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a military career would always be foiled by deep-seated prejudice against colonial officers and that it made more sense to become an independent planter. While posted to the frontier in the summer of 1757, he daydreamed about Mount Vernon and compiled shopping lists of luxury goods to be shipped from London. Though he had never been to England, he tried to imitate the style of an English country gentleman, instructing Richard Washington that “whatever goods you may send me, where the prices are not absolutely limited, you will let them be fashionable, neat, and good in their several kinds.”1 The young man’s social ambitions seemed boundless. He ordered a marble chimneypiece with a landscape painting above the mantel and “fine crimson and yellow papers” for the walls.2 Such rich colors for wallpaper were then thought very fashionable. Though mahogany was an expensive imported wood, Washington opted for a mahogany bedstead and dining table and a dozen mahogany chairs. To entertain in regal style, he ordered a complete set of fine china, damask tablecloths and napkins, and silver cutlery whose handles bore the Washington crest—a griffin poised above a crown, set above an ornamental shield with three stars, the whole emblazoned with the Latin motto Exitus Acta Probat (“The outcome justifies the deed”). 3 In his purchases, Washington instinctively trod the fine line between showiness and austerity, defining a characteristic style of understated elegance.

Mount Vernon would be George Washington’s personality writ large, the cherished image he wished to project to the world. Had the estate not possessed profound personal meaning for him, he would never have lavished so much time and money on its improvement. It was Washington’s fervent attachment to Mount Vernon, its rural beauties and tranquil pleasures, that made his later absences from home so exquisitely painful. He believed in the infinite perfectibility of Mount Vernon, as if it were a canvas that he could constantly retouch and expand. There he reigned supreme and felt secure as nowhere else.

In December 1757 he made his first additions to the property, buying two hundred acres at nearby Dogue Run and another three hundred acres on Little Hunting Creek. This proved the first wave of an expansion that would ultimately culminate in an eight-thousand-acre estate, divided into five separate farms. Since few professional architects existed at the time, Washington followed the custom of other Virginia planters and acted as his own architect. He worked from British architectural manuals, coupled with his own observation of buildings in Williamsburg and Annapolis. Drawing on popular classical elements, he melded ideas from various places and devised a synthesis uniquely his own.

In 1758 Washington doubled the size of the main house and began to convert Lawrence’s farmhouse into an imposing mansion. He could have swept away the old foundations and started anew, making the house more symmetrical and architecturally satisfying. Instead, he built on top of earlier incarnations. Whether this stemmed from economy or family reverence is not known. But where Lawrence, a naval officer, had placed the entrance on the east side of the house, facing the water, George, an army officer and a western surveyor, switched the entrance to the west side, presenting an arresting view for visitors arriving by horse or carriage. First glimpsed from afar, the house would impress travelers with its grandeur. At this point, however, it was still boxy and unadorned and devoid of the elements that later distinguished it: the cupola, the piazza with the long colonnade, the formal pediment above the entrance. In a geometric pattern likely copied from Belvoir, Washington laid out a pair of rectangular gardens with brick walls in front of the house, allowing visitors to experience his magnificent grounds before alighting at his door. Washington also fleshed out the upstairs, making it a full floor, reworked most of the ground-floor rooms, and added a half-story attic, resulting in eight full rooms in all.