Classical Revival

Bray’s Hall // 1893

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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.

Tarbell Building // 1896

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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.

Heywood Brothers & Wakefield Co. Building // 1897

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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.

Old Boston North Union Station // 1893-1927

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Photo courtesy of Library of Congress.

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.

Norwood Odd Fellows Building // 1912

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In the early 20th century, Norwood, Massachusetts, shifted from sleepy rural town to a commercial and population center with a population tripling in size between 1900 and 1930. Located on Washington Street, the town’s main commercial street, the Odd Fellows Building stands as a reminder of the historical importance to charitable and social organizations. Designed by Boston architect Clarence Blackall, the three story building is characterized by a boxy rectangular form, yellow and tan masonry with limestone and granite trimmings, and its somewhat minimal detailing. Built in 1912, the building’s first floor was designed to contain two stores, the second floor housed the club rooms and meeting hall, and third-story containing restrooms and a kitchen. The Classical Revival style building is one of the larger and more significant commercial structures in the town center.

Bugbee Memorial Library // 1901

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The Bugbee Memorial Library sits on Main Street in Danielson, the main village in the town of Killingly, Connecticut. The library was built in 1901 and financed by a bequest from Edwin Holmes Bugbee, who made his fortune at local mills. When Bugbee died in 1900, his estate left his entire collection of books along with funds for a new library for Danielson. Boston architect Walter Jefferson Paine designed the library building in the Classical Revival style with buff brick and stone construction. The names of Homer, Virgil, Plato and Horace, along with Shakespeare, Milton and Dante, are boldly emblazoned across the facade denoting the building as a house of learning. The library was outgrown, and a new library was built nearby in 1994. The old Bugbee Memorial Library has since been occupied by the Killingly Historical Society.

St. Philip the Apostle Church // 1937

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In 1921, the Catholic Diocese of Hartford purchased a Federal style farmhouse with 135-acres of land in Ashford, Connecticut, with the intention of establishing a new parish in the area. The Diocese assigned Father William J. Dunn, a Connecticut native and son of Irish Immigrants, to this daunting task. Since they had no church building at the time, Father Dunn partitioned off a section of his own home to serve as a chapel for about 100 worshipers, until the purpose-built St. Philip the Apostle Church was constructed in the 1930s. Father Dunn convinced summer resident Paul Chalfin to design the new building. Chalfin was not an architect, but he was an architectural designer whose best known building is the Villa Vizcaya in Miami, Florida. Chalfin was openly gay, and his hiring by the Catholic Church to design one of its churches in the 1930s is noteworthy. There were certainly several Irish immigrants and people of Irish descent in the congregation, but many parishioners came from small villages in Slovakia. The dome is a typical feature of churches in those villages and Chalfin included it in his design as a tribute to them. Due to material and construction costs during the Great Depression, members of the church largely built the church themselves with rocks acquired from stone walls and farms nearby. The church was completed in 1937.

Derby Line Village Hall // 1887

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This small wood-frame structure sits in the middle of Derby Line Village and is a good example of a local meeting hall embellished with Classical details. This structure was originally built as an Odd Fellows Hall in 1887, where local and regional members could hold events and meetings. In 1940 the IOOF Hall was moved back on its lot so that It had a similar set back to other buildings on the street, and it was renovated to a village hall for all residents, a use that remains to this day.

Haskell Free Library and Opera House // 1901

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How many buildings do you know of that straddle two countries?! Well, here is one of the most iconic buildings in Vermont, the Haskell Free Library and Opera House of Derby. The building was gifted to the villages of Derby Line, Vermont and Rock Island, Quebec, by Martha Stewart Haskell and her son, Horace Stewart Haskell, who wanted to leave their mark on the town. The building was designed by James Ball of Rock Island, Quebec and is a high-style structure comprised of both a library and opera house for residents. Designed in a eclectic mix of Romanesque Revival and Classical Revival, there is a lot to look at from both countries! Some of the outstanding features of the building include the structural and ornamental use of granite, stained glass windows imported from Scotland, ornate fireplaces and rich woodworking on the library interior, and one of the most elaborate opera house interiors in a completely preserved condition in Vermont.

Berzelius Tomb // 1910

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Yale, like other Ivy League colleges, has a long and complex history of secret societies. The secret societies all are headquartered at their own buildings, called “tombs”. These are massive, very impressive structures without windows or signage and all share an unmistakable message with their architecture: “Private; keep out.” One of the lesser-known tombs at Yale is the Berzelius Tomb, completed by 1910 from plans by architect Donn Barber. The Berzelius was established in 1848 as a secret society and formerly was located in Berzelius Hall, a Romanesque style building. The tomb is sited on an difficult lot at the convergence of three main roads but holds its own architecturally as a highly ornamented box. This austere tomb is built of limestone, with a balustrade and detailed cornice at the roof, but the main attraction is the entrance, which is a double brass door with floral panels, all surrounded by a Classical surround. Above the entrance, a limestone panel showcases the Society’s insignia with fruit and flower swags.