The year after Trinity Methodist Church was constructed, the Martha’s Vineyard Camp Meeting Association at Wesleyan Grove, built the wrought-iron Tabernacle, the most significant single building in the campground. The beautiful iron Tabernacle, which seats over 2,000, was designed and built in 1879 by John W. Hoyt of Springfield, Massachusetts. The building was completed in less than four months after the contract was signed. The Tabernacle covers the original consecrated ground of 1835 where the first Methodists erected canvas tents to worship under the trees. By 1869, the attendees at the revival meetings needed more protection from the sun and rain because the large oaks that had attracted the founders 35 years before had begun to die. Since 1870, the Association erected a mammoth canvas tent supported on tall poles every summer. The tent proved unsatisfactory because of ventilation problems and a tendency to collapse in storms. In 1878 the Association solicited designs for a large wooden tabernacle a building of vast roofs, minimal supports, and open walls. The plans it received, which were elaborate versions of the wooden tabernacles or “arbors” of southern camp meetings, proved too expensive to build on this site. Campground resident John W. Hoyt solved the problem with a much cheaper wrought iron structure that was largely prefabricated and could be speedily erected on the uneven site. The gorgeous Victorian Gothic tabernacle remains today as the centerpiece of the Wesleyan Grove National Historic Landmark District, an esteemed historical designation.
This cottage on Ocean Ave in Oak Bluffs was built before 1880 for J.F. Riday, a manager at the American Mail and Export Journal at the Wesleyan Building on Bromfield Street in Boston. The quaint cottage was photographed shortly after it was built with Riday and two women (one likely being his wife) posing on the front porch overlooking the ocean. By the early 20th century, the home was owned by George and Corielle Evans, a couple from Mexico. They likely modified the home with the shingled siding and front porch with sheltered balcony above, while the original lancet windows and doors remained.
On a last-minute trip to the Berkshires, I couldn’t help but stop at the recently re-opened Massachusetts Museum of Contemporary Art (Mass MoCA) in North Adams. Being a huge nerd for industrial history and repurposed mills and factories, it was an absolute treat to walk through the large brick and steel buildings and wings lined with steel casement windows providing the perfect scenery for some amazing artworks. What is now known as Mass MoCA, – one of the premier art museums in New England – was once Arnold Print Works, a one time world leader in textile manufacturing with offices in New York City and Paris.
The Arnold Print Works were built on the Hoosac River near the center of North Adams. The company was the town’s largest industry during the city’s economic heyday from the Civil War until the early 20th century. The company was founded in 1861 by the John, Oliver, and Harvey Arnold, who began production of printed cloth at an existing cotton mill. At the dawn of the American Civil War, the newly formed company became flush with money due to government contracts for manufacturing Union Army uniforms. The company expanded after the war until a fire destroyed nearly all of the wooden buildings on the site. After the fire, a majority share of the company was purchased by Albert Charles Houghton, who became the first mayor of North Adams, and he oversaw the expansion and prosperity of the company, starting with new buildings of fire-proof construction.
By the early 20th century, many textile and cotton manufacturing shifted to the American South severely crippling the mill’s profits. In 1929, Sprague Electric Company moved to North Adams from Quincy, Massachusetts, and began buying the Arnold Print Works buildings. The print works moved much of its operation to nearby Adams and concentrated on a few particular products in its North Adams plant. The print works was finally sold in 1942 for just $1.9 million dollars, a far departure from its once prosperous past. The plant was shortly thereafter acquired by Sprague Electric Company.
While largely leaving the building exteriors as they were, Sprague made extensive modifications to the interiors to convert the former textile mill into an electronics plant. Sprague physicists, chemists, electrical engineers, and skilled technicians were called upon by the U.S. government during World War II to design and manufacture crucial components of some of its most advanced high-tech weapons systems, including the atomic bomb.
[Outfitted with state-of-the-art equipment, Sprague was a major research and development center, conducting studies on the nature of electricity and semi-conducting materials. After the war, Sprague’s products were used in the launch systems for Gemini moon missions, and by 1966 Sprague employed 4,137 workers in a community of 18,000, existing almost as a city within a city. From the post-war years to the mid-1980s Sprague produced electrical components for the booming consumer electronics market, but competition from lower-priced components produced abroad led to declining sales and, in 1985, the company closed its operations on Marshall Street.] (Mass MoCA History)
The complex sat vacant briefly before the Williams College Museum of Art, led by its director, Thomas Krens—who would later become Director of the Solomon R. Guggenheim Museum—advocated for a museum space for contemporary art that would not fit in traditional art galleries. The nearby Arnold Mills seemed like a perfect, yet daunting task to repurpose. Bruner/Cott Architects of Cambridge were hired to repurpose the mills and oversee the massive adaptive reuse project which today totals nearly 300,000 square feet of galleries and art venues.
One of the older extant homes in Kennebunkport is the Daniel Walker House on Maine Street. After the American Revolution, shipbuilding and other maritime industries grew along the Maine coast, especially in Kennebunkport (then still named Arundel). Sea captain Daniel Walker built the home on ample land on the outskirts of the village at the time. By the early 19th century, he sold off much of his land closer to the river to family and friends. The Georgian home is minimal, yet commanding with its massive facade, rusticated lintels and corners, an elaborate entry and a large central fireplace.
Built in 1793, the Eastham Windmill on the old Town Green is the oldest workable gristmill on Cape Cod. Typical of Cape Cod, Eastham’s windmill is an octagonal , “hat and smock” or Flemish design in which the revolving top or hat can be rotated to direct the sails into the wind. Local historians contend that Thomas Paine, a noted early millwright and resident of Eastham, most likely built the Eastham Windmill in the late eighteenth century. Some sources state that the windmill was likely built in Plymouth and later moved to Truro and eventually to Eastham in 1793. In 1895, the women of the Village Improvement Society raised money to purchase the windmill and two adjoining properties from private ownership for $ 113.50. Around the turn of the twentieth century, the windmill became a local tourist attraction and the subject of postcards and souvenirs. The windmill is now the main attraction of the annual Eastham Windmill Weekend.
The gorgeous half-cape Knowles Doane House in Eastham is an early example of a traditional Cape home that are synonymous with the peninsula. The modest house features an off-center entry with a solid wood door with a transom above. Clad with wood shingle siding and roofing, the home screams “Cape Cod”. The large central chimney would have provided warmth inside the home during the harsh winter months. The home was likely built for a member of the Doane Family, whos patriarch, John Doane, arrived to Plymouth Colony by 1632. The family eventually settled in Eastham and participated in fishing, whaling and agriculture. By the early 1800s, the home was occupied by Knowles Doane.
The Edward Penniman House is the finest example of Second Empire style in Eastham, and is one of the finest examples of this architectural style on Cape Cod. The grand home was designed and occupied in 1868 for Edward Penniman (1831-1913), one of the most successful whaling captains in New England.
Born in 1831 in Eastham, Edward Penniman set sail for the first time at age 11. The voyage was to the dangerous and unpredictable waters of the Grand Banks, a rich fishing ground off the coast of Canada’s Newfoundland. Nantucket had a flourishing whaling industry as early as the late 1600s, but it was New Bedford with its deep water harbor and railway system that would become New England’s whaling capital. In 1852 at the age of 21, Penniman would journey to New Bedford and sign on to his first whaling expedition. Later when Penniman became a captain he would select New Bedford as his home port setting sail seven times to hunt whales.
With whale over-harvested in the Atlantic along the shores of New England, whalers were forced to go further and further from home to hunt. Whaling expeditions often spanned three or four years, and it was not uncommon for wives and families of ship captains to go along on the trip. Penniman’s wife, Betsy Augusta Penniman, called “Gustie” by her husband, went on three such voyages often assisting with navigation and other shipboard matters. In addition, each of the three Penniman children accompanied their parents on various journeys with eldest son Eugene eventually becoming a whaling captain himself.
After the Captain’s death in 1913, Mrs. Penniman and their daughter, Betsey, continued to live in the home. Mrs. Penniman’s died in 1921. Betsey Penniman, who never married, stayed around and raised her niece, Irma. Upon Betsey’s death in 1957, the home was left to Irma Penniman Broun. Irma and her husband sold the house with twelve acres to the National Park Service in 1963 when the Cape Cod National Seashore was formed.
The first lighthouse station for Eastham, known as the Nauset Beach Light Station (nicknamed The Three Sisters), was completed in 1838. The name Nauset, which came from a local Native American tribe, formerly referred to the fifteen-mile stretch of Cape Cod from what is now Brewster almost to modern-day Truro. The lighthouse station actually consisted of a group of three lights atop 15-foot high brick towers located on a bluff looking over the Atlantic. Even though there were three lighthouses, the station was staffed by only one keeper up until 1867, when the position of assistant keeper was added. The assistant lived with the head keeper and his family in the station’s one dwelling (talk about cozy)!. The Lighthouse Board in 1873 noted the inadequacy of these accommodations in a report stating, “The dwelling-house should be enlarged, or a small cottage built for the accommodation of the assistant keeper, as the building now occupied is entirely too small”. Congress allocated $5,000 in 1875 for a keeper’s dwelling at Nauset Beach, which was erected in 1876.
After the relentless Atlantic Ocean brought the three brick towers to the brink of disaster due to the eroding land under them, in 1892, three new towers were constructed thirty feet west of the originals along with a brick oil house. The replacements were constructed of wood so they could be readily moved if the need occurred again. By 1911, it was determined that there was a need for only one lighthouse (as three could get confusing), and two of the three lighthouses were auctioned off, the third was attached to the keeper’s house. The two towers (minus their lanterns) were sold in 1918 to the Cummings family of Eastham for $3.50. The family moved the two towers to a nearby location and joined them together as a summer cottage called “The Towers” on Cable Road. In 1923, the smaller wooden lighthouse was retired and replaced with the current Nauset Light. In 1983 after much uncertainty as to their future, the National Park Service united the Three Sisters in a park, just west of their original location for history geeks like us to enjoy!
This old farmhouse in Swansea, MA, was built by 1820 for Preserved Gardner (1795-1873), one of five sons of Peleg Gardner, who owned much of Gardners Point. Preserved lived in the home until his death in 1873, and the home and acres of farmland were willed to his only son to live past childhood, Ira Gardner (1836-1901). Ira donated a large tract of land adjacent to the farmhouse to the town in 1882 for a cemetery, in which his father was buried. Later, the farm was purchased by Thomas D. Covel a bank president of Fall River who operated it as a gentleman’s farm and made the house his summer home. A ‘gentleman farmer‘ utilized their farms for pleasure rather than for sustenance or profit. After WWII, the land was purchased by the town to be used as a park and the property is still owned by the town. The Federal home with its veranda that wraps around the side has been neglected by the town for decades while the parks adjacent are maintained adequately.
The town has weighed various options for the home ranging from demolishing it, to preserving the front facade and converting it to a garage and storage shed (with a small museum on the second floor). I hate that idea personally. This seems like an ideal candidate for the town to allow a private individual or developer to move the home and restore it back to its original grandeur. Thoughts?
The Hotel Touraine at the corner of Boylston and Tremont Streets in Boston was built in 1897 as one of the most luxurious hotels in the city. Designed by the local firm of Winslow and Wetherell, the Jacobean Revival style building commands the well-trafficked corner opposite the Boston Common. Early articles described the hotel as “a large and sumptuously equipped house, with internal decorations in the style of the Chateau de Blois (a French chateau). Winslow and Wetherell appeared to have been inspired by the Louis XII wing of the Chateau, as many design elements of the hotel closely resemble it. The hotel was advertised as having 350 rooms valued at $2 a night up to $3 a night for a room with a private bath. Separate men and women’s parlors, a library, and elevator service made the hotel desirable for the upper-class Bostonians and visitors to the bustling Downtown area. The hotel’s rich clientele eventually began frequenting the larger hotels near Copley Square and the stature of the Touraine slipped with a changing Downtown character. By the 1960s, the hotel closed and was converted to apartments.
Buildings of New England 
