When the Governor’s Palace was completed in 1722, the residence of Virginia’s royal governor was considered one of the finest buildings in British North America. The elegant and imposing residence of seven royal governors and the commonwealth’s first two state governors—Patrick Henry and Thomas Jefferson—was reconstructed on its original foundations and opened to the public in April 1934.

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The cries of independence rang from the Capitol building in 18th-century Williamsburg. On May 15, 1776, from the Capitol of what was England’s first permanent colony in the New World, Virginia legislators instructed their delegation at Philadelphia’s Continental Congress to introduce a resolution to the colonies independent from Great Britain. Thomas Jefferson’s Declaration of Independence was the response by the Continental Congress. The gentlemen at Williamsburg sat in the oldest representative assembly in what was then the world’s newest nation. The assembly traces its beginnings to 1619 when the House of Burgesses first convened at Jamestown.

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One of Colonial Williamsburg’s original 18th-century buildings, the Courthouse of 1770 was the seat of local government and housed municipal and county courts until 1932. Now an exhibition building, its guests can relive actual trials during the participatory program “Order in the Court.”

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Colonial Williamsburg’s Fifes and Drums celebrates the 50th anniversary of its founding in 2008. Five boys were asked to form Colonial Williamsburg’s first Fife and Drum Corps. No instructor was available so the boys taught themselves. “Yankee Doodle” was the first song learned by corps members. In 1960, Sgt. George P. Carroll, director of the Continental Boys’ Fife and Drum Corps in Arlington, Va., gave members of the Fife and Drum Corps formal music instruction. Carroll, a member of the Third Infantry Regiment Honor Guard of Fort Myer, Va., collected and studied more than 1,000 pieces of Revolutionary period music. In 1961, he was hired as the first music master.

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Colonial Williamsburg’s Fifes and Drums has performed for several heads of state. In October 1975, led by Bill White, the corps met Emperor Hirohito and Empress Nagako of Japan at the Patrick Henry Airport. White joined the corps as a fifer in April 1965 and rose to the rank of sergeant major. Upon graduating from James Blair High School, Williamsburg, Va., in 1971, he worked as a member of the Fife and Drum Corps staff. He attended Christopher Newport University and earned a bachelor’s in history in 1976. In 1976 he became the assistant music master under John Moon, and in 1981 was promoted to military music master. During his years with the corps, the unit performed for each President of the United States from Lyndon Johnson to Ronald Reagan, as well as Emperor Hirohito of Japan, the Shah of Iran, Prime Minister Margaret Thatcher of Great Britain, Prime Minister Trudeau of Canada, President Mitterand of France and Charles Prince of Wales. In 1985 Bill left the corps to become director of the Company of Colonial Performers. He earned a doctorate in American Studies at the College of William and Mary in 1998 and today serves as the director for educational program development for Colonial Williamsburg. Both of White’s sons, Billy and Charlie, are corps alumni.

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In May 1981, Colonial Williamsburg’s Fife and Drum Corps performed for His Royal Highness Prince Charles.

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John Moon became the music master of the Fifes and Drums in 1972. He brought with him years of experience in military music. Moon joined the Scots Guards as a Boy Soldier in 1946 at age 15, came of military age at 17 and a half as a drummer (flute, drum and bugle) and was first promoted in 1948. He attended music courses with the director of music of the Scots Guards and at the Royal School of Music at Kneller Hall. As a drummer and infantryman he saw active service in Trieste, Malaya, Cyprus, Egypt, the Sinai and Germany, and took part in royal duties at London’s Buckingham and St. James’ palaces, Windsor Castle, Holyrood House, the Tower of London and Edinburgh. He was promoted through the ranks and, at age 23, was appointed drum major of the Scots Guards, the youngest in the Brigade of Guard's history. He was promoted to warrant officer in 1958 and then appointed “Drummer to The Royal Household” for services to the crown, a position he continues to hold. He rose to be the senior drum major of the Brigade of Guards and of the British army. After his military service, Moon moved to New York to represent the London Drum Company of Henry Potter's and was contracted to the military district of Washington to teach the major U.S. military bands in new ceremonial drills and musical duties. In 1968 he accepted the position of director of music for the U.S. Merchant Marine Academy Band at King's Point. In 1972 he was contracted by The Colonial Williamsburg Foundation to accept the position of music master and drum major of the Fifes & Drums, serving some 20 years as their mentor and retiring as director of music for the Foundation. He remains in Williamsburg as musician-in-residence emeritus.

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In 1989, Tim Sutphin led young fifers in a rehearsal. Sutphin began his career at the Foundation as a fifer in Colonial Williamsburg’s Fife and Drum Corps in 1975 and upon graduating from high school retired from the group in 1983. After college he returned in 1988 as field music instructor and became supervisor of the fifes section in 1990. In 1993, he became supervisor of Fifes and Drums, and was promoted to manager of historic events in 2003.

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Colonial Williamsburg Fifes and Drums have performed at numerous events during its history. In 2001, the corps entertained during the Foundation’s 75th Anniversary celebration at the Governor’s Palace.

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F&D-RevCity.tif. Colonial Williamsburg debuts season three of the highly acclaimed outdoor dramatic presentation, Revolutionary City®, in 2008 with new scenes, stories and events in the Historic Area. The Fifes and Drums will be one of the highlights of the program when they march down Duke of Gloucester Street.

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Amy Miller led the Fifes and Drums in front of the parade stand following the inauguration of Virginia Gov. Tim Kaine. Miller became field music instructor on the fife for the Colonial Williamsburg Fifes and Drums in 1998 in preparation for girls being admitted to the program the following year. Miller holds a bachelor’s degree in music from Florida State University and a master’s degree from the University of North Carolina at Greensboro. She earned a doctorate in flute performance music from Florida State University.

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During the war for American independence, armies relied on their music to communicate necessary orders, signal tactical maneuvers and provide musical entertainment. The fife and drum were the primary instruments used by both the British and American armies. Colonial Williamsburg’s “Drummer’s Call” weekend is devoted to the demonstration of how fifes and drums were used in the military by showcasing various regimental music units. Lance Pedigo led the Fifes and Drums here. He entered the Colonial Williamsburg Fifes and Drums in 1972 at the age of 9 and graduated in 1981 as sergeant major. He began working for Colonial Williamsburg in 1991 as drum supervisor. He received his bachelor’s degree in music with a performance concentration from James Madison University. Lance has performed with Disney’s All-American College Marching Band, the 1984 Summer Olympics All-American Marching Band, the 1984 Presidential Inaugural Band and the All-American Statue of Liberty Band and has also performed throughout the United States, Japan and Canada. He has recorded for Coastline Music and performed for National Public Radio.

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Colonial Williamsburg Fifes and Drums performed for several events commemorating America’s 400th Anniversary of the first permanent English settlement in the Americas, including Landing Party Festivals at six ports of call during the Godspeed Sail.

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Her Majesty, Queen Elizabeth II of Great Britain and His Royal Highness, Prince Philip, The Duke of Edinburgh, visited Williamsburg May 3–4, 2007, as part of the commemoration of America’s 400th Anniversary. After arriving in Williamsburg, Her Majesty and His Royal Highness were escorted down Duke of Gloucester Street, Colonial Williamsburg’s thoroughfare, by horse and carriage. The Fifes and Drums escorted the carriage to the Williamsburg Inn.

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Bill White Sr. and Bill White Jr. watch the festivities during the 2007 Drummer’s Call program. Both father and son are graduates of the Fifes and Drums and members of the Fifes and Drums Alumni. The Alumni Corps will hold a reunion and special march July 4–5 during the Fifes and Drums 50th anniversary year. Bill Sr. current works as executive producer and director of educational program development for the Foundation.

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Colonial Williamsburg’s Revolutionary City® program allows guests to follow their Revolutionary forebears’ transition from subjects to citizens and to make connections with those Revolutionary changes and the issues facing citizens today.

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Colonial Williamsburg interpreter Art Johnson, who portrays an enslaved tavern worker, asks two guests to help him prepare the Liberty Pole with tar and feathers. The Liberty Pole deterred colonists from expressing loyalty to the crown.

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RevCity-DecIndp.tif. During Colonial Williamsburg’s Revolutionary City® program, costumed interpreters read the Declaration of Independence from the balcony of the Capitol building.

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Revolutionary Stories, a new program with presentations staged at the Peyton Randolph House, complements the day’s Revolutionary City® episode. In “Let No Man Put Asunder,” Betsy Nicholas, a young gentry woman, shares her anxieties over her upcoming marriage, against the backdrop of war and revolution.

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The Brothers-In-Arms program recognizes the challenges, triumphs and contributions of free and enslaved African Americans as soldiers and camp followers of the American Revolution. Programs will highlight the contributions, sacrifices and decisions of 18th-century African Americans in securing their liberty, either with the British or American cause.

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Guests in Colonial Williamsburg’s Historic Area witness hundreds of British Army re-enactors occupy the capital city and subject the citizens of 1781 to martial law. “Under The Redcoat,” an annual weekend-long program, re-creates the occupation of the city by British Gen. Lord Charles Cornwallis near the end of the American Revolution. Guests see first-hand the trials and tribulations, hardships and loss of liberties suffered by the city’s 18th-century citizens at the hands of the world’s dominant military power of the time.

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Families can enjoy a tour of the Historic Area in one of Colonial Williamsburg’s carriages, such as the Lord Dunmore Town Coach. In 2003, the Foundation began to build a town coach that could be used as Lord Dunmore’s coach. A fine example of an 18th-century coach was found in Piacenza, Italy, belonging to the Museum of the Palazzo Farnese. The coach builder Florian Staudner of Vienna, Austria, built an exact replica of this vehicle for the Colonial Williamsburg Foundation. The body is a chocolate brown color with upper parts black. The undercarriage is red, “picked out” in gold.

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Tom Hooper, director of the John Adams mini-series (center) looks on as Colonial Williamsburg interpreter Mark Hutter provides instruction on military deportment, courtesy and etiquette to actors costumed as British soldiers prior filming at the Public Gaol.

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Colonial Williamsburg interpreter Mark Hutter demonstrates hat etiquette to actors costumed as British soldiers prior to filming at the Public Gaol.

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John Adams, portrayed by Paul Giamatti, smiles as an audio technician equips him with a wireless microphone.

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A technician at the top of a large crane applies artificial snow to the Public Hospital roof. Several weeks of preparation transformed the Public Hospital grounds into Gen. Washington’s Continental Army winter encampment at Boston’s Harvard College early in the American Revolution.

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Actors rehearse a scene at the Public Hospital which as transformed over several weeks into Gen. Washington’s winter encampment at Boston’s Harvard College.

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Crew members observe while actors rehearse a scene at the George Wythe House, which doubled during the John Adams miniseries as the President’s Residence in Philadelphia. The scene involves a public protest over President Washington’s refusal to get involved in the French Revolution. Washington took the position that the young United Sates should “avoid foreign entanglements,” and he considered the French Revolution to be a French internal civil matter.

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An actor portraying Alexander Hamilton arrives at the George Wythe House, which doubled during the John Adams miniseries as the President’s Residence in Philadelphia, to meet with President Washington.

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Palace Green and the George Wythe House are transformed into 1790s Philadelphia and the president’s residence, with a military field hospital for treatment of victims of the yellow fever epidemic which swept the city.

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With a military field hospital in the background, an actor portraying a yellow fever victim gets some final costume adjustments from a member of the film crew.

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British cavalry officers confer about their latest orders, discuss strategies, and relax playing cards in front of the Greenhow Store, which served as an urban setting.

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School groups visiting Colonial Williamsburg’s Historic Area do more than study 18th-century history. They get “hands-on” with several activities, including chores. Here a school group learns the colonial method for drawing water from a well at the Grissell-Hay House.

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Gifts from several donors ensure that five of Colonial Williamsburg’s gardens will continue to grow for future generations. The Alexander Craig House Garden was one of those gardens that guests now can enjoy in perpetuity.

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In a scene from the Electronic Field Trip “Yorktown,” the Rhode Island regiment, a nearly all-black unit made up largely of recently freed slaves, fights with the Continental Army against the British. In the Revolution, many soldiers fought for personal freedom as well as political freedom.

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In a scene from the Electronic Field Trip “Emissaries of Peace,” Ostenaco, of the Cherokee Nation, stands before King George III in the Palace of St. James in London. He is accompanied by Ensign Timberlake, a young British military officer, and two members of the Cherokee delegation, Gvna Shote and Woyi.

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In a scene from the Electronic Field Trip, “Emissaries of Peace,” Guque, a female tribal leader, offers a woven belt of beads called “wampum” to Ensign Timberlake and the interpreter who accompanied him to the Cherokee community to attend a tribal council meeting.

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Tobacco ripens in the field with the newly completed tobacco house in the background. Colonial Williamsburg’s carpenters built the structure in 12 months and it was completed in April 2007. It was used to cure the 2007 tobacco crop.

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David Nielsen pitches or transplants tobacco plants into the newly prepared hills. Wayne Randolph is in the background.

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Wayne Randolph operates the plow as Ed Schultz drives the oxen. They are plowing the tobacco field with two Milking Shorthorns, Red and Rusty. The shorthorns are part of Colonial Williamsburg’s Rare Breeds program that complements the living history interpretation by portraying another aspect of daily life in colonial Virginia.

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Colonial Williamsburg’s carpenters prepare materials for construction and construct buildings using 18th-century techniques. During winter months, they use their time and extra materials to build furniture in the tradition of the carpenter.

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The wheelwrights make and repair wheels for vehicles used in the Historic Area, make wheelbarrows and carts, and recently began the production of passenger vehicles. In 2007, the wheelwrights constructed a new wagon to be used in the Historic Area. With an estimated weight of more than 2,000 pounds, the wagon is one of the most massive pieces of woodwork produced at the wheelwright and will require the power of at least four oxen to move.

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In the Weave Room at the Wythe House, weavers demonstrates how to spin threads and hand weave cloth.

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A long, healthy, lustrous coat that falls in ringlets, ease of feeding and valuable meat supply are traits of the Leicester (pronounced “lester”) Longwool sheep. Originated in Britain and used as a pioneer breed, the original flock of Colonial Williamsburg’s Leicester Longwool sheep came from Tazmania, but now the sheep are bred here.

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The Visitor Center is the first stop many Colonial Williamsburg guests make before they come to the Historic Area. The Visitor Center serves as the official regional welcome center for the Historic Triangle and distributes information about the historic sites of Williamsburg, Jamestown and Yorktown. Information on other regional attractions, including beaches, theme parks and museums, also is provided. Ticketing for all three locations, transportation information and lodging reservation services also are provided.

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In addition to ticketing offices, Colonial Williamsburg’s Visitor Center also includes shopping areas. WILLIAMSBURG Booksellers® offers a wide selection of books, videos, CDs and tapes on colonial America, including the Revolutionary War, plus gifts and general interest publications. Teacher, student and parent educational videos, books and Internet classroom materials also are available. WILLIAMSBURG Revolutions offers games, toys, gifts and logo apparel related to Colonial Williamsburg, as well as costume rentals.

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Young museum visitors can participate in a hands-on experience when they visit a new exhibition in the Abby Aldrich Rockefeller Folk Art Museum in its new, expanded home. Staged in the Penelope and Dr. Sergio Proserpi Gallery, “Down on the Farm” relates the fictitious tale of Prince, a carved wooden sculpture of a terrier, as he travels from the big city to the country. Throughout the gallery, guests follow the canine’s adventures with pigs, cows and roosters as he wanders from farm to farm looking for his cousin. Delving into the rich folk art collections of Colonial Williamsburg, the story is told using paintings and drawings of rural America as well as three-dimensional art-like copper weathervanes, wooden sculptures and decoys that represent the denizens of the farms.

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When younger guests finish following Prince on his quest through colorful scenes and art in the “Down on the Farm” exhibition, they have the opportunity to create their own folk art based on their experience.

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The color of the Second Continental Light Dragoons, also known as Sheldon’s Horse, was captured July 2, 1779, by Lt. Col. Banastre Tarleton at Pound Ridge, N.Y. It is the earliest known surviving—and the only known Revolutionary era—American flag of any kind with a field of 13 red and white stripes. The silk standard with a field of 13 red and white stripes is centered by a painted badge of a winged and fulminating thundercloud with a ribbon-enclosed motto. The flag is bordered on three sides with a wide silver metallic fringe.

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The regimental flag of the Third Virginia Detachment, commanded by Col. Abraham Buford, is the earliest surviving documented American flag of any kind bearing 13 stars. It also is earliest surviving documented American flag with stars displayed in a canton, and it is the earliest surviving documented American flag containing five-pointed stars. The regimental standard and its two grand division colors were captured May 29, 1780, by Lt. Col. Banastre Tarleton at the Battle of Waxhaws, S.C. The regimental flag and its two “Grand Division” standards are the only intact surviving stand of regimental colors from the American Revolution. The gold-yellow silk field is painted on both sides with a beaver felling a palmetto over the motto, “Perseverando.” Inset on the upper hoist is a blue silk canton containing 13 five-pointed silver stars.

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The blue “Grand Division” color is a sky blue silk field. Centered on both sides of the flag is a painted scrolling ribbon, highlighted in pink, containing the word, “Regiment.” The fly end is self-fringed. Captured May 29, 1780, by Lt. Col. Banastre Tarleton at the Battle of Waxhaws, South Carolina.

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The gold “Grand Division” color is comprised of a yellow gold silk field. Centered on both sides of the flag is a painted scrolling ribbon, highlighted in green, containing the word, “Regiment.” The flag is self-fringed on the fly end. Captured May 29, 1780, by Lt. Col. Banastre Tarleton at the Battle of Waxhaws, S.C.

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The Stamp Act Teapot makes a bold political statement against an act that was unpopular with the colonists and ultimately repealed. The teapot is lead-glazed earthenware and probably made in Cockpit Hill, Derby, England, between 1765–1771. It can be found in the “Revolution in Taste” exhibition.

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The elaborate design and piercing work of the silver bread basket demonstrates the talent of the important English silversmith Paul de Lamerie. He made the silver-gilt basket in London, England, between 1747–1748. It is exhibited in the “Introduction to Museums” display.

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Edward Hicks painted more than 60 versions of this biblical scene featuring the child peacefully surrounded by the wild and domestic animals. “Peaceable Kingdom” is oil on canvas and is from the collection of Abby Aldrich Rockefeller. It is on display in the “Introduction to American Folk Art” exhibition.

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"American Furniture: From Virginia to Vermont" highlights furniture from New England, Pennsylvania and Virginia. From the late 17th century through the early 19th century, the interpretation and popularity of designs varied due to economy, trade and culture of the various regions. A section on painted furniture further demonstrates regional style and decorative influences.

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Byers Choice’s Flag Bearer, Fifer and Drummer are proud reminders of the passion that won America’s freedom. Made in Pennsylvania, each is lovingly hand-detailed and dressed in true-to-period clothing.

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Children will enjoy marching to the beat of a different drummer our musical instruments. A very fine small-scale version of the ones carried by Colonial Williamsburg’s Fifes and Drums, this drum is handcrafted of wood with cotton rope, leather tabs and real hide. Drumsticks are sold separately.

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Toile drapes adorn the window of the dining room in the George Jackson House in the Historic Area, where guests may enjoy a view of another colonial house while enjoying morning coffee or a meal from room service.

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The George Jackson House in the Historic Area includes a large bedroom on the main floor with an adjoining sitting room and fireplace. Also on the main floor, a full bath, entrance hall and dining room. Upstairs, a second bath and two additional bedrooms make this the perfect house for a family gathering or special occasion.

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The queen canopy bed in the main bedroom of the Brick House Shop also is a trundle bed. The house includes a living room with fireplace, a first floor bath and a second bedroom and bath upstairs.

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The master bedroom in the Brick House Shop includes comfortable easy chairs and a queen canopy bed with a trundle underneath. The bed hangings and window draperies are made of linen, and the William & Mary bedspread is cotton.

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Draperies in the living room of the Brick House Shop are historically accurate cotton, unlined and trimmed in a cotton or wool tape rather than hemmed to save fabric. The tape trim was dyed in a color to complement a color in the fabric. All fabrics and furnishings are inspired by original fabrics and furnishings from the colonial period. This charming house in the Historic Area includes two bedrooms and baths, a fireplace and a trundle bed under the queen canopy bed in the main bedroom on the first floor.

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One of the smaller colonial houses in the Historic Area, the Moody Kitchen has one bedroom and one bath.

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The Terrace Room in the Williamsburg Inn provides a comfortable and intimate setting for afternoon tea.

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The Regency Room in the Williamsburg Inn offers views from windows on all four sides of the dining room, dancing on weekend nights and a Sunday jazz brunch.

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A circular staircase in the East wing of the Williamsburg Inn has been known as “The Queen’s Staircase” since the 1957 visit of Queen Elizabeth II, who was photographed descending the staircase during her stay in the Inn.

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A new outdoor recreation pool adjacent to the spa overlooks the Golden Horseshoe Gold Course and clubhouse.

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Guests of the Williamsburg Inn and Williamsburg Lodge may enjoy two relaxing outdoor swimming pools, including this one set among the native pines and flowering crepe myrtle trees.

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A new registration center for the Colonial Houses–Historic Lodging and Providence Hall Guesthouses provide individualized service specifically focused on guests staying in these two distinct lodging facilities.

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The Spa of Colonial Williamsburg occupies the Georgian Revival building that formerly housed the Abby Aldrich Rockefeller Folk Art Museum. It is located steps from the Williamsburg Lodge, Williamsburg Inn and Golden Horseshoe Golf Club, and is reached by way of a wisteria-covered walkway.

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An indoor lap pool at The Spa of Colonial Williamsburg overlooks the outdoor recreation pool.

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Natural light brings the outdoors inside the spa, as do the brick floor, handcrafted metal light fixtures and furnishings inspired by garden furniture seen in photographs of historic gardens throughout Virginia displayed throughout the spa. Products from the spa’s signature collection are scented with lavender and lemongrass.

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Tile floor and private showers in the sage room allow a spa guest to have a shower following services that include scrubs or oils that must be washed off.

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Natural light and the soothing color of the blue cabinetry provide a serene setting for spa services in The Spa of Colonial Williamsburg.

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Aromatherapy chosen specifically for the guest’s mood and complexion begins the process of relaxation prior to a rejuvenating massage.

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A fragrant combination of orange and ginger is combined with exfoliating sugar to stimulate the senses while smoothing the skin. A warm moisturizer is applied to complete the treatment and leaves the skin soft and radiant.

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The Rose Garden Suite in The Spa of Colonial Williamsburg allows couples to enjoy spa services and a whirlpool bath together.

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Cherry furnishings and handcrafted metal lanterns provide comfortable relaxing surroundings for men who are enjoying the whirlpools, steam room and showers prior to spa services or a swim in the lap pool.

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From the elevated tees, this picturesque finishing hole on the Green Course unfolds in its entirety before players. A wide landing area awaits the drive which must carry a pond. The fairway tightens on the approach to the amphitheater green, protected by numerous oval and pot bunkers, and framed by mature trees that form a breathtaking backdrop.

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The par-3 #7 hole on the Golden Horseshoe Gold Course allows no margin for error.

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Golf professional Jeff Winters offers a private lesson to a guest at the Golden Horseshoe Golf Club.

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