within communities like a good recipe.

Körner Family Christmas Cards

This collection of Christmas Cards were received by the Körner family in the early 20th century.

Did you know the first Christmas card was sent in 1843? It was created by Henry Cole, who wanted to send his acquaintances something different from his usual Christmas letter. By the late 1800s, advances in printing technology made Christmas cards more readily available, growing in popularity. Early Christmas cards usually contained images of flowers and animals. Collecting and displaying greeting cards became a very popular Victorian pastime.

On Christmas Day 1914, Gilmer Körner remarked that the weather was “cold and disagreeable” but that he received a “great many cards from friends.”

In 1915, the Hall Brothers Company, which later changed its name to Hallmark, printed the first 4 X 6 folded cards inserted into an envelope. This gave people more space (and privacy) to write than traditional postcard style Christmas cards. These became the first “greeting cards” as we know them as today.

Punch-tin Lantern

Aunt Dealy would have used this lantern on her daily walks back and forth between her house and Körner’s Folly, in the dark early morning, and late evening hours.

Lamps made out of tin and punched with holes date back centuries, and were especially popular in the American Colonial Era (late 1700s and early 1800s). They were a practical way to carry lit candles. The holes punched into the lanterns helped display light, and at the same time, the lantern surround kept the flame from being blown out by the wind.

Traditional tin lamps were often made out of recycled metal such as old cans and stovepipes. They were then customized with beautiful and intricate designs made of dots and dashes “punched” into the metal using a hammer and nail. Notice the radial sunburst pattern featured on Aunt Dealy’s lantern. It resembles a sunrise or sunset – the time-of-day Aunt Dealy would have been using this lantern.

Looking for a craft project this winter? You can make your own punch-tin lantern with a few items at home, with the help if an adult. You will need an empty metal can, of any size, like a coffee can or vegetable can, as well as a hammer, nail, and marker. Mark out your designs on your empty can, and then gently tap the nail with the hammer to punch the holes. Be careful – it will be sharp! Then place a small candle in the can, and you now have your own punch-tin lantern!

Witches’ Corner

The European tradition of the “witches’ corner” dates back several centuries. It is said that guests were asked to put a coin in the witches’ pot as they entered the house. This was to attract the attention of bad witches, spirits and ghosts, luring their attention to the coin in the pot. The guest would then be able to enter the house without bringing along any additional unwanted visitors into the home.

At Körner’s Folly, the Witches’ Corner, located on the Front Porch, features a black cast-iron pot that stays mysteriously full of coins. Jule Körner, who designed the house, most likely drew from his heritage and Germanic traditions. His grandfather, Joseph Kerner, immigrated from Furtwangen, in the Black Forest region of Germany in 1785, no doubt bringing many Old World beliefs with him.

Dore’s Seersucker Dress

This beautiful seersucker and lace dress belonged to Dore Körner (1889-1980). The Southern fabric originated in 1907 when a New Orleans merchant set out to design a lighter-weight suit that could withstand the summer heat, humidity, and sweat. The blue and white fabric was born, named “Seersucker” from the Persian for “milk and sugar” in homage to its textured weave.

Cherry Pitter

This 1860’s cast-iron cherry pitter was used in the Kitchen at Körner’s Folly.  Aunt Dealy  probably relied on this useful tool to help her create one of her signature dishes, a good old-fashioned cherry pie.

During the period between 1840 and 1870, the Industrial Revolution brought about many changes to kitchens. Foundries began making standardized stoves and hearths that made heating and cooking inside easier and safer.  Smaller cast-iron implements were also patented and mass-produced, including cherry pitters, apple peelers, lemon juicers, sausage makers, pea shellers, nut crackers, and more. These tools greatly reduced the need for human workers in the kitchen, and because of this, were sometimes themselves referred to as “servants.”

Calling Card Receiver

This butterfly-shaped calling card receiver was made around 1900 out of cast brass. It originally featured colorful enamel as decoration and was made in the Art Nouveau style.

Art Nouveau is French for “new art”, and was a result of a philosophy that merged nature with design. This decorative style became popular in America between 1890 and 1910, and featured curving lines, organic shapes, animals, plants.

The Körner family would have used this butterfly receiver to store cards, letters, or other correspondence. Calling cards in this time period were way of communicating, to express appreciation, offer condolences, or simply to say hello. If the recipient was not home or not receiving visitors, a servant would accept a calling card, placing it in a tray in the foyer. A tray full of calling cards was the Victorian era’s social media, a way to display who was in one’s social circle. Frequently, the cards of the wealthiest or most influential people were left at the top of the stack to impress other visitors. Calling cards and business cards worked in a very similar fashion.

Cane Chair

Have you ever noticed Aunt Dealy’s original chair, located in Aunt Dealy’s cottage? It was made with a special chair caning technique called porch cane or wide-binding cane. Cane or “wicker” weaving dates back centuries. Some of the earliest cane artifacts ever found include a woven daybed that once belonged to King Tutankhamen, (1325 B. C.). Chair seat weaving, and especially chair caning was practiced in South East Asia, Portugal, France, and England in the mid-1600s, becoming very popular and extensively used throughout the world in 1700-1800s and on into the early 1900s.

For this style of porch cane, seats are woven around the seat dowels of chairs and rockers using very wide (1/4″) strips of cane, forming a double layer of weaving with a pocket inside. You can learn more about the history of chair caning and watch someone weave a seat here (weaving starts at the 23 minute mark): https://www.youtube.com/watch?v=DkcNL15r2Bk

Vintage Recipes

Vintage Recipes

Here’s a collection of some of our favorite Körner family or Victorian recipes.  Please note, these have not all been tested in a modern kitchen; you made need to look up modern equivalents.  Many of these recipes are from the “Körner’s Folly Cookbook” by Beth Tartan written in 1977.  The “Körner’s Folly Cookbook” provides an unusual blend of Körner’s Folly history, local Kernersville history, and historical recipes. The author, Beth Tartan, was the food editor at the Winston-Salem Journal for many years and wrote many cookbooks that focused on local North Carolina recipes.  It is available for purchase in our gift shop.  Interested in a copy, have questions, or suggestions? Please contact 336-996-7922 or info@kornersfolly.org

If you make any of these recipes, please connect with us online by sharing a photo and tagging @kornersfolly with #cookingwiththekorners

Moravian Sugar Cake

This recipe appears in the “Körner’s Folly Cookbook,” as an excerpt from a collection of recipes given to Doré on the occasion of her marriage to Drewry Lanier Donnell in 1916. A delicious recipe at any time of the year, Moravian Sugar Cake was especially popular with guests visiting for Christmas. The Körner family, who were practicing Moravians, would have enjoyed this cake frequently!

“For the yeast – one cake Fleischman’s yeast soaked in half a cup lukewarm water, one cup mashed potato, half cup sugar.

When yeast is risen, take one scant cup lard, one cup sweet milk lightly warmed, one egg, and salt. Mix all together with flour to make moderately soft dough, and let rise again.

When risen, press out with hands into a thin sheet in a large biscuit pan, let rise again.

Pinch the dough up round the edges of the pan to keep the sugar from running into the pan. Make indentations in dough and cover with bits of butter, brown sugar, and cinnamon. (Mrs. W. C. Stafford)”

For modern cooks, we recommend this recipe from the famous Dewey’s Bakery of Winston-Salem, NC: https://gardenandgun.com/recipe/moravian-sugar-cake-recipe/ 

 

Halloween Pudding

Many Halloween traditions took root in America as Old World immigrants arrived from Scotland and Ireland in the late 1800s. Americans became enthralled with these customs, especially the party snack and game of Halloween Pudding (or Barmbrack Cake as it was known in Ireland, which involved fortune-telling aspects through symbols baked inside the dessert.

Instructions included that a cake be made in complete silence, and after the batter was poured in a pan, several tokens would be hidden inside, including a ring, a coin, a bean, and a button. When served, the cake would be cut into as many pieces as there were guests. Every slice would have been either eaten or “crumbed” until the tokens appeared. The finder of the ring would be assured a quick marriage, the coin would provide wealth, the bean meant poverty or financial difficulty, and the button would foretell a solitary life.

Recipe for Barmbrack Cake:

2 ½ cups chopped dried mixed fruit
1 ½ cups hot brewed black tea
2 ½ cups flour
1 tsp. ground cinnamon
½ tsp. ground nutmeg
½ tsp. baking soda
1 egg
¼ cup lemon or orange marmalade
1 tsp. grated orange zest

  1. Soak the dried fruit in the hot tea for 2 hours, then drain and squeeze out extra tea
  2. Preheat oven to 350. Grease a 9” Bundt pan. Stir together flour, cinnamon, nutmeg, and baking soda; set aside.
  3. Beat the egg, sugar, marmalade, zest, and fruit until well combined. Gently fold in flour until just combined, then pour into prepared pan.
  4. Bake for 1 hour or until the top of the cake springs back when lightly pressed. Allow to cool 2 hours in pan before removing. Contine to cool to room temperuate on a wire rack. Thoroughly clean objects (avoid copper pennies) before pressing into the cake from the bottom before serving.

Irish Bramback Recipe by Brooke Elizabeth (https://www.allrecipes.com/recipe/162072/irish-barmbrack/)

Aunt Dealy’s Corn Cakes

  1. 2 C corn meal
  2. ½ teaspoon baking soda
  3. ½ teaspoon salt
  4. 1 ½ C buttermilk, more or less

Combine all ingredients in a bowl.  Form stiff batter into small round balls and flatten into cakes about ½ inch thick.  Grease cast iron skillet with bacon grease or lard; Heat pan over medium-high heat.  When the cakes are brown, flip.  They should rise and be light and happy.  When both sides are brown, whisk the cakes to the table.  Best served hot, topped with molasses.

Polly Alice’s White Chicken Soup

  1. ¼ pound cold poultry
  2. A blade of mace, pounded
  3. ¼ pound of sweet almonds
  4. 1 ½ C heavy cream
  5. A slice of dry bread
  6. Yolks of 2 hard-boiled eggs
  7. A shred of lemon peel
  8. 2 Quarts of chicken stock

Pound the almonds to a paste with a spoon of water.  Add the meat, which should be pounded together with the bread.  Beat all together.  Add the chopped lemon peel and the mace.  Heat the stock to boiling and pour over the mixture.  Simmer for 1 hour.  Mix the egg yolks with the cream, add to the soup, let boil up, and serve immediately.

The World’s Best Cookie

  1. 1 C Butter
  2. 1 C Brown Suger
  3. 1 C Granulated Sugar
  4. 1 egg
  5. 1 C Salad Oil
  6. 1 tsp vanilla extract
  7. 1 C rolled oats, uncooked
  8. 1 C crushed cornflakes
  9. 1 C shredded coconut
  10. 1/2 C chopped pecans
  11. 3 1/2 C sifted flour
  12. 1 tsp soda
  13. 1 tsp salt

Preheat over to 325 degrees. Cream butter and sugars until fluffy, add egg, mix well. Blend in salad oil and vanilla. Add flour, soda, and salt, mixing well. Stir in oats, corn flakes, coconut, and nuts. Drop by teaspoonfuls onto ungreased baking sheets. Flatten with fork dipped in water. Bake 12 minutes until lightly browned around edges. Makes 8 dozen

Recipe adapted for modern cooks by Beth TartanStrawberry Custard Pie

For strawberry season, here’s a classic Körner family recipe to put those berries to good use.

1 pint fresh strawberries
1 cup sugar
1 teaspoon flour
2 eggs
1/4 cup of milk
1/2 teaspoon vanilla extract
1 unbaked 9-inch pie shell, chilled
Butter

Wash berries, cap and cut into small pieces. Mix together sugar and flour. Beat eggs and stir in sugar-flour mixture. Add milk, vanilla, and berries. Stir and pour into pie shell. Dot with butter. Bake on lower shelf of 375 degree over for 30 minutes or until the custard is firm.

Yum! #cookingwiththekorners

Recipe adapted for modern cooks by Beth Tartan

Fried Sweet Potatoes

Peel fresh, raw sweet potatoes and cut into thin slices. Fry in deep or shallow fat. Arrange in a single layer on a platter and sprinkle with sugar. Good served with ham and ham gravy for breakfast.

Word Puzzles

Word Puzzles

Here are some fun Korner’s Folly inspired word puzzles.  Click on the links below for printable pdfs. You can also play the word search online here.

Questions? Suggestions? Contact info@kornersfolly or call (336) 996-7922.

Fanciful Coloring

Here are popular Victorian-inspired coloring projects.  Click on the links below printable pdfs. You can show off your finished projects on social media using #CraftingWithTheKorners!

Questions? Suggestions? Contact info@kornersfolly or call (336) 996-7922.Korner’s Folly is known for its distinctive architecture and design. If you were to decorate the Folly, what colors would you choose?  Not just for kids – everyone can enjoy creating their own interior designs! Victorian color schemes tended to be jewel-toned, dramatic, and extravagant, but you can take artistic license with our downloadable templates. We recommend colored pencils, but any medium will do! Use your imagination to create your own design by using the links below:

Korner’s Folly Witches’ Corner Coloring Page

Foyer Coloring Page

Kitchen Coloring Page

Playroom Coloring Page

Korner’s Folly House Coloring Page

Paper Dolls date back to at least A.D. 900, described in a Japanese ceremony that involved a paper figure and folded paper kimono which were put to sea in a boat. In the 1840’s, boxed paper doll sets were produced in Europe and exported to America for lucky children. These sets featured likenesses of European royalty, including Queen Victoria and renowned ballerina Marie Taglioni. Creating and playing with paper dolls helps children practice manual dexterity, as well as learn about history, fashion and art. You can make your own Victorian-era Paper Dolls using the link below:

Cupid’s Park Theatre, on the 3rd floor of Korner’s Folly, is thought to be the first private little theater in America. It has been home to countless productions by the Korner family, Polly Alice Korner’s Juvenile Lyceum, and other community organizations. Today, The Korner’s Folly Family Revue, a puppet show for families and children, is presented on the 4th Saturday of each month. The puppet show features the story of Korner’s Folly and the people who lived here. You can make your own puppets and create your own puppet show using the links below:

 

Historical Crafts

Historical Crafts

Here are popular Victorian-inspired craft projects to add hands-on activities to your virtual field trip!  Click on the link for a printable .pdf complete with a supply list, step-by-step instructions, and photos.  Show off your finished projects on social media using #CraftingWithTheKorners

Questions? Suggestions? Contact info@kornersfolly or call (336) 996-7922.

3D Paper Star

The Moravians, adherents of the faith that began in the Kingdom of Bohemia (today the Czech Republic), were known for their simple way of life.

You can make your own 3D paper stars similar to the ones Moravians have made for hundreds of years, but with this simplified version.

Paper Bead Garland

The creation of ‘modern’ paper beads is thought to have begun in the Victorian era in England, where women had access to magazines, newspapers, and other paper material.

You can use construction paper, magazines, or other patterned papers to create your own paper beads, just like the Victorians did.

Decorative Molding Masks

Did you know that Körner’s Folly has over 10,000 feet of decorative molding? These architectural elements sometimes feature faces and figures from literature or mythology.

This year, for Halloween, we’re making masks from some of the faces Jule Körner included in his designs!

3D Hot Air Balloon

In Victorian times, scientists used hot air balloons to measure the temperature of the earth’s atmosphere, which they guessed would get colder the higher up. Aeronauts, or hot air balloon pilots, also created maps based on what they could see from up high. Hot air balloon flights were considered a marvelous spectacle, and people who regularly flew them were called “Balloonatics.” You can make your own 3D Hot Air Ballon using the link below:

Button Ring

During the period that the Korner family lived at Korner’s Folly, most families could not afford to buy their children expensive toys, and most towns did not have a toy store. Instead, children would use their imagination to re-purpose items found around the house. Buttons, which came in a variety of sizes, colors, and shapes, were frequently used in crafts, games, and toys. You can make your own Button Ring using the link below:

Yarn Dolls

Yarn dolls were made in America as early as the Colonial period from homespun yarn.  Making yarn dolls became a popular pastime, and the yarn doll was listed as a craft activity in one of the earliest Brownie Scout Hand Books. As the Industrial Revolution (1790 – 1830) made yarn widely available, children were encouraged to make their own toys out of the more plentiful supply. You can make your own Yarn Doll using the link below: