About the House
History
The Byers-Hess House was built in 1861 By John G. Byers, the original owner for a cost of around $8000. It was used as a residence by the Byers family. Carrie Hess, a direct descendent of John Byers was the last of the family to own the house, selling it in 1970. The tract of land that contained the farm was bought by John Byers in 1854 from Jacob Bowers, a resident of Germany Township. According to the deed it contained over 176 acres of land. In a 1916 deed it was stated that the land contained the farmhouse, framed bank barn, wagon shed, hog pen, smokehouse, spring, spring house, and other outbuildings. The bank barn, springhouse, wagon shed, and smokehouse still exist, along with the farmhouse, but the rest have been lost.
Of specific importance to the house are the murals that are painted in the front first and second floor hallways. They were painted in the early 1860’s, more specifically, but not authenticated, in 1862, right after the house was built. Rufus Porter was an itinerate artist who traveled the New England area around the same period, painting murals in personal residences in repayment for room and board. At one time, it was believed that Porter was the artist that did the work at the Byers-Hess House; however, this contention holds little ground. Porter, reportedly, never traveled out of New England during the 1860’s. His paintings also tend to be more detailed and precise in their form. Finally, family lore has always insisted that it was an itinerate Austrian artist who stayed at the house and painted for room and board. Though it is not conclusive, this theory holds the most ground, considering it is unlikely Porter was the artist.
During the period of its origin into the early twentieth century, the house was supposedly used as a meeting house for the Order of the Free Masons. Ancestors tell of secret meetings where men in dark coats and top hats came and met in the house during the night. During these meetings, the family stayed in the back section of the house, while the members occupied the front. The first grand Masonic lodge was formed in Philadelphia in 1761, and is the oldest in America. Masonic activity was prevalent throughout much of eastern Pennsylvania during the eighteenth and nineteenth centuries. Another main lodge was located in Lancaster, Pennsylvania, still closer to Littlestown. James Buchanan was a respected member of this lodge and had influence in much of the region, even before he became President of the United States. Most of the towns in the area had meeting houses, if not permanent lodges by the nineteenth century.
A historic upheaval in Freemason history during the nineteenth century may explain why the house was considered a black lodge. Though the anti-Mason movement lost steam in the 1840’s, anti-Masonic sentiment was still strong into the late nineteenth century. Having a secret, or black, lodge allowed members to still meet, yet without the backlash from public sentiment. This also explains to some degree why the murals, though depicting decidedly American themes, also had Masonic overtones. The mural of George Washington, for example, seems overtly American and nationalistic, as he is depicted in his Revolutionary uniform. In the eyes of a Mason, though, Washington was a very important Master Mason in the order, and is one of the most visible Masonic figures in American history.
The history of the house and its styling give it a multi-dimensional significance. First, it is a prime example of Federal style architecture for its location. It was a large brick house, built in a location that pointed to its community importance. Second, it has significance to the Masons as a historical meeting place. Meetings in that period of Masonic history were often held in secret and usually in the private residences of members. Third, the house exhibits well-preserved examples of itinerate primitive artwork in the murals on the walls and ceilings of the central hallway. The Masonic overtones in the murals describe John Byers’ affiliations with the Free Masons. They also describe the patriotism of the family, considering they were painted during the time of the Civil War and the proximity of the house to Maryland, a slave state.