Located adjacent to the Entrance Gate at Forest Hills Cemetery in Boston, the Administration Building and Chapel perfectly compliments the Gothic Revival collection of structures welcoming all visitors to the cemetery. Designed by the firm of Van Brunt & Howe, the building was completed in 1884, when the cemetery’s popularity with visitors (alive and deceased) was at a high. The building is in the Gothic Revival style and is constructed of Roxbury puddingstone, with sandstone trim on the original parts of the building and yellow freestone trim on the 1921 addition. The building remains as a perfect partner to the entrance gate, serving as a physical portal between metaphorical life and death.
The bell tower at Forest Hills Cemetery is an octagonal Gothic revival structure located on Snowflake Hill just past the entrance gate and administration building and was completed in 1876. The 100-foot tower is constructed of Roxbury puddingstone and trimmed with granite. The roof is clad with granite tiles and topped with an ornate copper weathervane. Originally its swinging bell tolled, but it has since been replaced with an electronic carillon. The bell tower rises dramatically from massive outcrop of Roxbury puddingstone known as Snowflake Hill which is offset by smooth lawns and Victorian planting beds. While the large trees surrounding partly obscure the tower, it truly is a stunning building.
Forest Hills Cemetery was founded in 1848 by Henry A. S. Dearborn, then mayor of Roxbury. He designed this magnificent cemetery to offer the citizens of his community a place to bury and remember friends and family in a tranquil and lovely setting. Forest Hills embodies the ideals of the rural cemetery movement, which begun at nearby Mount Auburn Cemetery, in Cambridge in 1831, which was co-founded by Dearborn. Many rural cemeteries have elaborate entrance gates, possibly serving as a dramatic transition from the secular world to the spiritual realm of the cemetery, and perhaps as a metaphor for the journey from life to death. This entrance gate was built in 1865, replacing an earlier Egyptian Revival gate constructed in 1848. Designed by Charles Panter, the gate is constructed of local Roxbury puddingstone, with three arched openings with 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.
While this funerary sculpture is not a building, I couldn’t help but share one of the most captivating graves in New England for Halloween, “The Boy in a Boat”. Louis Ernest Mieusset (1881-1886), just four years old, died of Nephritis, a kidney inflammation and Scarlet Fever. His mother, Madame Louise Mieusset, took every penny she had saved for the boy’s education and put it towards a commission of a funerary sculpture, depicting her late son’s playful spirit. Madame Mieusset worked as a hat-maker in Boston, barely scraping by until her death in the 1930s. She died penniless, and wished to be buried near her beloved son, but she did not have enough money set aside to be interred in the cemetery and was set to be buried in a pauper’s lot, until (legend says) Boston Mayor James Curley paid her burial expenses, allowing for her eternal rest with her late son Louis. The sculpture is carved of white marble and depicts Louis playing in a boat with a tennis racket in one hand and a shell in another. The funerary sculpture is enclosed in a bronze and glass vitrine to protect it as the marble was believed to be too soft to stand up to weathering, the artist is unknown.
Built in 1911 as a single-family home for Bayard and Ruth Thayer, this building on Beacon Street is one of the most visited in the city (I will get to that later). The four-story home replaced two large townhomes across from the Public Garden and was designed by New York based architect, Ogden Codman, Jr., who was born in Boston into the esteemed Codman family. Bayard Thayer died within five years of the completion of the house, and his widow, Ruth, and their children continued to occupy the massive residence into the 1930s. By 1944, the home was being used as a lodging house, a violation, and it was sold two years later to a realty company who operated apartment houses. From this time the house functioned as a residential hotel known as the Hampshire House. In 1969, Thomas Kershaw acquired the property and kept its name, which it retains today. In the same year they opened the Bull & Finch Pub in the basement, which in 1982 became famous world-wide as the locale for the bar in the television sitcom Cheers, one of the most-watched programs in television history. Pictures of the exterior of the building were used in the show’s credits and scene changes, and the interior was faithfully replicated in a set used in Hollywood. The building is now habitually swarmed by locals trying to get to drink in a piece of cultural history.
Built by the Boylston Market Association, replacing the former Boylston Market (1810-1887) in Downtown Boston, the Boylston Building is a great example of late 19th-century commercial design in Boston. The Association hired German-born architect Carl Fehmer (who alsodesigned the amazing Beaconsfield Terrace housing in Brookline) to design a structure that would stand up to the architectural landmarks along Boylston and Washington Streets nearby. Fehmer’s design exhibits many features of the emerging Commercial style (also known as Chicago school style) of architecture which promoted new technologies of steel-frame construction in commercial buildings with masonry cladding, while clearly showcasing the Romanesque round arch windows. In the mid-20th century, this area of Downtown Boston became known as the ‘Combat Zone‘, Boston’s Red Light District, flooded with prostitution, drugs, and adult video stores. The Boylston Building was occupied by an adult video store and dive pizza shop. The building and area surrounding are different today, but you can always find some characters nearby!
One of the biggest architectural losses in Boston has to be the demolition of the Boylston Market formerly at the corner of Boylston and Washington Streets. A new market house in Boston was desired by many of the city’s elite, and when John Quincy Adams (who lived on Boylston Street and was elected President of the United States 15 years later) gathered capital for the new structure it was so built. The group hired Charles Bulfinch, who at the time was THE architect of Boston, to design the new brick market. When opened to the public in 1810, the market was considered far out of town, but the neighborhood quickly developed around it with new Federal and Greek Revival homes popping up all around it, with commercial buildings soon after. The market featured stalls for the “sale of provisions” on the first and second floors, and Boylston Hall on the third floor, which featured musical and theatrical productions. The market building was sadly demolished in 1887 for a larger and more modern market of the same name. The belfry atop the former market was disassembled and given to a church in Arlington, MA, who now displays it on their own church building.
Constructed for the Woman’s Home Missionary Society of the Methodist Church of New England, this building was associated with the Hull Street Medical Mission from the time of its construction, in 1901, to about 1950. The mission was one of a number of church-related social service programs established in the North End in the late 19th and early 20th centuries to address the needs of recent immigrants, namely the Russian Jews, Italians, and Portuguese residing in this area of the neighborhood. In 1909-1910 alone, 14,574 treatments were given in the clinic, providing a huge medical service to the widely low-income immigrant community of the North End [29th Annual Report, 154]. The Medical Mission closed in the early 1950s and the property was later sold and converted to apartments. It was designed by architect Walter Forbush, who utilized ogee arches and leaded glass windows, adding much flair to the building’s design.
One of the most visited buildings in New England is the stunning Old North Church in the North End of Boston. Old North Church (originally Christ Church in the City of Boston) was established when the cramped original King’s Chapel, then a small wooden structure near Boston Common, proved inadequate for the growing number of Anglicans in the former Puritan stronghold. Subscriptions for a new church were invited in 1722. The sea captains, merchants, and artisans who had settled in Boston’s North End contributed generously to the building fund, and construction began in April, 1723. The church was designed by William Price, though heavily influenced by Christopher Wren’s English churches.
Before the American Revolution, both Patriots and Tories were members of the church, and often sat near each-other in pews, clearly adding to bubbling tensions. The enduring fame of the Old North began on the evening of April 18, 1775, when the church sexton, Robert Newman, and Vestryman Capt. John Pulling, Jr. climbed the steeple and held high two lanterns as a signal from Paul Revere that the British were marching to Lexington and Concord by sea across the Charles River and not by land. This fateful event ignited the American Revolution.
A full scale restoration of Old North was carried out in 1912-14 under the direction of architect R. Clipson Sturgis and a number of 19th century alterations were then eliminated. In this work, floor timbers and gallery stairs were replaced, the original arched window in the apse at the east end was replaced, and the old square box pews and raised pulpit were reconstructed. Additionally, the interior woodwork was incorrectly repainted white rather than the rich variety of original colors described in the early documents of the church, clearly submitting to Colonial Revival sensibilities. The iconic white steeple is also not original. The original steeple of the Old North Church was destroyed by the 1804 Snow hurricane. A replacement steeple, designed by Charles Bulfinch, was toppled by a hurricane in 1954. The current steeple uses design elements from the original and the Bulfinch version. Even with all these differences, Old North lives up to her name and stands proudly as a symbol of freedom and revolution.
One of the most photographed buildings in North End is arguably this tenement block, built in 1895 at the corner of Prince and Salem Streets. As the North End continued to redevelop into a diverse immigrant community, tenement houses were constructed by those with the means, providing housing at low cost to those who arrived to Boston in the late 19th and early 20th centuries. Max and Etta “Ethel” Lebowich, Russian Jews, immigrated to Boston, settling in the Jewish quarter of the North End and opened up a dry goods store at the corner. The business did well, and the couple redeveloped their land and hired Swedish-born architect Charles A. Halstrom, to design the prominent apartment house. The Renaissance Revival building features massive pressed metal oriels and brick and stone construction. I am unsure if the oriels are truly copper, which would have been fairly expensive for a tenement building, or if they are pressed tin. Any insight would be much appreciated.
Buildings of New England 