Adjacent to the Entrance Gate at Forest Hills Cemetery, the Forsyth Chapel and Cemetery Office building stands at the ceremonial entrance to the iconic landscape and architecturally compliments the adjacent structure and surrounding grounds. The Forsyth Chapel was designed by the firm of Van Brunt and Howe and completed in 1884 as a space for mourners and for celebration of lives well-lived. The chapel was expanded in 1921-22 when the Boston firm of Andrews, Jacques & Rantoul, was commissioned to expand the building perpendicular to the gateway, and expand the offices in the building, to serve the greater administrative needs of the busy cemetery and burial planning. The Neo-Gothic addition continues the architectural aesthetic of the cemetery, while being clearly of its time, a well-intentioned and designed addition.
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).
Nestled in Jamaica Plain, the Woodbourne neighborhood is one of Boston’s most notable early twentieth-century planned residential neighborhoods, developed in early 20th century on land that had once been part of large country estates. Inspired by Garden City planning principles, the neighborhood was designed to harmonize with its natural landscape, featuring curving streets, mature trees, and thoughtfully arranged green spaces rather than a rigid urban grid. Its architecture reflects the predominant architectural styles of the period, notably showcasing modest housing in Arts and Crafts and Colonial Revival styles with many of the original buildings designed by the firm of Kilham & Hopkins off Southbourne Road. The development envisioned and funded by The Boston Dwelling House Company, a who’s who of well-connected Boston residents who envisioned the development as an attractive and healthy suburban community for middle-class families with convenient access to streetcar and rail transportation, with the grounds laid out by the Olmsted Brothers. Woodbourne remains remarkably intact today, offering a rare glimpse into the ideals of early suburban planning amidst the somewhat hectic piecemeal development and layout of streets in other parts of the city.
This iconic Boston building is threatened with demolition!
The clock is ticking for the Alley/Eblana Brewery, a historically and architecturally significant building in Boston’s Mission Hill neighborhood. Located on Heath Street, the historic Alley Brewery, also known as the Eblana Brewery, stands as a striking reminder of the city’s once-thriving brewing industry. Founded by Irish immigrant John R. Alley (1822-1888) in the mid-1880s, the brewery produced the popular Eblana Irish Ale, a name derived from the ancient term for Dublin, reflecting Alley’s heritage and the strong Irish influence in the area. John Alley previously co-owned the Highland Spring Brewery nearby, but founded a brewery in his own name in 1885. For his brewery, Alley hired Philadelphia architect Otto C. Wolf, who was the nation’s premier brewery architect and engineer in the late 19th and early 20th centuries. The four-story complex was built in 1886 and showcased some of the most advanced brewing technology of its era while displaying an impressive blend of brick and granite craftsmanship. Its distinctive façade features a dramatic central bay, granite-trimmed arches, rough-faced stone braces, wrought-iron gates, and carved stone plaques bearing Alley’s initials and the date of construction. After John’s death in 1888, the business continued under the ownership of his two sons, Frederick and George. The brothers in 1899, added the adjacent bottling and refrigeration building, which employs similar architectural features and materials to the main brewery. Brewing here ceased with Prohibition and the structure later served a variety of manufacturing uses, when during the 1960s, many windows were filled with brick. The Alley-Eblana Brewery remains one of Boston’s most architecturally significant surviving brewery buildings, embodying Boston’s rich industrial and ethnic heritage, but it is threatened. Developers have owned the building since 2013 and have done nothing to preserve or even maintain the structure, making it a case of demolition by neglect. They are requesting to demolish both structures, but the demolition has been delayed 90-days through the Boston Landmarks Commission Demolition Delay review process. If you want to see the building repurposed and saved, reach out to the Boston Landmarks Commission and advocate for its adaptive reuse, which would provide housing and maintain a significant architectural landmark for the community.
This charming stable building on Chestnut Street on the Flat of Beacon Hill, Boston, was probably built around 1865 for Elijah Williams (1804-1879), a shipping merchant who also served a term on the Boston Common Council. Elijah and his wife, Mary, lived on Louisburg Square and had this stable built to hold their stable, sleigh and horses. Additionally, the stable housed a small residence inside for the stable-keeper and coachman, who would chauffer the Williams’ around and take care of their horses. In the early 20th century, the stable was owned by George Nixon Black (1842-1928), an heir to a Boston real estate fortune that came to Boston to manage the office of his father’s lumber business. He eventually became one of Boston’s largest individual taxpayers and besides his home in Boston, spent time in other homes including the late Kragsyde in Manchester-by-the-Sea and Woodlawn in Ellsworth, Maine, now a house museum. The stunning Second Empire style stable building is built of brick with granite lintels, sills, and surrounding the carriage doorway, over which is a mounted statuary of a horse head as a nod to the building’s original use.
One of the many charming buildings on the Flat of Beacon Hill can be found here at 73 Chestnut Street, which has long been one of my favorites when strolling in the neighborhood. The building was constructed around 1895, replacing a wooden stable on the site, and appears to have been built as a stable and converted soon-after to commercial use. In 1917, the building was leased to tradespeople, and included a plumbing shop and cabinetmaker, but as the area gentrified after WWI, the building was purchased by Israel Sack, an antique dealer as his new store. Israel Sack was born in Lithuania and emigrated to the United States, first working as a cabinetmaker and later becoming an instrumental force in the antiques world, where he assisted with developing the private collections of Henry Ford, Henry Francis du Pont, Ima Hogg, and other leading collectors and supplying the Americana collections of many major museums. A year prior to buying and renovating this building, in 1924, Sack purchased the Robert “King” Hooper House in Marblehead, Massachusetts, and turned the 18th-century mansion into a showroom for his antiques. Israel Sack gave the building at 73 Chestnut Street its distinctive Colonial Revival facade with its urn finials and Bullfinch-eque Federal Revival storefront. Later operators of antique stores within the building include: Louis D. Prince and Stephen Score, until recently when it was converted to a residence, with the owners removing bright blue paint from the brick and restored the facade, down to the iconic wooden statuette on the second story.
Photo courtesy of Boston Public Library collections.
When the Toy Theatre on Lime Street in Beacon Hill (last post) was formed in the early 20th century, the members of the small theatre group of well-connected artists and actors had their sights on something with permanence. By 1914, the group had funding and acquired land on Dartmouth street, a block away from Copley Square, and ground was broken to build a large new theatre. Designed by the architecture firm of Putnam & Cox, the fashionable Colonial Revival style building featured a large, rounded facade and was constructed of brick with a marble base and detailing. The theatre was designed with a retail space for supplemental income. Inside, decorations were refined and also included a staircase and railings donated by Isabella Stewart Gardner’s Fenway Court mansion, that were removed when she created the Tapestry Room in her home. The organization could not support running the building through shows, and the space was sold and rebranded as the Copley Theatre within a couple years. Continuing the bad luck, the City of Boston decided to extend Stuart Street by 1921, and this building was along the proposed route. The Toy Theatre was demolished in 1921, after just seven years.
The early ownership is murky, but by the 1870s, this two-story with mansard roof stable was owned by a “Nathan Thayer”, either Nathaniel Thayer Jr. or Nathaniel Thayer III of Lancaster, who also retained city residences in Boston. The building features two portals on the first-floor that originated as doorways, the wider on the left for horses and a carriage, and the smaller for access to residential space for the stable-keeper and likely a hay loft over the carriage door. After the turn of the 20th century, the Flat of Beacon Hill gentrified into an exclusive enclave of residences, antiques shops, and artist studios and the former Thayer Stable was purchased by Frederick Oakes Houghton, an agent for transatlantic steamers. Houghton rented the building to an amateur theatrical group who organized as the Toy Theatre, that was founded in 1911 to present plays that had not been presented professionally in Boston. The founding group consisted of the usual, artistic, high society types, and had seating for 129 with no standing room. Houghton hired architect, Harold Symmes Graves, to convert the building into its theater use, enclosing the former carriage door and hay loft with multi-light windows, and creating a larger space inside for productions. The Toy Theatre did very well (due in part to its membership of upper-class Boston residents) and a new, purpose-built Toy Theatre was built in the Back Bay by 1914. In 1917, the former stable and theatre was purchased by Richard B. Platt, a musician and music teacher, and converted to a residence, a use that has remained ever since.
Now functioning as the Park Street School, the handsome brick building at 63-69 Brimmer Street stands on the site of a former three-story brick livery stable and is an excellent example of the early 20th century revival of the Flat of Beacon Hill from the “horsey end of town”, to an upper-class enclave. The school building, which was completed in 1914, was designed by R. Clipston Sturgis, one of the premier architects of Boston, as one of the first “fireproof” schools in Boston. The school building originally had an open-air rooftop playground, and was designed with special attention to light and air ventilation, with a library, gymnasium, and recitation rooms inside. In 1939, the Brimmer School merged with the May School, which had been founded about 1900, creating the Brimmer & May School. The new institution then hired architect, Walter H. Kilham of the firm, Kilham & Hopkins, to enclose the rooftop playground, allowing for more usable space for the school. After the Brimmer & May School moved to Chestnut Hill in 1954, the building was bought by C.F. Burdett, as a new location for a private business school that had been operating since 1879. Burdett College remained in possession of the building until 1970 when Emerson College took over the building for its performing arts department. In 2003, Emerson College sold the building to Park Street Kids, a children’s organization begun by mothers at Park Street Church, located on the east end of the Boston Common and it has since been known as the Park Street School. The school was recently restored by Mills Whitaker Architects.
One of six attached houses townhouses between 70-75 Beacon Street, this stately granite-faced residence was built concurrently with its neighbors in 1828 on speculation for the Mount Vernon Proprietors, a group of wealthy Boston businessmen who helped develop Beacon Hill into the posh, architecturally significant neighborhood it is today. The Mount Vernon Proprietors knew how important Beacon Street was as the entry into the neighborhood, and thus, hired Boston’s premier architect, Asher Benjamin, to design the row. When completed, all of the houses were identical, but throughout the 19th and 20th centuries, they all deviated from the original design, some gaining additional floors, others adding bay windows, but all together form a cohesive and architecturally significant span of houses. Completed in 1829, the residence at 75 Beacon Street is known as the Mason-Fitz House and was originally owned by Jonathan Mason (1756-1831), a U.S. Congressman and U.S. Senator, and later inherited by his son, William Powell Mason (1791-1867), who engaged in real estate. It was likely William Mason who added the mansard roof in the late 1850s or 1860s, but the main unique detailing of the residence occurred in 1889 when newlyweds, Henrietta G. and Walter Scott Fitz hired the popular architectural firm of Little & Browneto reconfigure the front of the house in the Colonial Revival style. Little & Browne added the rather fanciful, oriel windows on the facade, which include the three, small hipped-roof oriels on the second story and larger projecting oriel on the first floor with fanlight and leaded glass. Cambridge architect, Edward T. P. Graham later purchased the residence and petitioned to convert the single-family house into eight apartments, but was denied, later converting the residence into four units. Today, the Mason-Fitz House is broken up into two larger condominium units.
One of six attached houses townhouses between 70-75 Beacon Street, this stately granite-faced residence was built concurrently with its neighbors in 1828 on speculation for the Mount Vernon Proprietors, a group of wealthy Boston businessmen who helped develop Beacon Hill into the posh, architecturally significant neighborhood it is today. The Mount Vernon Proprietors knew how important Beacon Street was as the entry into the neighborhood, and thus, hired Boston’s premier architect, Asher Benjamin, to design the row. When completed, all of the houses were identical, but throughout the 19th and 20th centuries, they all deviated from the original design, some gaining additional floors, others adding bay windows, but all together form a cohesive and architecturally significant span of houses. Completed in 1829, the corner dwelling is known as the Greenough-Dwight House and it retains its original three-story rusticated granite façade with segmental arch openings. The major change to the exterior of the Greenough-Dwight House is the addition of the ornate wood oriel window with iron cresting in 1874, the oriel and facade feature the iconic purple windows, which became a status symbol in the 20th century. The story goes, that between 1818 and 1824, an English company sent shipments of glass that contained too much manganese oxide into Boston Harbor. After being exposed to sunlight for an extended period of time, the manganese oxide in the glass began to turn purple creating the colored panes we love today. Over time, many panes broke or were replaced, creating the checkerboard appearance on so many windows, but many owners in the 20th century had imitation purple glass installed as a marker of wealth and prestige, like in this house and bay, which were built after the period that the glass was brought over from England. My favorite in the row, the Greenough-Dwight House shines with its granite facade and brick end wall, with panes reflecting the sun off her violet glass windowpanes.
Located behind the David Sears Mansion (now Greek Consulate) on Beacon Street, this handsome utilitarian structure fronts Brimmer Street in Beacon Hill and predates the building it adjoins. The two stables and attached caretaker’s residence was built around 1856 for David Sears, who lived farther down Beacon Street, but also owned other buildings on the street which fronted the Public Garden. He built this stable in the Flat of Beacon Hill, an area west of Charles Street in what Samuel Eliot Morrison coined, “the horsey end of town” for its prevalence of stables and carriage houses. The architect is not known, but the handsome structure features bays of shallow, recessed brick arches and brick dentil courses, showing the importance of good design even for uses such as a stable. The building later became space for furniture storage and an ancillary apartment to the adjacent mansion, until 1957, when the it was acquired by the Vincent Club, a women’s organization with the mission of raising money for the Vincent Memorial Hospital whose mission was to treat the “diseases of women.” Even though the Vincent Hospital merged with Mass. General Hospital in 1988, the Vincent Club remains in this former stable as its home-base and continues to carry out its mission to advance the field of women’s healthcare.
It is uncommon to see new construction in Boston’s historic Beacon Hill, but when it happens, hundreds of eyes closely scrutinize and analyze the design to belong in one of America’s most coveted neighborhoods. The rare opportunity for infill construction occurred on this site on Chestnut Street. An 1860s stable building that was later converted into a residence and art studio in the 1920s as Beacon Hill Flat gentrified as an artist enclave, was listed for sale in 2013. The townhouse featured leaded-glass windows and Tudor elements at the interior and on its rear facade and was purchased by a developer who, after inspection, noted structural deficiencies in the building. After inspections by the City and a request to the Beacon Hill Architectural Commission, it was approved for demolition, but the replacement design would be scrutinized. Hacin, architects, brought forward plans for a new townhouse, which employed similar materials, massing, and fenestration typical for this area of Beacon Hill, but with contemporary finishes that blends old with new in a way that the new structure does not stand out nor detract from the surrounding streetscape. Through hearings, details like the window types and color of the brick were analyzed to slightly deviate from the existing fabric of the neighborhood, distinguishing the new construction as contemporary. What do you think of this new townhouse on the Flat of Beacon Hill?
The three-story, masonry Union Boat Club facing Storrow Drive and the Charles River, was constructed in 1910 to replace a wood-frame boathouse the club had built in 1870. The western edge of Beacon Hill changed drastically when in 1910, the Charles River Dam regulated the water along the Charles River, removing its tidal nature. In the years before this, the Charles River Embankment was laid out as parkland along the riverfront, which in turn, made it so the original Union Boat Club site was no longer on the water’s edge. The original boathouse was moved to the Esplanade and this new clubhouse, with its high-fired brick exterior and cast stone trim, was designed in the Classical Revival style by the firm of Parker, Thomas & Rice on the original boat house site. The organization expanded its offerings, adding handball and squash to its members in the new, 1910 building. In 1928, a boxy rooftop addition was constructed adding two more squash courts which was later raised in height and covered in metal in 1996.
Buildings of New England 
