[CLOSED CAPTIONING HAS BEEN PROVIDED BY CARDI'S FURNITURE AND MATTRESSES] HOST: THE GATHER IS HERE HOME TO ONE OF THE LARGEST AND MOST DIVERSE COLLECTIONS IN THE NORTHEAST.

THERE IS A CENTURIES-OLD JAPANESE BUDDHA ASSEMBLED FROM HOLLOW PIECES OF WOOD, AND STANDS OVER 9 FEET TALL.

THERE'S AN EXQUISITE WRITING TABLE THAT WAS CREATED BY A LOCAL MANUFACTURING COMPANY TO SHOW THE WORLD THAT THEY ARE CAPABLE OF.

AND WE WILL EXPLAIN THE SIGNIFICANCE OF THIS PAINTING, RELATIVE TO THE FOUNDING OF THIS GREAT INSTITUTION.

THIS IS "TREASURES INSIDE THE MUSEUM."

♪ ♪ HOST: TUCKED INTO THE EAST SIDE OF PROVIDENCE IS A MUSEUM THAT HOLDS A COLLECTION OF SOME OF THE WORLD'S MOST IMPORTANT ARTIFACTS.

IN 1877, HELEN METCALF LED A SMALL GROUP OF WOMEN TO INVEST SOME EXTRA MONEY THEY HAD RAISED AND FOUNDED THE RHODE ISLAND SCHOOL OF DESIGN AND AN ACCOMPANYING MUSEUM.

>> WHILE THE SCHOOL GOT OFF TO A MUCH EARLIER START THE MUSEUM DID NOT REALLY COME INTO ITS OWN UNTIL THE LATE 19TH CENTURY.

IT WAS IN THE 1890'S THE MUSEUM WAS ABLE TO BUILD ITS FIRST DEDICATED SPACE.

IT WAS REALLY AT THAT TIME THAT A SERIOUS COLLECTION OF ART AND OBJECTS BEGAN TO BE BUILT UP BY A GROUP OF REALLY COMMITTED RHODE ISLANDERS.

HOST: TODAY, THE MUSEUM COLLECTION INCLUDES MORE THAN 100,000 WORKS OF ART.

RANGING FROM ANCIENT CULTURES TO CONTEMPORARY ART.

IN A GALLERY ON THE FOURTH FLOOR THERE ARE PAINTINGS FROM MONET AND RENOIR.

AND IN THE SAME ROOM, A FRENCH -- FRENCH IMPRESSIONIST MASTERS, THERE IS A LARGE IMPRESSIONIST -- >> THIS IS A PORTRAIT.

IT IS AN EMBLEMATIC PAINTING.

IT REPRESENTS A WOMAN WHO IS AN ARTIST AND AN INSTITUTION FOUNDED BY WOMEN AND TRAINS WOMEN TO BE ARTISTS AND DESIGNERS.

IN ADDITION TO THAT IT WAS GIVEN TO THE MUSEUM BY WOMAN WHO FELT IT WAS AN IMPORTANT PAINTING TO HAVE IN THIS COMMUNITY AT THIS INSTITUTION.

HOST: THE PAINTING WAS ORIGINALLY PURCHASED AS A GIFT BY GEORGE VANDERBILT THE SECOND FOR HIS WIFE EDITH.

AFTER HER DEATH, SHE BEQUEATHED IT, BECAUSE THE INSTITUTION HAS LONG VALUED THE CONSTITUTIONS OF WOMEN.

>> YOU SEE HER RESTING ON A SOFA WITH HER ARMS OUTSTRETCHED HOLDING A FAN.

BUT SHE IS NOT GAZING AT IT.

SHE IS GAZING AWAY FROM US.

IN THAT WAY SHE IS SOMEWHAT RESERVING HERSELF AS A MODEL AS OPPOSED TO SOMEONE POSING FOR HER OWN PORTRAIT.

THE JAPANESE PRINT ABOVE HER HEAD IS ENTITLED, RECOVERING THE STOLEN JEWEL FROM THE PALACE OF THE DRAGON KING.

IT IS AN INTERESTING CONTRAST TO THE THEME OF THE PAINTING, WHICH PRESUMABLY IS REPOSE.

IT IS A DRAMATIC JUXTAPOSITION OF ENERGY WITH THIS VERY QUIET POSE OF THE WOMAN SEATED ON THE SOFA.

THE ARTIST REPRESENTED IN THIS PORTRAIT IS REALLY ONE OF THE MOST IMPORTANT PAINTERS OF THE 19TH CENTURY INFERENCE.

HOST: -- IN FRANCE.

HOST: IT IS PROMINENTLY IN A GALLERY OF OTHER PAINTINGS EVEN TO THE MUSEUM BY THE FOUNDERS.

GENERATIONS OF PROMINENT FAMILIES FROM NEW ENGLAND AND BEYOND HAVE DONATED INDIVIDUAL PIECES AND COLLECTIONS TO THE MUSEUM.

THIS NOT ONLY PRESERVES THESE WORKS BUT ALSO MAKES THEM AVAILABLE FOR VIEWING TO A MUCH WIDER AUDIENCE.

THE MUSEUM IS HOME TO A SIGNIFICANT COLLECTION OF CLOTHING AND TEXTILES FROM AROUND THE WORLD.

EXHIBITS HERE ENCOURAGE STUDENTS AND SCHOLARS TO STUDY DIFFERENT STYLES AND CRAFTSMANSHIP, TO CONSIDER THE HISTORY OF DESIGN, AND TO EXPLORE THE ARTISTIC AND CULTURAL IMPORTANCE OF EACH PIECE.

A JAPANESE BRIDAL IS AT THE CENTER OF A GALLERY FILLED WITH ASIAN OBJECTS.

IT IS PART OF A COLLECTION THAT HAS BEEN GROWING FOR DECADES.

IN 1919, LUCY TRUMAN ALDRICH, A SOCIALITE FROM EAST PROVIDENCE, TRAVELED TO ASIA WHERE SHE FELL IN LOVE WITH AND STARTED COLLECTING TEXTILES FROM CHINA, JAPAN AND KOREA.

UPON HER RETURN SHE STARTED TO LEND HER COLLECTION TO THE MUSEUM UNTIL THE TIME OF HER DEATH WHEN ALL THE PIECES WERE DONATED.

>> THE RISD MUSEUM HAS ABOUT 700 MUSEUM -- PIECES THAT SHE GAVE US COLLECTED ALL OVER ASIA.

AND THIS IS ONE OF 47 JAPANESE ROBES.

A VERY LARGE COLLECTION, AND IS CONSIDERED TO BE KIND OF ONE OF THE MOST, THE RICHEST AND BROADEST IN TERMS OF ITS REPRESENTATION OF EVERY STYLE OF JAPANESE THEATER ROBE IN THE UNITED STATES.

HOST: THIS PARTICULAR EXAMPLE DATES BACK TO THE LATE 18TH CENTURY.

>> THIS IS A ROBE THAT WOULD HAVE BEEN DONNED AND CHOSEN BY AN ACTOR TO WEAR ON STAGE.

JAPANESE THEATER USES VERY FEW PROPS.

SO, THE ROBE ITSELF REALLY COMMUNICATES QUITE A LOT ABOUT WHO THE CHARACTER IS, WHAT THEIR ROLE IS IN THE NARRATIVE.

THE ACTOR IS ALSO NOT SPEAKING VERY MUCH AND IS USING VERY STYLIZED MOVEMENTS.

SO, THERE IS A LOT THAT THIS ROBE ITSELF HAS TO CONVEY, AND THAT IS DONE IN THIS PATTERN.

JUST FROM THE WAY THAT THIS PIECE LOOKS AND THE WAY THAT IT WAS WOVEN, WE KNOW THAT IT WAS MEANT FOR A MALE CHARACTER AND A VERY POWERFUL ONE.

HOST: TEXTILES LIKE THESE ARE VERY SENSITIVE TO LIGHT AND CAN ONLY BE PUT ON DISPLAY FOR THREE TO SIX MONTHS AT A TIME.

>> IF ONE IS TO WALK INTO OUR ASIAN TEXTILE GALLERY AT THE ALDRICH ROCKEFELLER GALLERIES, THEY WILL SEE ANY NUMBER OF PIECES THAT LUCY ALDRICH GAVE TO US.

IT MIGHT BE A THEATER ROBE, BUT IT COULD BE ANY OTHER PIECE AS WELL.

>> I COME FROM A BACKGROUND OF CONTEMPORARY ART.

SO COMING INTO A MUSEUM LIKE THIS, I HAVE REALLY BECOME VERY PASSIONATE AROUND OUR COSTUME AND TEXTILES COLLECTION.

IT IS ONE OF THE GREAT COSTUME AND TEXTILE COLLECTIONS IN THE UNITED STATES.

IT IS A HUGE COLLECTION.

NEARLY 30,000 OBJECTS.

AND WHAT I LOVE ABOUT IT IS SO MANY OF THE PIECES ARE OBJECTS THAT HAVE SUCH A PERSONAL KIND OF CONNECTION TO THE WEARER, TO THE MAKER, TO THE INDIVIDUAL WHO OWNED THESE OBJECTS.

♪ HOST: PRICELESS JAPANESE PRINTS ARE ALSO AMONG THE OBJECTS THAT WERE DONATED TO THE MUSEUM BY LUCY ALDRICH AND HER SISTER ABBY.

ANOTHER COLLECTION INCLUDES DRESSES MADE JUST DOWN THE STREET FROM THE MUSEUM.

IN 1915, TWO ITALIAN IMMIGRANTS OPENED A DRESSMAKING STUDIO IN PROVIDENCE.

THE COLRFUL BEADWORK AND INTRICATE DETAILS ON EACH PEACH OF CLOTHING THEY CREATED IN THEIR PROVIDENCE HOME ADORNED WEALTHY SOCIETY LADIES WHO COULD AFFORD THE HANDMADE CREATIONS.

>> THE SHOP WAS RUN AND OWNED BY TWO SISTERS, ANNA AND LAURA.

THEY WORKED TOGETHER, THEY IMMIGRATED HERE TOGETHER.

AND LIVED TOGETHER, UNTIL ANNA DIED IN 1947.

WHEN ANNA DIED, LAURA CLOSED THE DOORS TO THE DRESSMAKING SHOP, CAREFULLY WRAPPED EVERYTHING IN TISSUE, AND LEFT IT THERE.

IN 1989, HER SON, LOUIS, INHERITED THE HOUSE FROM HIS SISTER.

CAME IN AND DISCOVERED THIS TIME CAPSULE OF HIS MOTHER AND HIS AUNT'S BUSINESS.

AND AT THAT POINT, INVITED CURATORS HERE AT THE RISD MUSEUM IN TO SEE THIS TREASURE TROVE.

HOST: WHAT THEY FOUND IN THE OLD HOME WERE HUNDREDS OF DRESSES, AND THE COLLECTION OF 20TH-CENTURY FABRICS, LACES, SEWING EQUIPMENT, AND BUSINESS LEDGERS.

>> SO REALLY WHAT THEY FOUND WAS ONE OF THE RICHEST AND RAREST ARCHIVES OF AN AMERICAN DRESSMAKING ESTABLISHMENT IN THE U.S. THAT WE HAVE YET COME ACROSS.

SO, THE CURATORS SELECTED ABOUT 300 PIECES THAT WERE EXCEPTIONS INTO THE MUSEUM.

SO THESE TWO PIECES ARE REALLY THE TIP OF THE ICEBERG IN TERMS OF WHAT WE HAVE IN OUR COLLECTIONS.

SO ALL THIS RHODE ISLAND HISTORY IS RESIDING IN RHODE ISLAND AND IS HERE TO BE EXPLORED AND SEEN.

WE OFTEN HAVE A TURKEY PIECE ON VIEW IN OUR MODERN AND CONTEMPORARY GALLERIES, BUT THEY ALSO COME OUT QUITE OFTEN FOR STUDENTS TO STUDY, AND FOR LOCAL ARTISTS TO STUDY.

>> THE MUSEUM'S GOAL HAS ALWAYS BEEN TO SORT OF REPRESENT THE BEST OBJECTS FROM AROUND THE WORLD.

SO, THEY WILL SEE WORKS FROM ANCIENT GREECE AND ROME.

THEY WILL SEE WORKS FROM EGYPT.

THEY WILL SEE WORKS FROM THROUGHOUT ASIA, THROUGHOUT EUROPE, FROM THE EARLIEST TIMES UP UNTIL WORK THAT WAS MADE JUST LAST YEAR.

SO IT REALLY SPANS THE GLOBE AND SPANS THE BROADEST CHRONOLOGY OF WHAT ONE SEES HERE IN THE MUSEUM.

HOST: THERE ARE HANDCRAFTED FURNITURE PIECES ON DISPLAY IN THE CHARLES PENDANT AND -- CHARLES PENDLETON HOUSE GALLERY.

OTHER FURNITURE, LIKE THIS 100-YEAR-OLD ITALIAN DESK AND CHAIR, OR THIS LIBRARY TABLE SIGNED BY FRANK LLOYD WRIGHT, ARE ON DISPLAY IN A MORE TRADITIONAL GALLERY.

AMONG THESE TREASURES IS THIS READING TABLE AND CHAIR.

>> THIS WRITING TABLE AND CHAIR WAS MADE BY THE GORMAN ANY FACTORING COMPANY THAT WAS FOUNDED HERE IN PROVIDENCE, RHODE ISLAND IN 1831.

THE WRITING TABLE AND CHAIR WERE MADE FOR THE 1904 WORLD'S FAIR IN ST. LOUIS.

THIS WAS A CELEBRATION OF THE LOUISIANA PURCHASE.

THE DESK WAS ACTUALLY MADE IN 1903.

THIS PIECE TOOK OVER 10,000 HOURS FOR THE COMPANY TO MAKE.

AND IT HAS OVER 47 POUNDS OF SILVER IN IT.

THESE TYPES OF PIECES, SHOWSTOPPERS WERE MADE TO SHOW THE WORLD WHAT THE COMPANY COULD DO WORLD'S FAIRS.

IT WAS NOT MADE FOR ANYBODY, IT WAS NOT COMMISSIONED BY ANYBODY, IT WAS A REAL SHOWPIECE.

HOST: FOR OVER 120 YEARS, GORE MANUFACTURING PRODUCED EVERYDAY SILVER AND WISH -- AND WAS SOUGHT OUT TO PRODUCE ONE-OF-A-KIND PIECES LIKE THIS.

>> SINCE THIS WAS MADE TO CELEBRATE THE LOUISIANA PURCHASE, THE FORM OF THE DESK ITSELF IS 18TH-CENTURY FRENCH.

IT HAS QUITE A FEW SILVER ELEMENTS THAT ARE SYMBOLIC AT THE -- SYMBOLIC.

AT THE TOP OF EACH LEG THERE IS A MASK REPRESENTING THE FOUR SEASONS.

AT THE MIRROR OF THE DESK YOU CAN SEE AN WOL -- AN OWL.

ON THE BACK OF THE MIRROR YOU CAN SEE MORNING GLORIES REPRESENTING DAY AND NIGHT.

I THINK THIS IS A TREASURE FOR A NUMBER OF REASONS.

IT IS A ONE-OF-A-KIND PIECE.

EVEN FOR GORUM, THIS WAS UNUSUAL.

THEY DID NOT MAKE PIECES OF FURNITURE VERY OFTEN.

PUTTING 10,000 HOURS INTO A FEAST -- PIECE OF FURNITURE IS NOT SOMETHING THEY COULD DO OFTEN.

IT WAS ALSO A PIECE THAT REPRESENTED PROVIDENCE.

TO LITERALLY BE THE LARGEST SILVER COMPANY IN THE WORLD.

AT ONE POINT THEY HAD NEARLY 3000 EMPLOYEES.

SO IT IS A VERY SPECIAL PIECE.

HOST: WHETHER A PIECE IS HUNDRED YEARS OLD OR THOUSANDS OF YEARS OLD, THE STAFF AT RISD IS CONSTANTLY WAITING FOR STAYS -- WAYS TO STAY RELEVANT.

>> ONE OF OUR JOBS IS TO THINK ABOUT HOW TO TAKE AN OBJECT MADE 3000 YEARS AGO AND HAVE IT FEEL IT IS NOT JUST AN ARTIFACT OF THE PAST BUT THERE ARE LESSONS AND INSIGHTS WE CAN GLEAN FROM LOOKING AT THOSE OBJECTS THROUGH A CONTEMPORARY LENS.

SO, TECHNOLOGY HAS CHANGED MUSEUMS I THINK IN ALL THE WAYS IN WHICH IT HAS CHANGED OUR CULTURE AND OUR SOCIETY ACROSS-THE-BOARD.

AND I THINK ONE OF THE THINGS IT ALLOWS EVERYONE TO ACCESS AND TO LEARN ABOUT THE RISD MUSEUM, NO MATTER WHERE YOU ARE, ANYTIME OF THE DAY.

RECENTLY WE PUT OUR ENTIRE COLLECTION OF NEARLY 100,000 OBJECTS ONLINE THROUGH OUR WEBSITE.

AND IT HAS JUST OPENED UP THE COLLECTION AND THE MUSEUM IN EXTRAORDINARY WAYS.

BECAUSE OF THE SPACE LIMITATIONS AT ANY GIVEN TIME, WE MIGHT HAVE 2% OR 3% OF THE COLLECTION ON VIEW IN THE GALLERIES PHYSICALLY YOU CAN SEE.

BUT ONLINE, YOU CAN EXPERIENCE THE FULL ARRAY OF WHAT THE MUSEUM'S COLLECTION HAS TO OFFER.

HOST: ONE PIECE THAT IS BEST APPRECIATED IN PERSON, HOWEVER, TOWERS ABOVE VISITORS IN THE ASIAN ART GALLERY.

>> THE RISD BUDDHA STANDING 9 FEET 8 INCHES IS THE LARGEST WOODEN BUDDHA OF ITS KIND IN THIS COUNTRY BAIT -- DATING TO THE 12TH-CENTURY.

HOST: THIS BUDDHA WAS ACQUIRED BY THE MUSEUM IN 1936 FROM A JAPANESE ART DEALER.

>> THE BUDDHA WAS CONSTRUCTED IN A METHOD WHERE DIFFERENT BLOCKS OF HOLLOWED WOOD WERE JOINED TOGETHER.

THEY WERE INDIVIDUALLY CARVED BY DIFFERENT CARVERS, THEN JOINED TOGETHER WITH IRON PINS.

YOU CAN SEE SOME OF THESE PINS IN THE FOREARMS OF THE BUDDHA.

>> THE CLIPS ORIGINALLY WOULD HAVE BEEN SUNKEN INTO THE WOOD, WOULD HAVE BEEN FLUSH WITH THE SURFACE OF THE WOOD, AND THEY WOULD HAVE BEEN INSERTED TO HOLD THE COMPOSITE PIECES TOGETHER.

THERE WOULD HAVE BEEN A KIND OF GLUE MADE OUT OF SAWDUST PASTE.

YOU RISHI IS A RESIN FROM A TREE IN JAPAN.

>> THIS METHOD OF CONSTRUCTION ENABLED MASS PRODUCTION OF SUCH LARGE SCULPTURES, AS YOU CAN IMAGINE.

AND IT ALSO FACILITATES TRANSPORTATION OF THESE OBJECTS.

>> MOST OF THE WOOD IS MOST LIKELY FROM THE 12TH-CENTURY, BUT SOME OF IT IS DEFINITELY NOT.

SO I DRAW YOUR ATTENTION TO THE FRONT FOLD AREA.

THE DRAPERY.

THAT IS DEFINITELY AN ADDED CARVING.

ALSO, THE BIG TOW ON -- TOE ON THE FOOT ON THE RIGHT SIDE OF THE BUDDHA IS CLEARLY AN ADDED RESTORATION.

ALSO IF YOU LOOK AT THE DISTANCE BETWEEN THE HANDS ON THE FOREARMS, THE FOREARMS ARE FAIRLY PERFECT CONDITION.

THOSE ARE DEFINITELY RESTORATIONS.

THE HANDS, I THINK WE CAN SAY PRETTY SECURELY, ARE IN ORIGINAL CONDITION.

HOST: THE COMPLETE HISTORY OF THIS BUDDHA IS YET TO BE DISCOVERED.

ONE STORY SUGGESTS THAT THE TEMPLE WHERE IT WAS ORIGINALLY KEPT BURNED DOWN, AND THE BOOT WAS SUBSEQUENTLY RESCUED AND STORED IN A FARMHOUSE BEFORE BEING REDISCOVERED YEARS LATER.

>> HOWEVER, WE DON'T HAVE MUCH EVIDENCE OF HOW THE STORY CAME ABOUT.

IS IT MYTH?

IS IT LEGEND?

AND THROUGH OUR CLOSE EXAMINATION OF THE BUDDHA AND RESEARCH CONDUCTED BY SCHOLARS OVER THE YEARS, WE HAVE FOUND OTHER CLUES THAT MIGHT SHED LIGHT ON THE BUDDHA'S PREVIOUS LIVES.

FOR INSTANCE, AT THE BACK OF THE BUDDHA THERE IS AN INSCRIPTION WHICH SCHOLARS MIGHT THINK IS FROM THE 17TH CENTURY.

THIS IS AN INSCRIPTION FROM A MONK, AN INSCRIPTION OF DEDICATION TO THE BUDDHA.

SUCH INSCRIPTIONS ARE USUALLY FOUND ON RELIGIOUS FIGURES ONCE THE RELIGIOUS FIGURE IS RESTORED.

THERE ARE TWO OTHER INSCRIPTIONS WE FOUND UNDER THE ARM OF THE BUDDHA WHICH DATE EVEN OLDER THAN THE 17TH CENTURY.

BECAUSE THE SCRIPT IS SO OLD AND ILLEGIBLE, IT IS VERY DIFFICULT FOR US TO MAKE OUT THE ENTIRE MEANING OF THE INSCRIPTION.

BUT THINGS LIKE THAT ARE JUST CLUES THAT ARE PROVIDED TO TEMPT US, TO REMIND US THAT THIS FIGURE HAD MANY OTHER HISTORIES BESIDES THE ONE THAT IT IS IN RIGHT NOW.

>> IT IS VERY EXCITING TO BE PART OF HISTORY.

WE ARE ONLY THE TEMPORARY CUSTODIANS OF THESE WORKS OF ART THAT ARE HERE AT THE MUSEUM.

AND MUSEUM ART, JUST LIKE OURSELVES, WE ARE ALWAYS FIGHTING ENTROPY AND RANDOMNESS, AND WE ARE ALWAYS STARTING TO BREAK DOWN.

HUMAN BEINGS BREAKDOWN, ART BREAKS DOWN.

ESPECIALLY THE BUDDHA BEING COMPOSED OF WOOD, IT'S AN ORGANIC MATERIAL THAT IS VERY SUSCEPTIBLE TO LIGHT, TEMPERATURES, RELATIVE HUMIDITY.

SO, ANYTHING THAT I CAN DO IN MY SHORT TIME HERE AT THE MUSEUM AS MUSEUM CONSERVATOR, I AM EXCITED TO BE ABLE TO RESEARCH WHAT WOULD BE HELPFUL TO PRESERVE THE BUDDHA FOR A LONG PERIOD OF TIME.

IT WOULD ALSO BE REVERSIBLE.

SO THOSE ARE TWO REALLY IMPORTANT BASIC TENANTS.

VERY EXCITED TO BE PART OF THE PROJECT.

♪ HOST: THE RISD MUSEUM PRESERVES AND DISPLAYS COLLECTIONS FROM THE PAST, BUT DIRECTOR JOHN SMITH HAS NINE TO THE FUTURE.

SEVERAL GALLEYS HAVE BEEN TRANSFORMED AND NEW ONES ADDED.

>> THE GALLERIES ALL HAVE A VERY INTIMATE FEEL TO THEM.

IT IS A VERY HUMAN SCALED SPACE.

WHEN YOU ARE ENGAGING WITH WORKS OF ART, AN ART GALLERY, I THINK IT FEELS LESS INTIMIDATING PERHAPS, AND IT FEELS MUCH MORE COMFORTABLE AND EASY TO ENGAGE WITH WORKS OF ART IN OUR SPACES.

AND IT IS JUST AN EXTRAORDINARY COLLECTION THAT WE HAVE HERE.

♪ ♪ HOST: IF YOU TURN OFF THE MAIN ROAD IN BRISTOL, RHODE ISLAND AND SUDDENLY FIND YOURSELF IN THE 18TH CENTURY, YOU ARE PROBABLY AT THE COGGESHALL FARM MUSEUM.

200 YEARS AGO, THIS FARM PROVIDED FRESH FOOD.

TODAY, IT IS THE MEMORIES OF THAT ERA THAT ARE BEING KEPT FRESH.

>> I THINK OUR BIGGEST MISSION HERE IS EDUCATION.

EDUCATING PEOPLE ABOUT HISTORIC PRESERVATION, ABOUT THE FARMHOUSE.

CURRENTLY WE ARE EDUCATING ABOUT THE FEDERALIST ERA, AND THE HISTORY OF THE MIDDLE CLASS, THE ONES WHOSE HISTORY DOES NOT NECESSARILY GET WRITTEN DOWN.

YOUR AVERAGE, EVERYDAY PERSON, AND WHAT THEIR AVERAGE, EVERYDAY LIFE WAS LIKE.

HOST: THAT HISTORY WAS ALMOST LOST 50 YEARS AGO.

IN THE 1960'S, THE STATE OF RHODE ISLAND ACQUIRED THE BUILDINGS AND LAND HERE AS PART OF THE PURCHASE OF COLD STATE PARK.

BUT THE STATE WAS NOT INTERESTED IN THE OLD FARMHOUSE AND WAS PLANNING TO TEAR IT DOWN.

THAT IS WHEN THE BRISTOL HISTORICAL SOCIETY VISITED GOVERNOR JOHN CHAFEE, WHO REPORTEDLY TOLD THEM THAT IF THEY WANTED TO SAVE IT, THEY COULD HAVE.

-- HAVE IT.

THE MUSEUM HAS SINCE BECOME ITS OWN PRIVATE NONPROFIT WHERE YOU CAN OBSERVE EARLY AMERICAN LIFE.

>> HI FOLKS.

WE ARE GOING TO TAP A MAPLE TREE HERE.

IF YOU WANT TO MAKE MAPLE SYRUP, YOU HAVE TO TAP A MAPLE TREE.

WHAT WE WANT TO DO IS TAP ON THE SOUTH SIDE OF THE MAPLE TREE.

THIS IS A SUNNYSIDE.

THE SUN RISES IN THE EAST AND SETS IN THE WEST, SO THIS SIDE HAS THE MOST SUN THROUGHOUT THE DAY.

THIS IS THE WARM SIDE OF THE TREE.

I WANT TO DRILL INTO THE TREE ABOUT 1.5 INCHES.

WE WILL TAKE A WOODEN SPIAL, PUT IT INTO THE TREE ABOUT 1 INCH, YOU WANT A SLIGHT ANGLE GOING DOWN.

HOST: THIS MIGHT BE ONE OF THE FEW MUSEUMS WHERE THE SPECIAL EVENTS SCHEDULE IS DICTATED BY THE WEATHER.

>> IT IS VERY SEASONAL HERE.

YOU ARE GOING TO GET DIFFERENT EXPERIENCES THAT PEOPLE WOULD HAVE BEEN DOING DURING THAT SEASON.

SO MAPLE SUGAR, YOU ARE HERE, YOU ARE FEELING THAT COLD.

VERY MUCH AN OUTSIDE MUSEUM.

YOU ARE FEELING WHAT IT IS LIKE TO TAPPING THE TREES IN FEBRUARY.

>> WE WANT TO EVAPORATE ALL THE MAPLE SAP.

IT TAKES 40 GALLONS OF MAPLE SAP TO BECOME 1 GALLON OF MAPLE SYRUP, OR 1 POUND OF MAPLE SUGAR.

MAPLE SAP IS ABOUT 97% WATER, 2% SUGAR, AND 1% OTHER VITAMINS AND MINERALS.

HOST: THE PROCESS IS SLOW BUT WILL EVENTUALLY PAY OFF.

>> AND PRETTY SOON ONCE THIS HARDENS, I CAN PEEL IT OFF OF THE SPOON, CRUSH IT UP WITH A MORTAR AND PESTLE, AND GRIND IT DOWN TO SUGAR.

HOST: THIS USED TO BE CONSIDERED HARD WORK, BUT WHETHER IT IS CUTTING WOOD OR COOKING BY AN OPEN HEARTH, THIS IS ALL ABOUT THE EXPERIENCE.

>> WE ARE GOING TO PUT YOU TO WORK.

GIVE IT A STIR, GIVE IT A SHOT.

ONE OF THE THINGS HERE AT COGGESHALL FARM MUSEUM THAT MAKES US A LITTLE DIFFERENT FROM OTHER MUSEUMS IS WE WANT YOU TO GET INVOLVED HERE.

WE ARE HERE FOR YOU TO EXPERIENCE HISTORY WITH ALL OF YOUR SENSES, RIGHT?

TO GET INVOLVED, TO TASTE, TO SEE, TO SMELL.

WE OFTEN TELL PEOPLE WE ARE AN OPEN DRAWER, PLEASE EXPLORE MUSEUM.

BUT WHAT IS IMPORTANT TO REMEMBER IS THAT EVERYTHING HERE IS REAL.

♪ HOST: FRESH JOHNNY CAKES ARE PREPARED THE SAME WAY THEY WOULD HAVE BEEN TWO YEARS AGO.

AND HERE AT THE MUSEUM, THEY ARE SERVED WITH THE MAPLE SYRUP.

THE FARMHOUSE AND THE OUTBUILDINGS ARE ALL FURNISHED JUST AS THEY WOULD HAVE BEEN IN THE 18TH CENTURY.

♪ >> THIS ITEM HERE IS A TRAVELER USED TO MEASURE THE CIRCUMFERENCE OF WAGON WHEELS, OX WHEELS, ETC..

THIS IS FROM THE TIM BORENSTEIN COLLECTION.

HE DONATED HIS TOOLS IN 1992 TO COGGESHALL.

AS HE HAS BEEN COLLECTING THEM OVER THE YEARS FROM ALL OVER THE WORLD, HE WAS THINKING ABOUT THEM IN A DIFFERENT WAY THAN PERHAPS YOU OR I MIGHT THINK OF IT.

I MIGHT SEE THIS AT A FLEA MARKET OR AN ANTIQUE STORE AND THINK WHAT WAS THIS USE FOR.

TIM LOOKED AT IT AND HE SAID, THAT IS BEAUTIFUL.

HOST: THE BEAUTY OF THAT TOOL COLLECTION IS THE INSPIRATION BEHIND A COLLABORATION WITH LOCAL ARTISTS WHOSE WORKS ARE EXPECTED TO REKINDLE LOCAL INTEREST IN THE MUSEUM.

>> THIS PLACE IS REALLY AN OPPORTUNITY TO THINK ABOUT A SPECIFIC TIMEFRAME, IN TERMS OF BEING AN ARTIST IN HIS LANDSCAPE IS INCREDIBLY INSPIRING.

IT IS SO BEAUTIFUL HERE.

EVERYTHING IS MADE THOUGHTFULLY AND CONSIDERED.

MOST OF IT IS MADE BY HAND.

READING HISTORY IN A BOOK IS WONDERFUL AND VERY IMPORTANT, BUT THERE IS SOMETHING DIFFERENT THAT TRANSPIRES WHEN WE CAN ENGAGE WITH OUR HANDS AND PLACE OUR BODIES WITHIN THE LANDSCAPE.

>> NOT ONLY DOES COGGESHALL SERVE AS A PLACE TO LEARN ABOUT HISTORY, IT SERVES AS A PLACE OF INSPIRATION.

IT SERVES AS A PLACE WE CAN COME AND BE INSPIRED ON YOUR NEXT ART PIECE.

WE HAVE HAD BOOKS WRITTEN HERE.

THERE IS NO SHORTAGE OF BEAUTY HERE AT COGGESHALL, AND WHAT THAT CAN CREATE IS LIMITLESS.

♪ [CAPTIONING PERFORMED BY THE NATIONAL CAPTIONING INSTITUTE, WHICH IS RESPONSIBLE FOR ITS CAPTION CONTENT AND ACCURACY.

VISIT NCICAP.ORG]