The interior of the Salem Massachusetts Witch House offers a unique glimpse into the history and beliefs of early Puritan settlers in New England. Located in the heart of Salem, this iconic house is the only structure still standing in Salem with direct ties to the infamous 1692 witch trials. Stepping inside the Witch House feels like stepping back in time. Visitors are greeted by period furniture, artifacts, and decor that reflect the lifestyle and religious beliefs of the time. One of the highlights of the interior is the original beamed ceilings, which add to the authenticity and atmosphere of the house. The main room of the house, known as the kitchen, is where much of the daily life and activities would have taken place.
The rest of the house featured textiles, furniture and information on life in the 17th century. Everything from how people ate without utensils to how children would drink beer as it was safer than water.
With the planned widening of North Street, a main thoroughfare in and out of Salem, the house was threatened, and its survival along with that of the adjacent Bowditch House became the rallying cry for the formation of Historic Salem, Incorporated and its subsequent restoration under the direction of Boston architect Gordon Robb who had worked on Colonial Williamsburg as well as another famous Salem seventeenth-century structure, the Pickering House. The home eventually became the parsonage of the First Church of Danvers and remained as such until about 1970, when the home was acquired as a private home.
The main room of the house, known as the kitchen, is where much of the daily life and activities would have taken place. It is here that visitors can see various tools and objects of everyday use, from the hearth used for cooking to the spinning wheel used for making clothing fabrics. These simple objects serve as a reminder of the practicality and self-sufficiency of the early settlers.
Which Witch House?
One reason that I’ve been an ardent preservationist for most of my life is my belief that buildings hold extraordinary power–even more power, I think, than unbuilt spaces, no matter how beautiful. I can’t imagine a better example than Salem’s “Witch House” (more formally and accurately known as the Jonathan Corwin House), a structure that represents both the most tangible connection to the Witch Trials of 1692 as well as a symbol (and vessel) of Salem’s modern transformation into the “Witch City”. The Witch House seems to reflect the evolving aspirations and perceptions of the city that surrounds it: for much of the nineteenth century, it was referred to as the “Roger Williams House”, a designation that tied it to the seventeenth-century minister who left intolerant Salem for free Rhode Island rather than the witch-trial Judge Corwin from a generation later. Freedom of conscience versus irrational jurisprudence.
The Witch House today and in an 1886 card by Edwin Whitefield, author/illustrator of Homes of our Forefathers. Whitefield’s images seems to be based on that of Samuel Bartoll’s 1819 painting, in the collection of the Peabody Essex Museum.
The early architectural history of the Witch House is a bit mysterious (a study has been commissioned by the city, but I haven’t seen the results yet), but most experts believe that it dates from much later in the seventeenth century than Roger Williams’ time in Salem. All of the above images, those from the nineteenth century and just yesterday, might be idealized images of this fabled house. We do know that Jonathan Corwin acquired a structure in this location in 1675, and that he served on the Court of Oyer and Terminer which tried the accused “witches” of 1692. That fact alone seems sufficient for the house’s transformation into the “Witch House” much later, after it left the possession of the Corwin family in the mid-nineteenth century. More than anyone, the person responsible for this identification was George Farrington, an entrepreneurial Salem apothecary who definitely emphasized the witchcraft (rather than Williams) associations of his new place of business: Farrington grafted a box-like shop onto the house and sold medicines in bottles with a flying witch insignia, anticipating the marketing strategies of Daniel Low decades later and many Salem businesses today. He also published images of the “old witch house”, effectively establishing that identity.
The Witch House in the mid-nineteenth century: very influential photographs by Frank Cousins of the front and rear of the house just prior to Farrington’s purchase in 1856 (the house had acquired a gambrel roof in the mid-eighteenth century), a Deloss Barnum photograph from the 1860s, after Farrington’s pharmacy had been attached to the house, an “Old Witch House” stereoview published by Farrington, and a Farrington medicine bottle from the 1880s as pictured in a recent ebay auction. All photographs from the Robert Dennis Collection, New York Public Library.
For nearly a century, the Witch House was configured as a strange (maybe not for Salem) combination of business and tourist attraction and thousands (maybe more) of postcards were issued, fixing and broadcasting its identity. In the decades before and after World War I, when Daniel Low was marketing its witch spoon and other witch wares nationally, there seems to have been a marked increase in the number and variety of Witch House cards. There are also some interesting private photographs of the house from this era, confirming its conspicuous place in Salem’s urban streetscape.
Two photographs of the Witch House in the 1890s from the Schlesinger Library at Harvard, and postcards from 1900, 1901, 1906, 1908, 1911 & 1922. Just a random sampling of many on the market!
The 1940s was a decade of transformation for the Witch House, when it came to represent preservation–but also profits: change and continuity. With the planned widening of North Street, a main thoroughfare in and out of Salem, the house was threatened, and its survival (along with that of the adjacent Bowditch House) became the rallying cry for the formation of Historic Salem, Incorporated and its subsequent restoration under the direction of Boston architect Gordon Robb (who had worked on Colonial Williamsburg as well as another famous Salem seventeenth-century structure, the Pickering House). Moved to a more secure northwestern position on its lot, its shop detached and gables rebuilt, the Witch House was opened to the public in 1948 by the City of Salem, and it has been doing steady business ever since.
The Witch House in 1940 (HABS photograph by Frank Branzetti, Library of Congress), 1945 & 1948.
For more on the evolving perception, and structural history of the Witch House, see Salem’s Witch House: a Touchstone to Antiquity (The History Press, 2012) by Salem architectural historian John Goff.
Another significant feature of the interior of the Witch House is the small room dedicated to witchcraft and the trials. This room offers a deeper understanding of the events that took place in Salem in 1692. Displays include original documents, such as arrest warrants and testimonies, as well as historical artifacts relating to witchcraft and the supernatural. Throughout the house, there are also displays explaining the history of the Witch House itself. Visitors can learn about the original owner, Jonathan Corwin, who was a prominent figure in the witch trials. The house showcases his role as a judge and his involvement in the trials, shedding light on the hysteria and fear that gripped the community during that time. In conclusion, the interior of the Salem Massachusetts Witch House is a captivating and educational experience. It allows visitors to step back in time and gain insights into the lives and beliefs of early settlers, as well as the hysteria and consequences of the Salem witch trials. The carefully preserved artifacts and displays provide a rich and immersive experience that leaves a lasting impression on all who visit..
Reviews for "Salem's Icon: Exploring the Interiors of the Historic Witch House"
1. John - 2 stars
I found "Interior Salem Massachusetts Witch House" to be disappointing and lackluster. The story felt slow-paced and lacked any real substance. The characters were one-dimensional and uninteresting, making it difficult to connect with or root for any of them. Additionally, the dialogue felt forced and unnatural, and the overall atmosphere of the book failed to capture the eerie ambiance of Salem. Overall, I was hoping for a more thrilling and engaging read, but unfortunately, this book fell short of my expectations.
2. Sarah - 2.5 stars
While I was initially intrigued by the premise of "Interior Salem Massachusetts Witch House," I found myself ultimately disappointed by the execution. The writing style was convoluted and hard to follow, making it difficult to fully immerse myself in the story. The plot lacked cohesion and felt disjointed, jumping from one scene to another without clear direction. Moreover, the characters felt underdeveloped and it was hard to care about their fates. Overall, I felt like this book had potential, but it failed to deliver a satisfying reading experience.
3. David - 1 star
"Interior Salem Massachusetts Witch House" was a complete waste of time for me. The story was confusing and poorly constructed, leaving me with more questions than answers. The writing was dry and lacked any real depth or emotion, making it hard to connect with the characters or become invested in their struggles. Furthermore, the book was filled with grammatical errors and inconsistencies, which further detracted from my enjoyment. Overall, I would not recommend this book to anyone looking for a captivating and well-written tale of witchcraft and Salem's history.