The Rockland Public Library in Rockland, Maine, is an architecturally significant civic building that showcases the coastal town’s prosperity at the turn of the 20th century. The library was built in 1903–04, and was funded in part by a $20,000 grant from Andrew Carnegie. It is the city’s only major example of Beaux Arts architecture, a style that is also uncommon in the state. The library was designed by Maine native George Clough, who used granite quarried from nearby Vinalhaven in its construction. The building was later expanded by an addition at the rear, but from the street, the handsome Beaux Arts library looks near-identical as to when it was built over 120 years ago!
As Newton Centre’s new railroad station and following development boom transformed the once sleepy village into the main commercial center for the city, landowners capitalized on the opportunity by developing commercial blocks to serve the community and line their own pockets. Mellen Newton Bray (1856-1946) became a major landholder in Newton Centre and would develop the areas directly surrounding the new train station there. On a curving site, he built Bray’s Hall, this three-story commercial block renting out spaces to local banks and stores with a large assembly hall and bowling alley in the building as well. Initially, Bray planned for an eight-story structure, having contracted a solid foundation that could support such a structure, pending the success of the initial construction. That is mixed use before it was “cool”. The building was designed by the firm of Kendall & Stevens, likely led by Henry H. Kendall, who resided in Newton Centre. Kendall would also design the apartment block across the street for Mr. Bray. The building is constructed of light Tuscan bricks and is notable for the bracketed cornice and dormers all in copper. The building was restored in the 1970s by owner David Zussman, and rebranded as Piccadilly Square, following his recent trip to London being impressed with by the atmosphere of Piccadilly Circus.
In 1844, Hiram Ricker (1809-1893) of Poland, Maine, drank spring water on his property and found that his chronic dyspepsia was cured. As a result, he began touting the medicinal qualities of the water and in 1859 started selling the water commercially. While the first water was bottled and sold in 1859, it was not until after the Civil War that Hiram Ricker and his sons began heavily promoting the spring as a destination for medical cures – and at the same time promoted the inn and resort that they were building in association with the spring. From this, the Poland Springs Resort (and Poland Springs bottled water) was born. The development saw swarms of tourists looking to escape the polluted cities for clean Maine air and natural spring water, therefore, the Ricker Family built the great Poland Spring House in 1876 to cater to resort visitors taking its waters. The original hotel was Second Empire in style and stood four-stories tall containing 100 rooms. Throughout the 1880s and 1890s, the resort building was expanded, quadrupling its size to 450 rooms as the demand for the resort increased every summer. An annex was also built nearby, named the Riccar Inn, providing even more hotel rooms for guests. By the early 20th century, the 1870s hotel was completely remodeled in the Beaux Arts style by architect Henry Wilkinson with domed roofs and sweeping verandas. After WWII, the resort saw diminishing visitors and would ultimately close in the 1960s. During a period in the 1960s, the hotel was operated as the country’s largest Women’s Job Corps Training Center, but deferred maintenance caught up to the building and it was ultimately shuttered, suffering a devastating fire in 1975, it was demolished soon after. While the large hotel no longer stands, there are many other amazing buildings on the grounds, stay tuned!
Similar to the Heywood Brothers & Wakefield Co. Building on Portland Street in the Bulfinch Triangle Historic District, the equally stunning building here was also designed by the same architect in a matching style. The building was constructed in 1896 by owner Catherine E. Tarbell , and the Boston branch of the National Casket Company moved in as tenants soon after its completion as part of its national expansion. The company would become the largest manufacturer and supplier of caskets in New England by 1906. The Tarbell building was designed by Stephen Codman in the Beaux-Arts style and is notable for its use of oxeye windows, rounded corners, and engaged pilastered facades. The company held its regional headquarters and sales offices from this building, which benefited from rail access for shipping caskets all over the region. The building is one of the finest examples of the Beaux Arts and Classical Revival styles in Boston.
Nearly a decade after the heirs of Peter Bent Brigham and his wealthy estate erected the Peter B. Brigham building in the Bulfinch Triangle Historic District of Boston, they would again develop more of the block the trust owned, building this stately commercial building. Much of the Peter Bent Brigham Building was rented to the Heywood Brothers & Company and Wakefield Company, both furniture makers. Heywood Brothers was established in 1826, Wakefield Company in 1855, with both firms producing wicker and rattan furniture. The companies merged in 1897 and moved into this building constructed by the Brigham estate that same year. The building was designed in a unique version of the Beaux Arts and Classical Revival styles by relatively unknown architect Stephen Russell Hurd Codman (1867-1944), a first cousin of more famous architect and interior designer, Ogden Codman. Stephen Codman opened a firm with the French-born architect, Constant Desire Despradelle, designing some landmark buildings in Boston together. The Heywood Brothers & Wakefield Company Building on Portland Street is a distinctive granite-faced building standing six-stories tall with engaged box columns spanning four floors and dividing the bays of the facade.
By the 1890s, many of the regional train lines in New England consolidated and as a result, union stations were built. All north-bound train lines including the Boston & Lowell and Boston & Maine railroads would consolidate into North Union Station with southbound trains consolidated into South Station. North Union Station, actually three adjoined buildings, was completed in 1893 and included the former Boston & Lowell Station, a Second Empire masterpiece which dated from 1873. The other sections of Union Station were designed by the firm, Shepley, Rutan & Coolidge, and comprised of an office tower at the rightmost section and a central building serving as the main entrance and concourse with waiting rooms and baggage holding. The central entrance exhibited an elaborate columned block of brick with stone trimmings. The station lasted until 1927 when the entire complex was razed for the new North Station (The Boston Garden), which itself was replaced. The demolition of the Old North Union Station was one of the biggest architectural losses in Boston’s history, a stain on its historical legacy only compounded by the sterile development we see there today.
The Ridgefield Public Library is an intriguing Beaux Arts style building from the turn of the 20th century. Built in 1901, the brick structure replaced the Smith Tavern, a 1798 frame structure built by Amos Smith right on Main Street. In 1900 the Smith Family sold the property to James N. Morris who had this library built in memory of his wife, Elizabeth, donating it to the town. Architect Raleigh G. Gildersleeve is credited with the design which is comprised of a one-story building constructed of brick with cast stone trim details and ironwork at the door. The library was given later additions, which are recessive in location and detailing to let the original building shine, as it should!
Yale has such great architecture. Walking around the campus, you can find examples of buildings of every time period and architectural style, it is like a living museum of architecture in that sense. Located on Hillhouse Avenue, Kirtland Hall is arguably Yale’s best example of Beaux Arts/Neo-Classical architecture, but it stands out for its use of local East Haven and Longmeadow sandstone. The building was the first laboratory to be built at Yale in the 20th century and was named after Jared Potter Kirtland (1793-1877), the first medical student enrolled at Yale. After graduation, Dr. Kirtland practiced medicine throughout Connecticut until 1823, when his wife died and he moved to Ohio. During his life, Dr. Kirtland also developed an interest in natural history and assisted in the first geographical survey of Ohio. In the early 20th century, Lucy Hall Boardman, a philanthropist and niece of Dr. Kirtland, not only donated funds for scholarships at Yale, but also donated a building, Kirtland Hall. As part of her gift, Ms. Boardman stipulated that her nephew, architect Kirtland Cutter, would be commissioned to design the building, and of course, Yale obliged. The building originally housed the Geology Department and became an integral part of the Sheffield Scientific School.
The only building that survived the wrecking ball of Urban Renewal on the stretch of Boston’s Boylston Street, south of the Public Garden was this six-story commercial building, known as the Garden Building. In 1911, architect Julius Adolphe Schweinfurth furnished plans for the new commercial building which was in the Beaux Arts style. The first floor was originally planned for three stores, with the upper five floors containing offices. A recessed penthouse floor served as studio space for artists and photographers with the large windows and skylights, the unobstructed views of the Public Garden didn’t hurt either! When the bulldozers of urban renewal came in the 1970s and 1980s to the area, this building surprisingly survived, and was reincorporated into the larger Heritage on the Garden condo development.
This one took me a while to write about because it still pains me to see it was demolished… The Arlington Building was constructed in 1904 as a mid-block building on Boylston Street, across from the Public Garden for the Bryant and Stratton Commercial School. It was designed by architect William Gibbons Rantoul of the firm Andrews, Jacques & Rantoul in the Beaux Arts style. The school building was significantly altered when Arlington Street was extended southward through Boylston Street, making this building suddenly a corner landmark. The new Arlington Street elevation was modeled after the Boylston Street facade. By 1929, Shreve, Crump & Low, established in 1796, the oldest purveyor of luxury goods in North America, moved into the building. The next year, they hired architect William T. Aldrich to add Art Deco embellishments and storefront designs, along with interior renovations to modernize the structure. The luxury company had downsized and moved out of the building, and its prominent site was threatened when owner/developer Druker Co. submitted for a demolition permit to raze the building (and others on the block) to erect a modern office/commercial building. After years of fighting between local preservationists and business interests and developers, the latter won and the building was demolished by late 2022. The new building, 350 Boylston Street, is presently undergoing construction, and in my opinion, is a poor attempt to fit into the surrounding context and is neither as unique or inspiring as the former building.
By 1911, the Berwind’s wooden stable at their summer home, The Elms, was deemed inadequate and the couple’s new automobiles needed an appropriate structure to protect them from the elements. Edward Berwind purchased a large estate from Ms. Ida Powell Johnson, abutting his sprawling property and razed it to have a new stable and garage structure built there. The two structures are modeled after the Louveciennes Pavillon de Goury in France, built originally for Madame du Barry. Above the garage space lived the stable keepers and gardeners. As the space shifted from stable to garage, it is said that the head coachman, in order to keep his job, became the family driver, but he could never learn to back up, so a large turntable had to be installed in the garage. The complex originally held space for ten carriages, stalls for six horses and room for eight automobiles, as well as harness repairs, laundry rooms and living quarters. The Beaux Arts style building employs the best of French architecture, including a mansard roof, corbels, and raised central pavillion.
Mr. Berwind drew the short straw and occupied the smaller of the two bedrooms in the Elms mansion as his wife Sarah Torrey Berwind, got the larger corner room. I was shocked to see just how small the bedroom was for one of the richest men in the country, even if it was just a summer residence that they occupied for a couple months of the year! Mr. Berwind did have a small bedroom, but he spared no expense to furnish it well. The fireplace in his bedroom is of ox-blood marble with gilt bronze mounts. The walls are covered in red silk and the carpet is a late 19th-century Khorassan. His private attached bathroom contains a sink of translucent white onyx.
On the second floor of The Elms mansion in Newport, you will find two separate bedrooms for the owners Edward and Sarah Berwind, a husband and wife of high society. The larger of the two bedrooms was for Mrs. Berwind as you know what they say, “happy wife, happy life”. Mrs. Berwind’s bedroom has cream-colored woodwork covered with custom-woven celadon green damask with borders of coordinated green, gold, and cream material. She had an adjoining bathroom and her chambers had access to her husband’s chamber along with a shared fireplace.
The formal Sitting Room at the Elms in Newport, Rhode Island is one of the many statement-rooms found in the Gilded Age mansion. This room is located directly above the Ballroom and is the first space seen when ascending the main staircase onto the second floor. The sitting room was used by the Berwind Family and their guests as a gathering and socializing space, a little less formal than the ballroom downstairs for more elegant events. The Preservation Society of Newport County has done an amazing job at restoring the building and purchasing furniture and fixtures that were sold off when much of the inside of the property was sold off at auction in the 1960s. The Preservation Society restored the red silk walls fabric in the 1980s, bringing the space back to its original grandeur. I cannot think of a better place to just “sit”.
The Dining Room of the Elms Mansion in Newport, Rhode Island, is represents the Gilded Age in all the best ways. The room sits just off the ballroom and like all of the other rooms in the summer residence of the Berwinds, it was designed by famed interior designer Jules Allard. The dining room was specifically to display a collection of early18th-century Venetian paintings purchased by Mr. Berwind from the Ca’ Corner estate in Venice (the Berwinds were avid collectors of 18th century French and Venetian paintings). The iconic coffered ceiling is not of wood, but of molded plaster, grained and painted to imitate oak. Each coffer is decorated with the winged lion of Saint Mark, the patron saint of Venice. Pour custom-made crystal chandeliers hang in the four corners of the room. At the end of the room is a stunning green marble, agate and onyx fireplace that is framed by a ceiling-high pediment supported by carved Ionic columns. Could you see yourself entertaining in this dining room?
Buildings of New England 