This house is a great little treat if you are in the area. Every fireplace in the home is different. There are rooms specially designed for children (the lower ceiling rooms) and others for adults. There are trap doors that allowed area to circulate up from the tunnels under the house that connected it to the carriage house across the street. This, along with unique windows allowed the house to be "air conditioned" before there was air conditioning. The pinnacle of the visit though is the children's theater (Cupid's Park) at the top of the home.
The following information comes from Korner's Folley's website (
visit link)
Ceiling heights range from 5-1/2 feet to 25 feet, with 10-foot doorways and 2-foot passageways. Ornate mantles top the 15 fireplaces, and decorative murals and detailed woodwork adorn every room. A winding staircase dizzies the mind as it takes you from level to level. These are but a few of the magical enchantments to behold in this grand home.
The Körner's Folly Foundation, a non-profit organization created to preserve, restore, and maintain Körner's Folly, is responsible for the operation and restoration of the home. Körner's Folly is open to the public for walk-in tours year round.
ne hundred twenty (126) years ago, a dapper young gentleman — interior designer, decorator, painter — broke ground on what he intended to be a showplace and a (very) temporary home. Soon to become famous as a painter of Bull Durham bulls across the South, Jule Gilmer Körner in 1878 headed a growing interior design business. He set out to create a combination bachelor’s quarters, artist’s studio, office, billiard and ballroom, carriage house and stables.
The resulting design reportedly caused a cousin, strolling by one day as the structure rose into the sky, to comment, "That will surely be Jule Körner’s folly."
Jule so enjoyed the concept that he quickly dubbed the building "Körner’s Folly," even setting the name in tile outside the front door. And thus it has been known to this day.
Körner never went through with his plans to build another home on nearby property. When the Folly was "finished" in 1880, he instead continued to carry out on-going renovations and revisions to the home he loved.
The home, today held by a non-profit foundation, and open to the public for tours and special events, has intrigued neighbors and visitors for over a century.
The eccentric structure offers 22 rooms spread out over three floors and seven levels, with ceiling heights ranging from six feet to 25 feet. It was a work-in-progress from the beginning: when Jule married Polly Alice Masten in 1886, portions were enclosed and the stables moved across the street; a top-level room was significantly converted in 1897; Körner died in 1924, feeling that the "work" was still incomplete.
However incomplete, the Folly defies simple description. It is said that no two doorways are exactly alike. It has 15 fireplaces of differing designs of American Encaustic Tiles. Its cubbyholes and trap doors fascinate; its pivoting "windows" and other openings anchor a unique air distribution system. Its murals and artworks add a sense of fancy. Children-sized rooms give way to an airy, elegant, high-ceilinged Reception Room. A former stable becomes a library and a sewing room.
Körner’s Folly is a home chock-full of contrasts and comparisons. It has welcoming public spaces, and hidden nooks and crannies. It is complete with a room fireproof by 1890's standards and another, soaring attic space that became the nation's first known private little theater after first being Jule’s studio.
Superlatives fail; from tile to woodwork, brick to decorative murals by German master Caesar Milch, the Folly is truly like no other home in the world. And it is one whose charms and enchantments deserve to be shared by generations yet to come.
Körner’s Folly was always open to the children’s (Gilmer and Doré) playmates for games and activities. In 1893, Alice Körner employed Professor Charles Brockman of Greensboro as a music teacher and bought musical instruments for those who were musically inclined. Alice continued her interest in music and at the same time developed an interest in the theatre.
Individual recitals led her to consider forming a drama society. In 1896, Alice established the Juvenile Lyceum wherein children from seven to thirteen years of age throughout the town were invited to participate. Forty-two children attended the first meeting on April 3, 1896.
Programs were performed in the early afternoon every two weeks. Performances consisted of plays, recitals, pantomimes, readings stories, fables, and both vocal and instrumental music. Soon dancing and entertainment followed the programs. There was no expense to the children but their parents were expected to lend a helping hand with the performances.
During the first year, the Lyceum performances took place in the Long Room just off the reception room. In 1897, the Lyceum was reorganized coinciding with the renovation of the upper floor of the Folly as a theatre. With Jule Körner in charge of the sets and Alice Körner in charge of costumes, the youth of the community continued performances over the next several years in what was to be called Cupid’s Park. The name was derived from the multitude of Caesar Milch's paintings of cupids adorning the theatre’s walls and ceiling.
The entire community was invited and encouraged to attend these performances on a continuing basis. The Theatre has been known as the first private little theatre in America for decades.