Hawthorne’s Famous Novel: The House of the Seven Gables
by Anna Ruane
Did you know Nathaniel Hawthorne almost gave his famous novel The House of the Seven Gables a completely different name? In a letter to his publisher on November 3rd, 1850, Hawthorne debated between several titles, including “The Old Pyncheon House: A Romance” and “The Old Pyncheon Family; or The House of the Seven Gables: a Romance.” Ultimately, he opted for the simpler title that we know today.
When the first edition of The House of the Seven Gables hit shelves in April, 1851, readers were captivated by its mysterious, seven-gabled mansion and the generations of the Pyncheon family haunted by an ancestral curse. Blending gothic romance with themes of guilt, fate, society, and class, Hawthorne’s novel quickly became a hit. While most people today recognize Hawthorne for The Scarlet Letter, it was actually The House of the Seven Gables that sold more copies in its first year of publication.
The brown cover with embellished floral designs is a first edition print of Nathaniel Hawthorne’s The House of the Seven Gables, published by Ticknor, Reed, and Fields. Since its initial release, numerous editions of The Gables have been published, including translated versions in French, Czech, and Spanish, among other languages.
The House of the Seven Gables, Sanspariel Series, 1898 Edition
Publisher: Henry Altemus, Philadelphia, PA
The green cover with its embossed gold frame and striking red poppy flowers is part of the Sanspareil series from Henry Altemus publishers, a company that started as a bookbinder in Philadelphia back in 1842. Altemus quickly made a name for itself by reprinting beloved novels in eye-catching, decorative editions. Over the years the company would release over 200 different series with the Sanspareil series including more than 100 different titles alone. With several works by Nathaniel Hawthorne in the mix, such as The Scarlet Letter and The Blithedale Romance, The House of the Seven Gables claims spot number 40 out of 104 in this sought-after collection.
While all the Sanspareil editions share the same cover design, the red poppy flowers on this edition have an accidental but charming connection to Hawthorne’s novel. In the story, Alice Pyncheon, a descendant of the original Pyncheon cursed by Matthew Maule, is remembered for her “posies,” a term Hawthorne uses for flowers. He describes the blooms growing outside the Pyncheon home:
It was the great tuft of flowers, — weeds, you would have called them, only a week ago, — the tuft of crimson-spotted flowers, in the angle between the two front gables. The old people used to give them the name of Alice’s Posies, in remembrance of fair Alice Pyncheon, who was believed to have brought their seeds from Italy. They were flaunting in rich, beauty and full bloom, to-day, and seemed, as it were, a mystic expression that something within the house was consummated.
The flowers Hawthorne describes could easily be poppies, just like those on the cover, which are famously abundant in Italy. It’s a delightful example of art imitating life, even if by chance!
The House of the Seven Gables, 1910 Edition
Publisher: Hurst & Co., New York, NY
If you’re drawn in by a beautiful book cover, you’re not alone! The bright yellow cover with bold red flowers and a stylish couple dressed in early twentieth-century fashion comes from Hurst & Co.’s 1910 edition. Hurst & Co., a New York publisher operating from 1871 to 1919, became well known for reprinting classic literature, often with visually appealing, modernized covers much like those from Henry Altemus.
The book’s story itself starts during the infamous 1692 Salem Witch Trials and stretches across centuries, but most of the action centers on Hepzibah, Clifford, and Phoebe Pyncheon in the mid-1800s. What’s fun about this 1910 edition is how it reimagines these characters: Phoebe and Holgrave, who originally appeared in nineteenth-century attire, are now illustrated in the latest elegant fashions of the 1910s. Many other editions followed suit, updating the characters’ looks so contemporary readers could see themselves reflected in Hawthorne’s world, a clever move by publishers that helped new generations connect with this classic novel.
The House of the Seven Gables, 1913 Edition
Publisher: Houghton Mifflin Company
Another gorgeous cover design featured on the 1913 Houghton Mifflin edition of The House of the Seven Gables is a real treat. Bound in rich green fabric and graced with an illustration of the mansion itself, this edition stands out for several reasons. It includes a foreword by Caroline Emmerton, the philanthropist who restored the real-life Turner-Ingersoll mansion, and evocative photographs by Charles S. Olcott. What’s truly special is that this is the earliest edition to showcase an image of the Turner-Ingersoll mansion, Hawthorne’s inspiration for The Gables, as it looked after Emmerton’s restoration.
The House of the Seven Gables, 2025 Edition
Publisher: Applewood Books, Carlisle, MA
Want to hold a piece of history in your hands? Thanks to Applewood Books, you can snag a reprinted version of this collector’s item at The House of the Seven Gables Museum Store. Whether you’re a fan of classic literature or just love unique editions, this one has a story, and a legacy all its own.
La Maison aux Sept Pignons, 1865 French Edition of The House of the Seven Gables
Publisher: Librairie De L. Hachette Et Cie. Translation: E.D. Forgues.
If you thought The House of the Seven Gables was just an American classic, think again! Since its debut in 1851, Hawthorne’s novel has captured readers around the world. One of the earliest international editions is this 1865 French translation, La Maison Aux Sept Pignons. With its handsome brown marbled cover, leather spine, and gold-lettered title, this edition is as elegant as it is historic. The fact that a French version appeared less than 15 years after the original release speaks volumes about Hawthorne’s global appeal. And the story’s reach didn’t stop there. Editions have since appeared in Czech, Spanish, and many other languages, cementing the novel’s international legacy.
Dům se Sedmi Štíty, 1955, Czechoslovakian Edition of The House of the Seven Gables
Publisher: Snklhu. Translation: Zdnek Vancura of the Institute of Languages and Literature in Prague
This Czech edition was published in 1955 and translated by Zdnek Vancura. Its heather-gray cover features a vivid, imaginative sketch of the Turner-Ingersoll Mansion, reimagined with brown siding, a bold red roof, and a matching red door. Blue windows add a pop of color, while a lean-to takes the place of the mansion’s original garden, a creative twist unique to this edition. Framed in white, the illustration stands out, anchored by bold red text: “Nathaniel Hawthorne” above, and the Czech title Dům se Sedmi Štíty in even larger letters below. A black tree and bushes add drama to the scene, and the publisher’s logo sits neatly at the bottom. This edition is a wonderful example of how classic literature is re-envisioned through the lens of different cultures and artists.
The House of the Seven Gables, Hawthorne’s Works Series, 1865 Edition
Publisher: Ticknor and Fields, Boston, MA. Bookplate on front endsheet “Lieut. Gen. U.S. Grant from Citizens of Boston, January 1, 1866.”
After leading the Union to victory in the Civil War, Ulysses S. Grant and his family embarked on a celebratory tour across the United States. In a grand gesture, the city of Boston gifted Grant a staggering 1,200 books to help fill his personal library. Among these treasures was the Hawthorne’s Works series, published by Ticknor and Fields in 1865.
These volumes are as impressive on the outside as they are on the inside. The covers boast a vibrant marble pattern in red, black, yellow, and blue, complemented by rich red leather spines and corner protectors. Gold lettering announces Hawthorne’s Works along each spine, with the title of each work displayed below. Open the covers and you’ll find a matching marble interior, a true feast for book lovers. Each book also bears a special bookplate on the inside front cover, reading: “Lieut. Gen. U.S. Grant from the Citizens of Boston January 1, 1866.” This thoughtful detail transforms every volume into a piece of history, connecting Grant, Hawthorne, and the city of Boston in one elegant package and cementing Hawthorne’s legacy as an American author.
“The House of the Seven Gables Series” Dance Music by Henry O. Upton
Salem, Massachusetts, Copyright 1892.
The last family to call the Turner-Ingersoll mansion home before it became the historic House of the Seven Gables museum we know today were the Uptons. In 1883, Henry Upton, a talented musician and dance instructor, and his wife Elizabeth bought the mansion. By then, the house had already gained fame as Hawthorne’s literary inspiration, and it didn’t take long for the Uptons to embrace its storied legacy. By the 1890s, they were welcoming curious visitors for tours, inviting them to step into the pages of the famous novel.
An artistically inclined family, several members of the Upton family created works while living in the home. A previous blog post highlighted the artwork of Ida Upton Paine, daughter to Henry and Elizabeth. Pictured above is a collaborative piece by Ida and her father Henry. The image features the title page to sheet music written by Henry Upton, featuring an illustration of the Turner-Ingersoll mansion as seen in the late 1800s on the end of Turner Street. Nearly 100 years after the renovations made by the Ingersoll family, the mansion in the illustration features only two gables with the third gable of the home not being visible from the Turner Street view. The large center chimney of the home was removed by the Upton family and is not featured in the illustration. Above the mansion is a bow being pierced by pins, reminiscent of those said to have been used by accused witches to harm their victims, and the title “House of the Seven Gables Series.” Two witches on broomsticks fly above the mansion. Below the home, in the left corner, a witch is stirring a large cauldron set over an open fire. A black cat is visible behind her. Next to the witch and cauldron is a scroll with the text, “Pyncheon Land, Caprice,” “The Caper (A Dance with full Explanations),” and “Galop, The Crickets.” In the lower center of the page is the text “Published at 34 Turner St. ‘House of the Seven Gables’”. In the lower right corner is the text “Erected in 1662, Dance Music By Henry O. Upton, Salem Mass., Copyright 1892.” Copies of the sheet music were sold at The House of the Seven Gables by the Upton Family.
Postcard titled “Hepzibah’s Shop in “The House of the Seven Gables, ”Salem, Mass.
Copyright to C.O. Emmerton, Circa 1910. Published by Detroit Publishing Company
Step into the next chapter of the Turner-Ingersoll mansion’s story with Caroline Emmerton, a visionary who transformed this historic home into the beloved House of the Seven Gables museum. When Emmerton purchased the mansion in 1908, she dreamed of restoring its former glory and sharing its legacy with the public. To bring her vision to life, she teamed up with Joseph Everett Chandler, a Massachusetts architect known for his expertise in colonial revival projects, including the restoration of Boston’s Paul Revere House.
What makes Emmerton’s restoration especially fascinating is how she blurred the line between history and fiction. Drawing inspiration straight from Nathaniel Hawthorne’s vivid, semi-fictional descriptions, and knowing that his cousin Susannah Ingersoll once owned the house, Emmerton added touches from the novel that never existed in the real mansion. One of the most charming additions was the cent shop, a feature drawn directly from Hawthorne’s pages and recreated for visitors to experience firsthand.
If you’ve read Hawthorne’s novel, you’ll remember Hepzibah Pyncheon, a once-wealthy woman clinging to the last shreds of her family’s former glory. Hepzibah’s struggle is both poignant and relatable: she’s torn between her aristocratic heritage and the need to make ends meet. Her solution is to open a humble cent shop (or penny store) right inside the family mansion, selling small goods to support herself and her brother Clifford.
Emmerton brought this literary detail to life during her restoration. In the 1910s and 1920s, the recreated cent shop served as the museum’s store and admission center. Visitors could even purchase some of the same items Hawthorne imagined Hepzibah selling, a delightful blend of fiction and reality that continues to enchant guests today.
The colorized postcard, snapped by Caroline Emmerton herself, features a white counter topped with a brown display case, inviting visitors to imagine what treasures might have been for sale. Behind the counter, shelves overflow with trinkets and curiosities; just the sort of items Hepzibah might have offered in her cent shop. A rush-bottom chair sits nearby, adding a touch of period charm. The photo’s angle cleverly reveals both the door to the kitchen and an open doorway leading to the hall, where you can catch a glimpse of the dining room beyond. It’s a snapshot that captures not just a room, but a whole world of history, storytelling, and imagination.
Postcard titled “The Handorgan Man in Hepzibath’s Day”
Circa 1921. Publisher: Detroit Publishing Company
This charming postcard scene was taken in 1921. Front and center stands a man in a brimless hat adorned with a green ribbon, dressed smartly in a gray suit jacket and dark trousers. Slung to his side is a hand organ, also known as a barrel organ, with a mischievous monkey perched right on top! Around him, children in period attire join hands and form a joyful circle, their faces lit with excitement. The backdrop is none other than the iconic Gables mansion, anchoring this lively moment in history and literature. This scene isn’t just a piece of vintage photography, it’s straight out of the pages of Hawthorne’s novel. In The House of the Seven Gables, a young street performer regularly visits the Pyncheon house garden, barrel organ and monkey in tow, entertaining local children with his music and puppets. Hawthorne paints a heartwarming picture: children gather to listen and laugh, while Clifford Pyncheon, from his vantage point at a lofty arched window, soaks in the joyful sounds below with childlike delight. It’s a beautiful reminder of how literature and real-life moments can intertwine across generations.
Postcard titled “Phoebe Arriving at The Seven Gables”
Circa 1921. Publisher: Detroit Publishing Co.
In another postcard scene inspired by Hawthorne’s novel, two young reenactors, one portraying the ever-hopeful Phoebe Pyncheon, arrive at the historic House of the Seven Gables. The younger actor, dressed in a cheerful light blue dress with a wide white collar, white stockings, black shoes, and a ribboned hat, assists Phoebe by carrying a large brown bag. Meanwhile, Phoebe herself is depicted in a classic tan, ankle-length dress and a charming hat adorned with flowers. Together, they gaze at the mansion’s front door, where a poster of Nathaniel Hawthorne peeks through the window; a subtle nod to the author whose imagination brought these characters to life.
Phoebe is the bright, youthful cousin of Clifford and Hepzibah. Her upbringing in the countryside makes her a breath of fresh air for the old Pyncheon mansion. She arrives innocent and elegant, blissfully unaware of the dark family curse that looms over her relatives. When her mother remarries, Phoebe travels to the mansion to stay with Hepzibah. At first Hepzibah hesitates to let this lively spirit into her gloomy home, but she soon gives in. Phoebe’s two-week visit brings warmth, optimism, and a new sense of hope to the household.
Postcard titled “Great Chamber or Phoebe’s Room, House of Seven Gables, Built 1668, Salem, Massachusetts.”
Publisher: The House of the Seven Gables Settlement Association. Colored and Printed by Tichnor Brothers, Boston, MA
On Phoebe’s first night at the mansion, Hepzibah leads her up to the great chamber, a room steeped in history and atmosphere. Hawthorne paints a vivid picture in the novel: the chamber overlooks the old garden and faces east, so at sunrise, a wash of crimson light pours through the window, transforming the space from gloomy to glowing. Phoebe’s bed, draped in heavy, antique canopies that once spoke of luxury, now looms over her like a shadowy cloud, creating a nook of nighttime even as dawn breaks elsewhere in the room.
The postcard above brings this literary scene to life, showcasing how Caroline Emmerton reimagined the great chamber as Phoebe’s lodging. It’s a beautiful blend of fiction and historic preservation, inviting you to step right into the pages of Hawthorne’s classic. The postcard captures a spacious, inviting room, with a canopied bed tucked in the right corner. The bed’s canopy, along with the sheets and window hangings, are all crafted from lively green fabric dotted with blue, pink, and yellow flowers, a cheerful contrast to the dark, polished wood of the nightstand beside it. A round blue-and-red rug warms the floor near the bed, while at the room’s center, a stately claw-foot table houses a small red box.
Opposite the bed, a grand wooden dresser stands with a white cloth draped over the top, hanging above is a gold mirror, with another oval-shaped blue-and-red carpet anchored beneath the dresser. A mahogany Queen Anne highboy adds a touch of elegance, and an upholstered chair, matching the room’s floral motif, completes the cozy scene. Dark brown floorboards and walls covered in delicate white-and-blue floral wallpaper bring the space together, making the great chamber feel both historic and refreshingly alive.
Postcard “Clifford’s Bedroom, ‘The House of Seven the Gables’, Salem, Mass.
Postcard image from Caroline Emmerton photographs. Circa 1910.
Traveling up to the attic garret, this black-and-white postcard offers a rare glimpse into Clifford’s bedroom at The House of the Seven Gables. Clifford enters Hawthorne’s novel as a tragic figure, once young and full of promise, but now aged and fragile after thirty years behind bars. His devoted sister Hepzibah does her best to soothe him, though she’s continually surprised by the man he’s become. One of Clifford’s most mysterious traits is his ability to drift from room to room, appearing suddenly without ever being spotted on the main staircase, a detail that adds a layer of gothic intrigue to both the novel and the house itself.
The postcard offers just a slice of Clifford’s attic retreat: the edge of a bed in the lower left, a faux fireplace commanding the center, and above it, two classic lithographs by Currier and Ives. But the real secret lies in the wall; two panels to the right of the fireplace cleverly conceal the entrance to a hidden staircase, nestled within the home’s central chimney.
Caroline Emmerton, in her book The Chronicles of Three Old Houses, shares a fascinating discovery: while restoring the mansion, architect Joseph Chandler uncovered a partially hidden set of stairs behind a brick wall in what was once a wood storage closet. Emmerton imagined that Hawthorne would have loved this hidden staircase, picturing it as Clifford’s secret passage throughout the house. While Hawthorne never knew of its existence (it wasn’t there in his time), Emmerton embraced the mystery, restoring the staircase and weaving it into the mansion’s lore as Clifford’s shadowy pathway. It’s a perfect example of how history, fiction, and creative restoration come together at The House of the Seven Gables.
Sebastian Miniature Figures designed by Prescott W. Baston
Marblehead Massachusetts. “The Penny Shop, House of the Seven Gables,” Copyright 1951. “Judge Pyncheon,” Copyright 1952. “Holgrave The Daguerreotypist,” Copyright 1953.
Crafted by the talented Prescott W. Baston right in nearby Marblehead, Massachusetts, Hawthorne’s iconic characters are brought off the page with these charming Sebastian Miniatures. Between 1938 and 1983, Baston designed a variety of collectible figurines for the Sebastian Miniature Company, and his House of the Seven Gables series is a true standout for fans of literature and folk art alike. Each piece comes with a distinctive green label trimmed in silver, proudly stating: “A Sebastian Miniature Designed by Prescott W. Baston, Marblehead, Mass.”
Baston’s artistic talent graciously captures each character. The first miniature portrays Hepzibah and Ned Higgins at the cent shop counter. Hepzibah, dressed in a dark gown and blue turban, is captured in the act of handing a gingerbread cookie to young Ned, the very first customer at her little shop. Ned, on his way to school, is perfectly outfitted in a wide-brimmed yellow hat, blue coat, yellow pants, and brown shoes. Attentive to detail, Baston added the gingerbread cookies on the counter (including one shaped like an elephant!) and the inscription at the base, “The Penny Shop, House of the Seven Gables.”
In the center stands Judge Pyncheon, the mansion’s scheming relative. His figure gets all the details right: gray hair, a black top hat, tailored black coat and vest, crisp white shirt, red tie, gray pants, and polished black shoes. With a brown cane in hand, he stands atop a tan base engraved with “Judge Pyncheon,” looking every bit the part of the novel’s ambitious antagonist.
Lastly is Holgrave, the mysterious daguerreotypist and boarder at The Gables. Holgrave’s figurine features brown hair, sideburns, a green coat and pants, yellow shirt, black bowtie, plus brown shoes to finish the look. At his side sits a classic daguerreotype camera draped with a black cloth, and the base reads “Holgrave, the Daguerreotypists.”
Programme for Caroline Emmerton’s Play, “Scenes from The House of the Seven Gables”
Undated.
Caroline Emmerton’s creativity didn’t stop at restoring the Turner-Ingersoll mansion; she also brought Hawthorne’s story to the stage! In the 1920s, Emmerton adapted The House of the Seven Gables into a dramatic three-act play, breathing new life into the novel’s most pivotal moments.
Act One brings the audience back to the 1690s, spotlighting Colonel Pyncheon’s ruthless seizure of Matthew Maule’s land and the chilling curse Maule unleashes in revenge. The drama intensifies in Act Two, set in 1730, as Alice Pyncheon’s tragic tale unfolds. Her father, Gervayse, desperate to recover a lost family deed, enlists a descendant of Maule for help. This decision leads to Alice’s hypnotic enslavement, and ultimately, her untimely death at the hands of greed and vengeance.
The final act brings us to the familiar faces of Hepzibah, Clifford, and Phoebe within the storied mansion walls. The play’s program, pictured above, offers a glimpse of the cast and characters, inviting audiences to experience Hawthorne’s world in a whole new way.
Movie Poster, The House of the Seven Gables
Circa 1940. Universal Studios.
Invitation, Salem premiere of The House of the Seven Gables
March 20, 1940.
Hollywood took its own spin on Hawthorne’s classic when Edison Studios released The House of the Seven Gables in 1910. A majority of the film has been lost, with only a few stills remaining, showcasing silent movie star Mary Fuller. In 1940, Universal Studios released their own adaptation of Hawthorne’s work. Starring the legendary Vincent Price as Clifford Pyncheon and Margaret Lindsay as Hepzibah, this film is a fascinating case of old Hollywood drama meeting 19th-century literature. To appeal to audiences of the day, the filmmakers took significant creative liberties.
For starters, Clifford and Jaffery Pyncheon are reimagined as brothers rather than cousins, and Hepzibah and Clifford become love interests (a twist that would surely surprise Hawthorne). The film’s plot races through accusations of murder, wrongful imprisonment, and a dramatic quest for justice. While behind bars, Clifford befriends Matthew Maule, who later changes his name to Holgrave and moves in as a boarder. Add in Phoebe’s arrival after a family loss, creating a suspenseful, romance-filled adventure. In the end, it’s happily ever after for both couples: Hepzibah marries Clifford, and Maule marries Phoebe, a far cry from the novel’s darker, more ambiguous ending.
The Hollywood connection didn’t end there. Years after the original film’s debut, Vincent Price returned to the world of The Gables. This time he played Gerald Pyncheon, a character invented for this adaptation and not found anywhere in Hawthorne’s book. In the 1963 anthology film, Twice-Told Tales (borrowing the title of one of Hawthorne’s short story collections), Gerald is imagined as the husband of Alice Pyncheon, adding yet another layer of creative reinterpretation to the story. The anthology includes adaptations of Dr. Heidegger’s Experiment and Rappaccini’s Daughter, which also star Vincent Price.
There’s also a fun bit of local lore: Margaret Lindsay, who charmed audiences as Hepzibah, visited Salem and toured the real Turner-Ingersoll Mansion. According to oral histories from museum guides, her visit left quite an impression, a brush with classic Hollywood right in the heart of Hawthorne’s old haunts.
Movie Poster, Ben Wickey’s The House of the Seven Gables
2018
In 2018, director and animator Ben Wickey brought the tale to life in an imaginative new way with a 30-minute stop-motion claymation film. This fresh adaptation dives into the novel’s haunting atmosphere, using intricate set designs to recreate the eerie charm of the Turner-Ingersoll mansion. Wickey’s artistic vision breathes new life into Hawthorne’s classic, making it accessible and delightfully spooky for a modern audience.
And for fans of Ben Wickey’s work, or anyone intrigued by creative reinterpretations of classic stories, there’s something special on the horizon. On October 4, 2025, Wickey himself will be hosting a book signing at The Gables for his latest project, the graphic novel More Weight: A Salem Story. It’s the perfect opportunity to meet the artist who reimagined the Gables for a new generation and to see how Hawthorne’s legacy continues to inspire bold, original storytelling. Click here for more information.
Wonder Woman: Comic Cavalcade 1, Mystery at the House of the Seven Gables
1942. Written by William Moulton Marstron. Art by Harry G. Peter.
One of the most fascinating examples of Hawthorne’s influence on popular culture is the debut issue of DC Comics’ Comic Cavalcade in 1942, written by William Moulton Marston (of Saugus, Massachusetts) and illustrated by Harry G. Peter. In this patriotic adventure, Wonder Woman herself stars in Mystery at the House of the Seven Gables.
The plot perfectly encapsulates Golden Age comics: a young boy named Tommy is kidnapped by Nazis, and Wonder Woman’s search brings her to the iconic House of the Seven Gables. Upon arriving, she exclaims, “By Athena’s loom! It’s the famous House of Seven Gables that Hawthorne wrote about!” Using the mansion’s legendary secret staircase, Wonder Woman sneaks up to the attic, outsmarts the villains, and reunites Tommy with his family, proving that Hawthorne’s setting can inspire stories of heroism and hope, even in the darkest times.
What makes this comic especially intriguing is how it plucks The Gables from its colonial Salem roots and plants it firmly in the anxieties of its own era. Released just a year after America entered World War II, the story uses the house as a stage for contemporary fears, the threat of Nazi invasion and the fight against fascism. It’s a clever echo of Hawthorne’s own explorations of anxiety, decline, and change in nineteenth-century Salem. Just as the original novel reflected shifting fortunes and social upheaval, Comic Cavalcade reimagines The Gables as a symbol of resilience and resistance for a new generation.
Classics Illustrated No. 52 The House of the Seven Gables
Published 1948, Cover and Title Page
If you loved comics as a kid, there’s a good chance you’re familiar with Classics Illustrated, a series that brought the world’s greatest literary tales to life in bold colors and dramatic panels. Founded by Albert L. Kanter in 1941, Classics Illustrated set out to spark young readers’ imaginations and make classic literature accessible and exciting for a new generation. The series became a runaway success and was even one of the first comic publishers to reissue its own earlier editions, proving that timeless stories never go out of style.
In 1948, Classics Illustrated released its take on The House of the Seven Gables. The striking cover sets the tone: Colonel Pyncheon and Matthew Maule face off in classic Puritan attire; think black coats, breeches, and stark white collars. Maule, with a head of white hair, points an accusing finger at Pyncheon, who sits atop a brown horse with his own white hair peeking from beneath a buckled black hat and cape. Above Maule, a noose dangles ominously from a tree branch, hinting at the drama and tension within Hawthorne’s tale.
The opening page of the comic contains a vivid illustration of the Turner-Ingersoll mansion, seen from its lush garden. A majestic elm tree stands beside the house, birds soar overhead, and a bright yellow speech bubble quotes the novel’s memorable opening line. The title, The House of the Seven Gables, bursts across the sky in red bubble letters, with Nathaniel Hawthorne’s name just below. It’s an invitation to dive into a classic story, reimagined for readers eager for adventure, suspense, and a dash of gothic flair.
Bewitched Script “Samantha’s Bad Day in Salem”
May 21, 1970.
Statue of Samantha
Washington Street, Salem MA
Salem’s magical reputation got a major boost in 1970, thanks to the hit TV show Bewitched. For eight memorable episodes, the cast and crew descended on the city, filming at iconic locations, including The House of the Seven Gables. In one of the show’s most unforgettable moments an enchanted bed warmer mischievously follows Samantha, played by Elizabeth Montgomery, through The Gables and even hops into her car! When these episodes aired that fall, they sparked a tourism boom, drawing Bewitched fans and curious travelers alike to Salem’s historic streets.
In 2005, TV Land commemorated the show’s 40th anniversary by unveiling a bronze statue of Samantha atop her broomstick, crescent moon and clouds swirling beneath her. Since then, snapping a photo with “Samantha” has become a must-do for Salem visitors, blending classic TV nostalgia with the city’s storied, supernatural charm.
Another playful Bewitched scene set at The Gables centers on Waldo, a young warlock played by Hal England, who reunites with Samantha at a Witches Convention. When Samantha gently rejects his romantic advances, Waldo whips up a magical Samantha look-alike, one who tells him exactly what he wants to hear. The mischief escalates when the pair, strolling through Salem, are spotted sharing a kiss on The Gables campus by Larry, the boss of Samantha’s husband played by David White. Penned by Michael Morris and dated May 21, 1970, this episode first delighted viewers on November 5, 1970, adding a dose of magical mayhem to The Gables’ legacy.
While Bewitched remains the only TV production to actually film on The Gables campus, the mansion’s mystique has inspired plenty of television magic. A decade before Samantha’s misadventures, the Shirley Temple Show presented a full hour-long House of the Seven Gables special, starring Shirley herself as the ever-hopeful Phoebe Pyncheon. Fast forward to recent years, and fans of The Chilling Adventures of Sabrina may recognize echoes of the Turner-Ingersoll mansion, The Gables’ real-life counterpart, in the haunting design of the Spellman home and mortuary.
From classic sitcom hijinks to supernatural drama, The House of the Seven Gables continues to cast its spell on pop culture, inviting each new generation to experience its enduring magic in fresh and unexpected ways.
Sesame Street Book Club The House of the Seven Colors
Written by Madeline Sunshine. Illustrated by Tom Cooke. Published 1985 by Western Publishing Company.
Even the youngest readers can experience a playful twist on Hawthorne’s legacy with The House of the Seven Colors, a delightful entry in the Sesame Street Book Club. Published in 1985, this charming story borrows its title from The House of the Seven Gables and gives it a monster-approved makeover.
In this edition, several familiar Sesame Street friends find themselves spending a spooky night inside an old mansion. Each monster is assigned to a room decorated entirely in a single color, a quirky detail that leaves the gang feeling a little uneasy. As dawn breaks, the Sesame Street crew is relieved to make their escape, blissfully unaware that the house is actually a monster hotspot. Monsters love matching their rooms to their fur, making this colorful mansion the perfect getaway for Sesame Street’s furriest fans. It’s a clever, kid-friendly homage to Hawthorne’s classic, blending gentle humor with just the right amount of shivers. The cover of the book features the Sesame Street group approaching an old home. From the upper story window, an orange, furry monster with a green nose looks down at the group below. Cookie Monster, Oscar the Grouch, the Count, Betty Lou, Bert, and Ernie look hesitantly at the home as Grover is standing on the porch, about to knock on the green, square door. The title of the book is in purple letters in the upper left corner. To the left of the title is the logo for the Sesame Street Book Club.