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Trophy room
The trophy room at the Driehaus Museum.
The most dramatic intervention to the interior of the Nickerson House was made during the Fisher period of occupancy. In 1900–1901, Lucius Fisher engaged architect George Washington Maher (1864–1926) to redesign the Nickerson Art Gallery at the northwest corner of the main floor. Fisher re-envisioned the space as a Trophy Room to display his collection of game animals, weaponry, and rare books. The crowning achievement of Maher’s new decorative scheme was the installation of a striking stained glass dome that replaced the original Nickerson period clear glass skylight.
The stained glass dome design depicts four trees, the trunks of which arch towards the oculus of the dome, while their leaves, rendered in autumnal colored drapery glass, form a canopy against a turquoise sky. Each lay-light panel features a central area of green and white striated glass, framed by a band of drapery glass leaves, in turn framed by a border of emerald green drapery glass.
Trophy room
The trophy room at the Driehaus Museum.
The most dramatic intervention to the interior of the Nickerson House was made during the Fisher period of occupancy. In 1900–1901, Lucius Fisher engaged architect George Washington Maher (1864–1926) to redesign the Nickerson Art Gallery at the northwest corner of the main floor. Fisher re-envisioned the space as a Trophy Room to display his collection of game animals, weaponry, and rare books. The crowning achievement of Maher’s new decorative scheme was the installation of a striking stained glass dome that replaced the original Nickerson period clear glass skylight.
The stained glass dome design depicts four trees, the trunks of which arch towards the oculus of the dome, while their leaves, rendered in autumnal colored drapery glass, form a canopy against a turquoise sky. Each lay-light panel features a central area of green and white striated glass, framed by a band of drapery glass leaves, in turn framed by a border of emerald green drapery glass.