Gothic Revival

First Universalist Church, Marion – Marion Arts Center // 1833

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I do love a good adaptive reuse story! This historic church building on Main and Pleasant streets in the Wharf Village of Marion, Massachusetts, was constructed in 1833 for the town’s growing and new Universalist congregation. Architect Seth Eaton was hired and furnished plans, likely relying on neighbor, Warren Blankinship, a carpenter and congregant, to construct the building. It blends together the Greek and Gothic Revival styles well, but in a less sophisticated form than some larger churches. By World War II, the church’s membership had dwindled to only a few old Marion families and eventually closed. With the building’s future uncertain, at a time where demolition for surface parking lots was the go-to solution, Marion residents Andrew and Dorothy Patterson, purchased the building and soon after worked with local artists in town to restore the building for use as an art space. The Marion Art Center was founded in 1957, and to this day, serves as a non-profit community cultural organization dedicated to promoting the visual and performing arts.

Tamworth Congregational Church // 1851

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The Congregational Church in Tamworth was organized on September 12, 1792, with its pastor sworn in at Ordination Rock. The Congregationalists used the town meetinghouse, built in 1794, for over half a century. But, following the passing of the Toleration Act of 1819 in New Hampshire, which effectively brought about the separation of church and state, the old Town House began to suffer from deferred maintenance. As the Act allowed citizens to stop supporting the established Congregational Church in all towns via taxation and instead now support the denomination of their choosing. From this, a new Congregational Church, this structure, was built in the village in 1851 and the old Town House was moved to the village and renovated to its present appearance in 1852 in the Greek Revival style. The Tamworth Congregational Church stands as a typical, yet well-preserved example of a mid-19th century religious building in New England, here largely depicting elements of the Greek Revival style with its pediment, entablature, and corner pilasters, but with Gothic Revival features of the Gothic arched louver in the belfry and finials.

Chocorua Community Church // 1835

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The First Free Will Baptist Church of Tamworth, New Hampshire, was founded in 1781 and centered around the charming mountain village of Chocorua. Members met for years in private homes, schoolhouses, and even barns until a lot was acquired in 1834 for the congregation and this church built a year later in 1835. The church was remodeled in 1885 to its current form, which likely saw the building raised and the steeple added. The church was renamed in 1921 to the Chocorua Baptist Church and again to the present name, Chocorua Community Church. The Chocorua Community Church is a typical 19th century vernacular New England church with a basic form, gable roofed main block, two-stage belfry tower topped by a spire. The composition of the facades with double doors and blind lancet window above is typical of the vernacular church architecture of the period, and while not architecturally distinctive, the church is significant as a community center of the Chocorua Village of Tamworth.

Captain Thomas N. Fisher House // c.1856

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One of the more intricate Sea Captain’s residences on Martha’s Vineyard, can be found here on South Summer Street in Edgartown, a unique Gothic Revival residence notable for its carved bargeboards and full-length porch. The residence appears to have been built around 1856 for Thomas N. Fisher (1819-1885), a whaling captain who married his wife Phebe, leaving her soon after in this home on a whaling voyage. Historians state that Captain Fisher was a strict disciplinarian and one of a very few whaling masters to forbid prostitutes on board his ship. He served many more excursions even through the Civil War when whaling vessels were particularly prone to attacks by Confederate raiders. It is said that Captain Fisher cut the top of his topmasts to disguise his ship as an English rig to sail safely home. In 1885, Captain Fisher died of a heart attack while at church in Edgartown, but his residence remains well-preserved much like it was when maintained by his wife while he was away for months or years at a time out at sea.  

Captain Abraham Osborn House // 1834

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Built in 1834, this early Greek Revival house with Gothic Revival detailing, sits on Edgartown’s South Water Street, a notable street lined by large mansions built for early whaling captains on Martha’s Vineyard. The residence was built for Abraham Osborn (1798-1865), a whaling captain, soon after his marriage to Eliza Norton. Captain Abraham Osborn owned several whaling ships based out of Martha’s Vineyard and New Bedford, and one of these large vessels, the Ocmulgee, came to an untimely end early in the Civil War. When captaining the ship in September 1862, the Ocmulgee was approached by a ship flying British flags. When it got within speaking range, the British flags were replaced by Confederate colors and the rebel captain took over the ship, which contained 250 barrels of whale oil. The Confederates detained the ships officers and Captain Osborn in chains bringing them aboard their ship, the Alabama, which was known for stealthy operations to damage the economy of the Northern states. The rebels torched the Ocmulgee, forcing Captain Osborn and his crew to watch their profits burn up and sink into the ocean. The crew was detained for a few days and ultimately released near the Fayal Islands where they received help. Captain Osborn returned home and would die just three years later. The Osborn house was later inherited by his son, Abraham Jr., a retired sea captain himself, who eventually converted the large family home into a hotel called Ocean View. A famous guest at his hotel was Alexander Graham Bell, who was on island to study the extensive deafness prevalence for those on the Island. The house has since been converted back to a single-family residence and maintains its stunning Greek Revival entry portico and tripartite window in the gable with shuttered lancet openings.

Forest Hills Cemetery – Receiving Tomb // 1871

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The Gothic Revival receiving tomb at Forest Hills Cemetery in Boston is located not far from the iconic entrance gate and chapel/offices. The structure was built in 1871 and designed by architects, Carl Fehmer and William R. Emerson in the Gothic style, a prevalent aesthetic that the overseers encouraged for the various 19th century buildings constructed on the grounds. Historically, the Gothic Revival structure served as the entrance to underground holding tombs for the temporary storage of bodies awaiting burial or relocation, typically stored when the ground was too frozen for burial. The structure features a granite structure with oak ceiling and painted tile flooring. A massive project began in 2016 to excavate and build a new Garden Mausoleum, built into the landscape with the restored Receiving Tomb serving as the focal point. The tomb portico was adapted as a gateway to an open-air courtyard flanked by walls set into the slope which contain internment chambers for burials, with a restored fountain in front and woman archer statue atop.

Forest Hills Cemetery – Entrance Gate // 1865

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Forest Hills Cemetery in Boston was established in 1848 in the rural cemetery tradition, which followed Mount Auburn Cemetery, established in 1831 in nearby Cambridge and Watertown. The site was a municipal cemetery in Roxbury until it was annexed into Boston in 1868, becoming a private, non-denominational burial place for the who’s who of the area. The cemetery was envisioned by Henry A. S. Dearborn, who was the mayor of Roxbury in 1847 and first president of the Massachusetts Horticulture Society, who had also been instrumental in creating Mount Auburn. Since its creation in 1848, Forest Hills has grown from its original 72 acres to a total of approximately 250 acres today and is known for the rich topography and vegetation, dotted by thousands of beautiful monuments to the deceased and some iconic architectural landmarks tucked away in its winding paths. Forest Hills Cemetery was located on this site due to its varied natural features, which included hills, valleys and lakes, which together were preserved to enhance the experience of those visiting nearly 200 years later. The site’s topography consists of a series of geological drumlins of Roxbury puddingstone, an important material that was used in building projects all over the region (and for some of the buildings and monuments in Forest Hills).

Visitors to the Forest Hills Cemetery are greeted by its iconic Gothic Revival main gate, a sculptural and ceremonial entranceway constructed from Roxbury puddingstone and sandstone. The structure replaced an original 1840s Egyptian Revival, wooden gateway designed by Henry Dearborn, following inspiration from Mount Auburn’s entrance gate. Designed by architect Charles W. Panter of Brookline and was completed in 1865, the present stone entrance gate features three portals with arched openings and ornate iron gates surmounted by decorative scrolled ironwork. The central gateway is framed by two conical spires and a central stone pediment, all topped with stone crosses. Beneath the pediment is the biblical inscription, “He that keepeth thee will not slumber.” The Entrance Gate remains the cemetery’s most iconic landmark.

Nash-Wood House // 1858

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The finest Gothic Revival style residence in Milford, Massachusetts, can be found tucked away on Claflin Street, and it features the iconic hallmarks of the style. With its steeply pitched roof, blind lancet windows, drip moulds at the windows, and intricate barge boards with hanging pendants, the Nash-Wood House does not disappoint! The residence was built in 1858 and owned at different times by men who worked in the local shoe and boot manufacturing companies in Milford; William Nash and Peleg E. Wood. The property, with its playful paint colors, has been lovingly preserved my subsequent owners.

United Church of Christ, Swansea // 1833

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The United Church of Christ in Swansea, Massachusetts, was built in 1833 as the second building for the congregation which was originally organized in 1693. It is believed that this was the first church in New England to admit all Christians to membership regardless of their theological beliefs, as a United or Union church. The congregation’s first meetinghouse was built prior to 1719 and was replaced in 1833 when the current building was completed. The United Church of Christ in Swansea blends Greek and Gothic Revival styles with traditional wood-frame construction and gable roof with multi-stage steeple. The facade is adorned with pilasters and louvered lancet arches, showcasing the builder’s ability to pull from multiple architectural styles for the construction.

Church of Our Saviour, Brookline // 1868

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The Church of Our Saviour of Brookline, Massachusetts, is an architecturally and historically significant church complex in the Longwood neighborhood that has ties to those who established this neighborhood into what it is today. The church was built in 1868 by the brothers Amos and William Lawrence, in honour of their father, Amos Lawrence. The church was established by twelve established Boston-area families who wanted to grow the Episcopal diocese in the area. They hired architect, Alexander Rice Esty, who designed the building in the Gothic style, and it was completed in February 1868. The church was expanded numerous times with a transept chapel designed by the firm Sturgis and Cabot (1893) to the memory of Sarah Appleton Lawrence (wife of Amos A. Lawrence); a parish hall designed by the firm of Cabot and Chandler (1880); and a rectory, designed by architect Arthur Rotch (1886). The church remains an active congregation and is lovingly preserved by the congregants.

Rectory

St. Paul’s Episcopal Church, New Haven // 1829

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Built beginning in 1829, St. Paul’s Episcopal Church on Chapel Street in Wooster Square, New Haven, Connecticut, was one of the first churches in the nation built in the Gothic Revival style and a visual entrance to the iconic neighborhood. Constructed from local brownstone, the design of the building is attributed to a partnership between master builder and contractor, Sidney Mason Stone, and Sherman Croswell, son of the congregation’s pastor, Rev. Harry Croswell, who possibly consulted with architect, Ithiel Town. St. Paul’s is said to be the first attributed work of Sidney Mason Stone, who went on to build and design over 100 churches, homes, and buildings all over the region. The church originally featured two end towers were built of wood but were ambitiously removed in 1893 to be replaced with stone belfries, which was likely the original design. Sadly, funding ran out and only one tower was rebuilt of stone, leaving the lopsided single-tower look today.

Orson Goodrich House // c.1850

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This stunning Gothic Revival style house in Richmond, Vermont, was built around 1850 for Orson Goodrich (1808-1877), likely after the death of his first wife, Ann in 1849. Goodrich was a farmer who had a large property off the Main Street, which likely ran all the way to the Winooski River. The house is an excellent example of Carpenter Gothic, a wooden Gothic Revival home with decorative bargeboards at the roof (which look like icicles in the snow), pierced wooden columns at the porch, and a lancet window at the second floor gable end. The home was such a statement piece, that the home was one of a handful of buildings portrayed in the 1857 Map of Chittenden County, Vermont.

Dow-Starr House // c.1850

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A big departure from the less ornate, yet classically proportioned Georgian and Federal style homes in Warren, Rhode Island, this Gothic Revival beauty on the town’s Main Street stands out for its detail and materiality. Built as a quintessential Gothic “cottage,” the facade of the Dow-Starr House in Warren has also been graced by a three-sectioned Gothic Revival porch as illustrated in Alexander Jackson Downing’s plan books from the 1840s. As completed, this house followed almost exactly Andrew Jackson Downing’s Design II as illustrated in Cottage Residences 1842 ; it differed only in its use of speckled fieldstone over coursed ashlar. The house was later acquired by and used as a convent for the St. Jean Baptiste Church in Warren, who also built a school building behind. The house has seen some alterations, but remains an important architectural landmark of the town.

Warren Armory // 1842

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Although somewhat altered from its original appearance, the Warren Armory on Jefferson Street in Warren, Rhode Island, can easily be identified as a playful example of a Gothic Revival building, one of several Romantic styles that prevailed in the mid-19″ century. Here, the distinguishing features are its octagonal castellated towers, pointed arched central entry, and thin, long, slit-like, window openings set into the thick, stuccoed stone walls, important fire/blast-proof construction due to the storage of arms and gunpowder. Built in 1842 and formally opened in 1843, the building was used for social affairs by the local artillery company as well as citizens of the town for general entertainment for the public, including performances by Gen. Tom Thumb of P.T. Barnum’s travelling circus. In 1952, the property was conveyed to the Warren Post #11 of the American Legion.

Warren Baptist Church // 1844

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The Warren Baptist Church on Main Street in Warren, Rhode Island, is a landmark example of an ecclesiastical building in the Gothic Revival style completed in stone. Like many communities in Rhode Island, Baptists in Warren, were the first and largest denomination in the community, dating back to the 18th century. The congregation’s first purpose-built church was constructed in 1764 and was burned by the British in 1778 as they left Warren. Its replacement (1784) was demolished for the present building sixty years later. Interestingly, this site is significant additionally as the site of the founding of Brown University. as when Reverend James Manning was called in 1764 to take over the congregation and its new church building, he did so with the proviso that he could open a school for the training of Baptist ministers because all existing colonial colleges at the time provided for training only in the Congregational and Episcopal ministries. The school was located behind the present location of the church and it spent its first four years here in Warren, holding its first commencement in that church until the new school (and Reverend Manning as president) were lured to Providence, where Brown University has remained ever since. The present Warren Baptist Church was built in 1844 and was designed by famed Rhode Island architect, Russell Warren, who is best-known for his work in the Federal and Greek Revival styles, but here shows his expertise and skill in the Gothic mode. The building is notable for its lancet-arched windows and belfry with narrow lancet arched louvered windows set below the clock faces set in triangular trefoil tracery. The congregation also maintains Tiffany windows donated by members of the church.